The Origins of the Gambus (ʿŪd) in Malaysia: A Two-Channel Hypothesis of Ottoman Cultural Exchange and Hadrami Diaspora
DOI:
https://doi.org/10.37134//mjm.vol14.1.3.2025Keywords:
gambus, Hadrami diaspora, organology, Ottoman diplomacy, zapin (zafin)Abstract
The history of the gambus in Malaysia has long been framed through a “trade-route diffusion” model, which assumes Arab merchants introduced the instrument to Melaka as part of Indian Ocean exchange. While widely repeated, this narrative is speculative and unsupported by concrete organological or archival evidence. This study distinguishes between the Yemeni qanbūs—a shallow, slightly bowled lute—and the large-bodied, fretless, deep bowl-backed lute known in Malaysia as gambus. The latter is structurally consistent with the Ottoman and wider Arabic ʿūdtradition, although regional variants (Turkish, Arabic) are acknowledged. To avoid conflation, the article decouples instrumental history from performance practice. The dance tradition locally known as zapin (Arabic: zafin), characterised by rhythmic footwork, call-and-response singing, and devotional associations, likely entered the Malay world via Hadrami diaspora networks from the 16th century onwards. By contrast, the instrument paired with it resembles Ottoman/Arabic ʿūd models and plausibly arrived through channels of cultural diplomacy, gift exchange, and elite circulation in the 16th to the 18th centuries. This two-channel hypothesis—Hadrami-led transmission of performance practice, Ottoman-linked transmission of the instrument—presents a historically grounded alternative to the trade-route narrative. It reframes the gambus tradition as hybrid: socially Hadrami, structurally Ottoman-Arabic, and culturally localised within Malaysia’s musical heritage.
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