Gema Bumantara: Reviving Malaysian traditional music

Malaysian traditional music has never died. Its echo, which has grown faint over the past two decades, may simply have been waiting for an opportunity to resound once more.

Developments over the past few years appear to have opened a new chapter for the genre, once a source of pride for the country’s music industry. From the emergence of new works to the staging of the Gema Bumantara Traditional Concert by National Songbird Datuk Seri Siti Nurhaliza at the TM National Stadium in Bukit Jalil on Oct 17, these developments demonstrate that Malaysian traditional music still possesses a distinctive appeal.

Having witnessed more than 63,000 concertgoers braving the rain to enjoy the mega-scale traditional concert until its conclusion, it is difficult to deny that music rooted in the nation’s heritage continues to hold a special place in the hearts of the people.

With the concert’s remarkable impact still fresh in the mind, the writer believes that this historic momentum should serve as a catalyst for a new wave or evolution that restores the genre to the mainstream music scene, rather than being remembered as yet another success dependent solely on Siti Nurhaliza’s star power.

One of the most memorable moments at the Gema Bumantara Traditional Concert was undoubtedly the appearance of Malaysian traditional music queen Noraniza Idris, who shared the stage with Siti Nurhaliza for the songs “Hati Kama” and “Dondang Dendang”.

The pairing of two legendary vocalists synonymous with traditional music did more than evoke nostalgia. It reminded audiences of the golden age of Malaysian traditional music in the 1990s and early 2000s, when songs such as “Cindai”, “Balqis”, “Hati Kama” and “Dikir Puteri” successfully brought traditional elements into the mainstream local music scene.

As a music fan who grew up listening to Malaysian traditional music during that era, the writer has not only had their nostalgia rekindled by these latest developments but has also gained hope that today’s generation will have the opportunity to experience the genre’s golden age through new interpretations and approaches.

The genre’s success and glory cannot be separated from the magical touch of the late Datuk Suhaimi Mohd Zain, better known as Pak Ngah, who successfully elevated and transformed traditional melodies and instruments into commercial works without sacrificing the cultural authenticity at their core.

However, such a rich legacy should not merely be remembered through revivals of evergreen songs. Instead, it should serve as an inspiration to nurture more composers and creative talents who dare to forge new identities, as the late Pak Ngah once did in his time.

Interestingly, efforts to breathe new life into Malaysian music have already shown positive progress, including through the release of Siti Nurhaliza’s album Gema Bumantara in 2025, which features songs such as “Rencong” and “Kesuma”, both of which were also performed at the concert.

The album’s release demonstrates the National Songbird’s commitment not merely to reviving the genre but also to ensuring that Malaysian traditional music remains alive, continues to evolve and retains its relevance in today’s musical landscape.

This momentum has continued with the emergence of several Malaysian traditional and traditional pop works by other singers and composers, who have adopted fresher approaches, offering a glimpse of how local musical heritage remains a source of inspiration for a new generation.

Among them is “Palu”, performed by Haziq Rosebi, which features lyrics rich in traditional pantun, proverbs and figurative expressions. Noraniza has also returned with a new offering rooted in the zapin dance tradition, titled “Salam Kaut”.

Also attracting attention is Wany Hasrita’s “Lembayung Tari”, which combines ethnic pop elements with classical Malay nuances and contemporary musical arrangements, as well as Shiha Zikir’s “Mohon Ampun”.

More recently, young singer Wani Kayrie secured a place on the stage of the 40th Anugerah Juara Lagu (AJL40) through “Cak Cak Cekuk”, highlighting the potential of traditional-inspired works to remain competitive in the popular music arena.

Also making their mark are young singer-songwriter Aisha Retno, who explores traditional musical elements through her composition “Kesuma” for Siti Nurhaliza, and Mimi Fly, who blends local cultural elements with electronic and alternative music in “Nara” and “Temberang”.

Although not all these works can be classified entirely as Malaysian traditional music in its conventional sense, these approaches demonstrate a development that deserves attention and recognition, particularly the willingness of the younger generation to reinterpret musical heritage according to contemporary tastes and creativity.

In the writer’s view, this is one of the keys to the future of Malaysian traditional music. The genre need not remain bound by the formulas that brought success in previous eras; instead, it should be given room to evolve without losing its roots and identity.

The survival of Malaysian traditional music must take into account changing listener preferences, particularly among younger audiences, which calls for the courage to explore combinations of traditional rhythms and instruments with electronic, alternative and other contemporary genres.

Nevertheless, such exploration must be accompanied by a deep understanding of the cultural and musical foundations that inspire these works, so that traditional elements do not become merely cosmetic additions intended to follow current trends.

In this regard, fusion music can serve as a bridge to introduce the richness of the nation’s heritage to new listeners through more experimental approaches, without neglecting the preservation of Malaysian traditional music in its authentic form.

More importantly, innovation should not be regarded as a threat to tradition, just as preserving heritage should not be seen as an obstacle to creativity.

It is time for the genre to be viewed as more than just a filler for cultural performances, official government events or specific festive celebrations. Instead, it must reclaim its place on radio airwaves, popular music charts and digital streaming playlists.

Siti Nurhaliza herself has proposed giving Malaysian traditional songs greater airtime through a mandatory broadcasting scheme or specific quotas at radio stations. This proposal deserves consideration as a way to increase exposure, interest and listener acceptance, particularly for new works that struggle to break into the mainstream market.

Prime Minister Datuk Seri Anwar Ibrahim’s support for the songbird’s efforts to enrich the nation’s artistic heritage through the Gema Bumantara Traditional Concert also sends a positive signal that traditional music remains important to the country’s cultural development and that this treasure must continue to be preserved.

“National progress must go hand in hand with efforts to preserve our cultural roots and national identity so that our artistic heritage is not lost to the passage of time,” said Anwar, who was also present to watch the three-hour concert on Oct 17.

At the same time, this responsibility should not rest entirely on the shoulders of the government or industry players. The public also has a role to play in keeping Malaysian traditional music alive by supporting new works, rather than listening repeatedly only to the evergreen songs that once made the genre famous.

What took place at the TM National Stadium in Bukit Jalil on Oct 17 will always be remembered as a significant moment in the journey of the country’s traditional music. The momentum generated by the concert should be embraced rather than simply allowed to fade away.

Let the concert mark the beginning of a new chapter in which Malaysian traditional music once again colours radio airwaves, features on popular music charts and takes centre stage in the entertainment scene, rather than being heard only when the nation celebrates its heritage.

What needs to be awakened from slumber is not Malaysian traditional music itself, but the industry and the public, who may have been oblivious for far too long to its beauty and potential. – BERNAMA