I will also investigate how the physical and metaphysical selves of a patient are united during mak yong-main puteri performances through the use of metaphor. In this paper I will examine how contemporary mak yong-main puteri practitioners envision the human body and how they engage traditional Kelantanese concepts of personhood when performing in a healing context. Mak yong-main puteri healing performances treat social and psychological illnesses that western medical techniques cannot address. Kelantanese performers may no longer be granted permits to perform mak yong as a secular form of folk entertainment, however, mak yong continues to be an important part of village life through its incorporation into main puteri ritual healing performances. The longstanding PAS ban on Kelantanese mak yong has altered its performance, but has not succeeded in its obliteration.

PAS officials also take issue with the prominent role of women as mak yong actresses, arguing that the appearance of women in such performances encourages male audience members to view them as sexual objects. PAS officials claim that mak yong performances incorporate pre-Islamic belief systems and encourage the worship of deities and supernatural beings other than Allah. In 1991, Parti Islam Se-Malaysia, or PAS, the Islamic party that rules Kelantan, issued an official ban on mak yong performances under a clause prohibiting acts of vice (Khoo, Tikamdas, & Wong, 2003).

Mak yong is a Malay dramatic art performed in the region of the former Pattani Sultanate, an area that includes the northern Malaysian states of Kedah, Terengganu, and Kelantan and the southern Thai provinces of Pattani, Yala, and Narathiwat.

Apa itu tahtim