It may have to do with the way the group is run. In typical dikir barat troupes, members are assigned strict roles according to their strengths. Quick-witted singers take on leadership roles as the tukang juara or tukang karut, while those with a musical ear might serve as percussionists.
Dasuki, however, manages the group more democratically. Instead of one designated tukang karut or tukang juara, there are at least two or three reserves (pelapis) for the main roles, and if an awak-awak wants a shot at doing something else, it’s up for grabs. He says, “We want to nurture a friendly atmosphere where everyone gets a fair chance to pursue what they like and hone their abilities.”
At the moment, the group functions as a pool of active performers rather than a full-fledged band. Earlier this year, DBSM joined forces with 16 other dikir barat groups to form
Gabungan Pendikir Lembah Kelang, a coalition of Klang Valley-based practitioners to promote the heritage performance art form. Its efforts are clearly bringing renewed attention to the art, and more importantly, attracting new blood, such as 11-year-old Ahmad Adi Putra Mohd Hasrol. Currently the youngest member of DBSM, he enthuses, “I was a fan of dikir barat since I attended school in Kedah. When we moved down to the south and I learned there was a dikir barat group in my apartment, I joined immediately.”