My serunai is finally ready. It was crafted by Pak Ibrahim (Mr Ibrahim Senik), who is a serunai player/instructor, and instructs at the National Arts Academy/Akademi Seni Kebangsaan.
Pak Ibrahim is one of the people who will fade away if no serious step is taken to preserve traditional arts. So I, being a fan of the traditional malay art of Wayang Kulit (or Shadow Play), am now learning the art of the serunai. I have also begun to learn the art of Wayang Kulit Siam itself as a puppeteer, under the auspices of Pak Nasir, a UN-recognised Tok Dalang, or Master Puppeteer, who also instructs at the Academy. I have performed with them at Batu Arang where I played the canang, or mini-gongs, that has the role of a “tempo-keeper.” Traditionally, Wayang Kulit Siam is inherently Kelantanese. Its Kedah counterpart is the Wayang Kulit Gedek (another dying art) of where its two main characters, Ai-Tong and Ai-Keng are famous. Wayang Kulit Gedek is now only being performed by the Wayang Kulit Sri Asun troupe under the auspices of Mohamad Noh bin Hj Mahmud (a.k.a Pak Noh).
So what is a serunai?
The serunai is a reed wind instrument. The instrument is hand-carved, and is usually highly ornamented with intricate detailing and painting. Much like western reed instruments, the serunai is made in varying lengths which affect its register. In western musical terminology, these might be called “soprano,” “tenor,” or “alto.” In Malay, the instrument is referred to as anak (i.e. small or child), or ibu (i.e. large or parent). The design of the serunai reed is similar to that used in the bassoon or English horn. The serunai is played using a technique known a “circle breathing” or “cycle breathing.” In this technique air is drawn in through the nose as it is simultaneously blown through the instrument. The resulting sound is constant note or drone.
And I am neither a Kelantanese, nor a Kedahan.
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