K’ni (Mim)

The k’ni, also known as mim or memm in Cambodia, is an ancient mouth resonator fiddle played by the Jarai people in Vietnam and the Tampuan people in Cambodia. Often referred to as a mouth violin, this unique bowed instrument uses the player’s mouth as a resonator, creating haunting vocal-like sounds that make the instrument seem as though it is singing. Its distinctive playing technique involves using the mouth to modulate the sound, adding an expressive dimension to the melody.

History of the K’ni

The k’ni is believed to have ancient roots, with the earliest depictions identified on the bas-reliefs of the Bayon in Cambodia, suggesting it was in use during Angkorian times. The instrument was thought to have disappeared from Cambodian culture until its rediscovery in 2001 by a research team from the Ministry of Culture, who found it being played by Phorn Dav in Ratanakiri Province. Phorn Dav’s expertise helped revive the k’ni, and by 2004, he was teaching the instrument through the Cambodian Master Performers Program (CMPP).

Today, the k’ni is primarily played among the Jarai people in Vietnam and the Tampuan people in Cambodia, as well as by other tribal groups in the Central Highlands. It does not have a direct equivalent among traditional Vietnamese instruments but shares similarities with other regional fiddles. The k’ni is among several Angkorian instruments that were thought to have vanished but have been recently revived through anthropological research.

Etymology

The word k’ni is a common term for “fiddle” in the Jarai language. In Khmer, the instrument is known as mim, which is derived from a word meaning “baby suckling” or “breastfeeding,” likely due to the movement the musician makes when playing the mouth violin, which resembles the motion of a child suckling. Though the k’ni is sometimes called a mouth violin, it is more accurately a mouth resonator fiddle, distinguished by its unique resonating technique that involves the musician’s mouth.

Playing Technique and Structure

Despite its simple construction, the k’ni’s unique sound comes from its distinctive playing method. The musician holds a thread attached to the string in their mouth, amplifying and transforming the sound while bowing the string and touching frets to produce pitches. The player alters the shape of their mouth to modify the sound, creating tonal variations that evoke human vocal qualities. The pitch is not entirely standardized due to the interaction of mouth shape and string vibration, giving the k’ni an almost vocal-like quality that can convey messages to those familiar with the language. This characteristic has led people to say that the k’ni “sings.”

The k’ni is typically a bowed chordophone that uses the musician’s mouth as a resonator, much like a wind instrument. In Ratanakiri, the k’ni’s fretboard consists of four frets, while the Jarai version in Vietnam has six frets, which are made from large thorns harvested from the trunks of kapok trees. The bow used with the k’ni is typically hairless, made from a simple straw of bamboo. Resin is applied to create adhesivity, which helps produce sound. In the absence of a traditional sound box, the resonance is created through the use of a mouthpiece, which makes a humming sound modulated by the musician’s mouth.

Physical Description

The k’ni is made primarily from bamboo by the Jarai people, while other groups like the Kreung in Ratanakiri also use bamboo. The bow is crafted from a bamboo stick and is sometimes replaced by a plastic version for older, toothless musicians. The absence of a soundbox means that resonance is achieved through a string pulled into the mouth, where a bamboo or plastic circle is used to hold the string in place. The player holds the neck of the instrument with their left hand, while the end near the bridge is held tightly between the toes of the left foot. This method of playing allows the player to use their mouth to modulate the sound, resulting in a unique vocal-like quality.

Cultural Significance

The k’ni holds significant cultural importance among the Jarai and Tampuan people. In Jarai culture, the instrument is used not only for its musical properties but also as a tool for courtship. Sometimes, a small bamboo section is tied to a long string to create an amplifier, allowing the sound to carry over long distances, which was traditionally used by young men in courtship rituals. The k’ni is also used to accompany singing, often evoking human emotions and communicating messages that resonate deeply with listeners. This communicative quality has helped sustain the k’ni’s popularity among these communities.