KOTA BHARU: When Nik Imanuddin Hadeef Nik Izdiharuddin was tasked with a Year Two science assignment, neither he nor his mother imagined where it would lead.
Two years later, the 10-year-old is learning to manipulate wayang kulit puppets, practising different character voices and playing the traditional instruments that accompany performances.
He can also draw and carve his own puppets, and has already made his first appearance before an audience.
“I want to be a doctor, but I also want to play wayang kulit until I die,” Imanuddin told Bernama at his home in Kampung Kubang Sipot here.
His mother, Nur Hazween Hasni, was the one who came up with the idea. “His teacher wanted them to create an object that could produce a shadow. So, I suggested we make wayang kulit puppets," the 39-year-old recalled.
Using cardboard, they crafted characters including Dewa Panah and Pohon Beringin for Imanuddin to take to school. That exercise quickly developed into something much bigger.
“After I submitted the assignment, I went home and asked my mother to make more puppets, one after another,” the boy recalled.
Among his favourites is Pak Dogol from “Hikayat Seri Rama”, whom he admires for being able to battle jinn and other powerful creatures.
He has since become more comfortable moving the puppet behind the screen while adjusting his voice and intonation to suit different scenes. The voices, however, remain one of the hardest parts to master.
“Every character has its own voice, which is part of its identity, and the puppeteer has to make sure the audience can distinguish each character just by its voice,” he said.
“For me, it is really difficult to switch from one voice to another.”
Finding a mentor on TikTok
His curiosity eventually took him to TikTok, where he discovered videos by Kelantan wayang kulit practitioner Kang Boon Ann, better known as Che Ann.
“I was scrolling through TikTok when I came across Che Ann’s page. Since then, I have followed his posts. I also wanted to meet him,” he said.
That meeting finally happened early last year, and Imanuddin was accepted for training with Che Ann’s Sri Cindayu Wayang Kulit Association.
Under his mentor’s guidance, he has been learning puppet manipulation, traditional music and the basics of becoming a tok dalang.
His training also led to his first public performance in Tok Bali early last year. “I was very happy because it was my first time performing in front of people,” Imanuddin expressed.
Being onstage required more than the practice he was accustomed to at home. He had to manage his nerves, keep his movements precise and stay focused throughout the performance.
Although it remains his only public appearance so far, he hopes there will be more opportunities ahead.
Nur Hazween says wayang kulit is one of several artistic interests her son has picked up. He already enjoys drawing and playing instruments such as the recorder and keyboard.
“He really likes the arts. He enjoys drawing and music too. But when I saw how deeply he was getting into wayang kulit, I realised that his interest lies more in traditional arts,” she said.
She believes some of that inclination may come from her father, Hasni Mat Hassan, 74, a former arts lecturer at the Institute of Teacher Education. Drawing also runs in the family.
More striking to her has been the change in her son since he began performing and training regularly. "He used to be shy, but now he is more confident. His interaction with people has also improved, including when he performs."
That confidence has spilled into other areas of school life, including storytelling and Da’i Cilik competitions, where he has had more opportunities to speak before an audience.
Nur Hazween nevertheless makes sure wayang kulit does not interfere with his studies. Practice and training sessions are arranged around his school schedule.
“We must not allow this traditional art to be forgotten with time. We have to pass it on to the next generation so that they know about it and do not forget it,” she added.