Post-Script #5: Reviving the Legacy of Gambus in Malaysia (Pt.1) – The Raja Gambus Tradition and Its Heirs

by Dr. Raja Zulkarnain

“The Post-Script Project revisits selected key moments and stories that shaped my journey with the oud (gambus) from 2003 to 2024. Each reflection offers fresh insights, connecting past experiences to the present, while exploring the oud’s cultural and personal significance.”

When Kosmo! published the article 'Petikan Tali Gambus' by Nasri Jamaludin on July 31, 2012, gambus music in Malaysia was still deeply influenced by the melodies popularized by the late Raja Gambus, Fadzil Ahmad. The article reflected on the artistic journey of a maestro who not only popularized the gambus in Malaysia but also brought national recognition to the instrument on the international stage.

Now, more than a decade later, his passion and dedication to gambus music continue to live on. In December 2024, Dewan Budaya published the article "Legasi Raja Gambus Malaysia", detailing the long journey of the late maestro in elevating the art of gambus music. Within this scope, we see how the legacy he left behind continues to inspire a new generation of gambus players and traditional music enthusiasts.

The 2012 Kosmo! article also highlighted that, despite Fadzil Ahmad’s immense contributions to the gambus scene, there were others who played a role in keeping the tradition alive. One such figure was Mohd. Nizam Attan, a musician and researcher from Johor, whose deep-rooted passion for gambus stemmed from his family heritage.

His father, Ustaz Attan, was a respected musician who brought gambus music from Singapore to Johor, performing qasidah and nasyid as early as 1958. Inspired by this legacy, Nizam’s journey with gambus began when he joined Nurul Hilal as a young percussionist before eventually mastering the violin and accordion. By the time he was 12, he was already performing gambus at Malay and Arab weddings, often playing Middle Eastern-influenced melodies popularised by legendary artists like Mohammed Abdel Wahab, Farid El Attrash, and Umm Kulthum.

Beyond performance, Nizam later pursued academic research on gambus in Johor, exploring its history, playing techniques, and stylistic developments. His dedication, alongside others in the gambus community, reflected the continuing efforts to document and preserve this musical heritage.

The article then highlighted two primary perceptions of gambus in Malaysia—either as an accompanying instrument in traditional ensembles like ghazal, zapin, and nasyid or as a solo instrument for classical pieces. At the time, awareness of the maqam system was still limited, and efforts to integrate gambus into formal education were just beginning.

More than a decade later, gambus has gained greater recognition as a lead instrument, with musicians exploring maqam beyond Western tonal structures. However, while academic research on gambus has expanded, there is only a partially standardized national syllabus, unlike other modern instruments. Younger players are emerging, often blending gambus with contemporary styles, yet public perception still largely ties it to traditional and cultural contexts.

While progress has been made, the question remains: Has gambus truly secured its place in Malaysia’s musical identity, or does it still exist on the fringes?

The 2012 article also highlighted my journey in gambus and oud music, particularly my dedication to Middle Eastern music. This passion led me to study the oud at the prestigious Bayt al-Oud al-Arabi in Cairo under the supervision of world-renowned Iraqi oud master Naseer Shamma. My teachers at that time, Nehad Sayed and Mustafa Antar, played a crucial role in shaping my understanding of the instrument.

One of my most memorable achievements during my studies in Cairo was being invited to perform at the National Library of Alexandria, Egypt, alongside selected students of Bayt al-Oud, together with Naseer Shamma himself—an experience that remains a milestone in my musical career.

Looking back, my dedication to the gambus has only deepened. Beyond performing, I have committed myself to documenting, teaching, and innovating the gambus tradition in Malaysia. The book OUD: Warisan Seni dari Timur Tengah (ITBM), mentioned in the article, was just the beginning. In 2018, I published Gambus: Spesifikasi dan Cara Bermain (DBP), further contributing to gambus education.

Today, my research focuses on the craftsmanship, playing styles, and identity of the gambus in the Malay world, bridging tradition with contemporary perspectives. Reflecting on the past 13 years, I find myself asking: How far has the perception of the gambus evolved in Malaysia since 2012?

Reading the final section of Part 1 from the 2012 article brings back memories of how gambus enthusiasts like Mohd. Zulkifli Ramli found their way to the instrument. His journey—starting with the guitar before transitioning to the gambus—mirrors the path of many musicians seeking something deeper and more organic in their musical expression. His story also highlights the impact of the late Allahyarham Fadzil Ahmad, affectionately known as Raja Gambus, whose teaching approach left a lasting mark on his students.

Fadzil Ahmad was more than just a teacher; he was a mentor who nurtured his students with patience and warmth. His method of teaching was never rigid or intimidating—he made learning feel natural, which is why so many of his students, even those who started late like Mohd. Zulkifli, could develop a genuine connection with the gambus. This speaks volumes about his legacy.

Mohd. Zulkifli’s observation about the societal perception of gambus is also something I have often reflected on. Even today, the instrument is still largely associated with specific cultural events and seasons, particularly Ramadan. While there has been some progress in expanding its presence beyond these settings, challenges remain. Gambus deserves to be recognized as a daily musical companion, just like the guitar or violin—an instrument that is not confined to certain occasions but embraced in everyday life.

After 13 years, I also question whether the gambus has gained broader recognition as a versatile instrument, or if it remains confined to its traditional associations. - drrz

Reference:

Nasri, J. (2012, July 31). Petikan tali gambus. Kosmo!, Kosmo! 2, 21-24.