The gambus (lutes) of the Malay world: its origins and significance in zapin Music

In this paper I will briefly discuss how I came to study with John Blacking at Queen.s University of Belfast in 1987. I will also discuss accounts of Blacking.s stay in British Malaya and Singapore since the late 1940.s and early 1950.s. This information on his arrival in the Malay Peninsular was articulated to me by Dr. and Mrs. Ivan Polunin, very close associates of Blacking when he was an assistant adviser on aborigines (Orang Asli) to the British Military forces. Blacking had mentioned to me that his first love was the people and music of Peninsular Malaya. As he did not manage to fulfil his research into this area, I feel privileged to be able contribute to the studies done on this region.

I will then explore the main focus of this paper, which is the appearance of two types of lute instruments commonly known as the .gambus. in the Malay Archipelago. The main focus will be on the historical development of the different variants of gambus. This paper will examine the controversies surrounding the .transmission. and .migration. of the gambus-type instruments into the Malay world. I will also discuss how these instruments are identified today as symbols of Islam
and Melayu"ness".

The importance of the relationship between the music and dance (zapin), and the role of the gambus as a key instrument in zapin will be discussed. The performance of the two zapin dance forms: Melayu and Arab will be demonstrated with the aid of video images. I will also examine the differences between the two styles of zapin and explore some aspects of its musical characteristics.