Post-Script #5: Reviving the Legacy of Gambus in Malaysia (Pt.2) – The First International Gambus Festival in Kuala Lumpur

by Dr. Raja Zulkarnain

“The Post-Script Project revisits selected key moments and stories—from personal experiences to features in newspapers and magazines—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.”

In revisiting the Kosmo! article “Petikan Tali Gambus” (July 31, 2012), I am struck by how deeply the oud—or gambus, as we call it in Malaysia—has resonated across cultures. The second part of the article highlights the dedication required to master the instrument, featuring musicians such as Sherine Tohamy, a passionate Egyptian oud player, and Abbas Naji Kassamany, a Lebanese virtuoso, both of whom emphasized the technical and emotional depth of the oud. It also sheds light on the insights of Majid Nazampur, an Iranian researcher, who noted the cultural adaptations of the instrument across different regions.

One of the key takeaways from the article is the immense discipline required to play the oud at a high level. Sherine, who started at 22, committed herself to eight hours of daily practice, a level of dedication that few can sustain. Her journey at Bayt al-Oud al-Arabi in Cairo—where she became its first female graduate—underscores the difficulty of mastering the instrument. Even Abbas, who began his training at 10 and later studied at the National Lebanese Conservatory, admitted that the learning never stops. This sentiment resonates with my own experience: the oud is not just an instrument but a lifelong pursuit of refinement.

 

A Milestone for Malaysia

The presence of Sherine, Abbas, Majid and others at the 1st International Oud Conference & Festival 2012 was not just a moment of cultural exchange—it was a turning point in Malaysia’s musical history. This was the first event of its kind in the country, setting a precedent for future efforts in promoting the gambus and oud on an international stage.

The idea for the festival came after my attendance at the 2nd Muscat Oud Festival in Oman in 2006. Witnessing how the Middle East celebrated the oud with dedicated festivals, I asked myself: Why don’t we have this in Malaysia? The gambus is an integral part of our traditional music, yet there had never been an organized effort to elevate it to the same level of recognition as in other parts of the world.

By 2012, with nearly a decade of work in the gambus scene, I finally saw this vision come to life. With the support of JKKN (Jabatan Kebudayaan dan Kesenian Negara) and MATIC (Malaysia Tourism Centre), we secured venues for both the conference and performances, along with logistical support for the international guests. It was one of the proudest moments in my career—an initiative that placed Malaysia on the oud map and brought together musicians, researchers, and enthusiasts from different corners of the world.

 

The Fall of Institutional Support and the Bleak Future Ahead

Since that first festival in 2012, I continued organizing oud festivals up until 2022, each time bringing new faces, new conversations, and new perspectives to the stage. But as the years went by, the reality became harsher: funding dried up, and agencies responsible for preserving the arts withdrew their support. The same institutions that once championed cultural initiatives began treating them as insignificant, unglamorous, and unworthy of investment.

It is an undeniable fact—without institutional backing, such festivals are impossible to sustain. Those in power seem to prioritize trendy, commercialized, and “gala” performances over deeply rooted, historically significant art forms like the gambus. They fail to grasp the long-term impact of neglecting an art form that has been part of our identity for centuries.

If this continues, what will happen in the near future?

1. Malaysia will lose its credibility in the global oud community. After a decade of international recognition, we are now at risk of fading into irrelevance. Other countries, particularly in the Middle East, will continue their initiatives while we fall behind.
2. Local gambus traditions will suffer. Without high-profile events to inspire new generations, the interest in learning and mastering the gambus will decline. The younger generation will see no future in the instrument, and the knowledge will die with the elders.
3. Cultural tourism will stagnate. Malaysia prides itself on being a cultural hub, but when we neglect our own traditions, how can we expect others to take us seriously? The gambus could have been an ambassador for Malaysian heritage, but it is now being left to decay.
4. Funding will continue to favor entertainment over culture. The agencies responsible for keeping the arts alivehave made it clear: if it’s not popular, if it’s not glamorous, it doesn’t matter. This mentality is a death sentence for traditional arts.

Thirteen Years Later: Where Are We Now?

Looking at Malaysia today, how has the perception of the gambus evolved since 2012? Back then, the article painted a picture of an instrument admired for its Middle Eastern and North African heritage, yet struggling to assert its identity within Malaysia’s broader musical landscape. While gambus performances were still appreciated, there was little effort toward formalizing its study or integrating it into contemporary music.

Today, the gambus scene has made strides, yet challenges remain. Standardizing gambus education remains a pressing issue—just as Sherine once noted that only 50 out of 150 students at Bayt al-Oud successfully completed their training, Malaysia still lacks a structured system to elevate gambus studies to the same level of prestige. Meanwhile, the question of how gambus fits into local musical traditions persists. Majid Nazampur’s observations about regional adaptations remain relevant—just as the oud evolved in Iran, Lebanon, and Egypt, Malaysia’s gambus has undergone its own transformations. Yet we find ourselves in a constant tug-of-war between preservation and modernisation, struggling to balance authenticity with relevance.

 

The Road Ahead

Looking back at that historic first festival in 2012, I see both triumph and disappointment. We proved that Malaysia could stand among the great oud nations, but after years of neglect and institutional apathy, we now face an uncertain future. The gambus deserves better. The people deserve better. If the institutions refuse to take responsibility, then the burden falls on us—the musicians, educators, and enthusiasts—to keep this legacy alive.

The oud has always been universal, connecting musicians across cultures through its ability to express the deepest human emotions. That same potential exists here in Malaysia. But for the gambus to thrive, we must move beyond nostalgia and actively shape its future—in education, performance, and cultural dialogue. The battle is not over yet. But if nothing changes soon, we may one day look back and realize that the golden age of gambus in Malaysia was nothing more than a fleeting moment in history.

The journey continues. -drrz

 

 

Reference:

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