Draft:Main Puteri

MAIN PUTERI

Main Puteri (also known as Main Peteri, Main Teri, or Main Teghi in the Kelantanese dialect) is a traditional Malay healing ritual that is mainly practiced in the northeastern state of Malaysia, Kelantan and some parts of southern Thailand. It combines a few aspects of shamanism, music, dance, and even drama in its practices. As a form of heritage from an earlier generation, the ritual has been continuously passed down to younger generations until today.

Background of Main Puteri

There are several documented versions concerning Main Puteri’s background. One of the versions is said to be connected to the tale of Puteri Saadong. The ritual was originally started by Puteri Saadong herself and her brother, Raja Ahmad as a form of entertainment and to prevent misfortune. In the beginning, when Puteri Saadong reached adulthood, she was married off to one of her cousins named Raja Abdullah. Shortly after, Puteri Saadong was required to depart from her hometown to Siam due to a request from a King (Raja Maha Besar Siam) who was drawn by her beauty and charm.

During her departure, her husband had married to another woman because he was suspicious and had no faith in Puteri Saadong’s virginity and purity. When she returned, they got into a big argument that ended with his death after Puteri Saadong stabbed him with a traditional hairpin (cucuk sanggul). Puteri Saadong was deeply heartbroken by the incident. She decided to leave the state and handed over the administration to his late husband’s relatives, Raja Abdul Ibrahim. Before she left, Puteri Saadong and Raja Ahmad performed the ritual once again where they sang and mourned over the unfortunate fate that had befallen them. His brother had to strike his stomach to create rhythm in line with the songs and poems since there were no musical instruments around them.

An alternative narrative links the ritual to the story of the Raja Indera Dewa. Raja Indera Dewa is a princess who has undergone a ritual to cleanse and renew her soul after suffering for a period of time caused by an unknown disease. After countless doctors, physicians and even healers were invited to the palace, her father subsequently called a shaman to examine and check on her condition. According to the shaman, Raja Indera Dewa’s soul was already broken and it will only heal if a pure cleansing ritual is performed on her to restore her spirit. The shaman brings the spirit to a magical place where the wind recognises their inner selves. The wind actually symbolises their true nature and character. Her soul was naturally inclined towards enjoyment such as singing through musical instruments. Therefore, the Main Puteri’s festival or celebration was carried out.

Etymology and its Significance

A number of theories can be found to explain the context behind the term Main Puteri. The most well-known theory states that it was intended to heal the princess’s sickness, hence why the name itself is Main Putri. A minor theory suggests that the name is associated with a traditional Malay cuisine (kuih) named Puteri Mandi which was prepared as a part of ritual offerings.

Some people believe that Main Puteri is associated with royal lineage. Historically, kings had multiple wives and concubines which led to the presence of many princesses within the royal household. These princesses purportedly seem to have loved role playing games where one would act as a patient while another took on the role of a shaman attempting to cure her. Over time, this practice is reported to have been imitated by the actual shaman and gradually developed into what is now referred to as Main Puteri.

The main purpose of this ritual is to rectify and balance the wind spirit in the princess’s body and mind. Based on ancient beliefs like Buddhism, the human body is built based on five important classical elements which are fire, water, earth, air and aether. Wind is one of the main classical elements that could determine the manifestation within an individual. The wind encourages the acceptance of change as a natural and essential part of life.

Musical Instruments Used in Main Putri’s Performance

• Rebab

Rebab is a musical instrument that functions as a guide for every song performed by Tok Puteri or Tok Minduk. It supports the song by altering between high and low tones to match with the vocal style.

• Serunai

Serunai is a wind instrument classified under the aerophone category. It has a conical shape and consists of three main parts which are the mouthpiece (nali), the body and the end bell. The instrument features seven finger holes that function to control the pitch of the melody.

• Gendang Ibu

Gendang ibu is usually larger in size compared to gendang anak. It produces a lower pitched sound and is traditionally made from jackfruit wood (kayu nangka).

• Gendang Anak

Gendang anak falls under the membranophone category that closely resembles the gendang ibu in terms of design and shape.

• Geduk Ibu

Geduk Ibu creates a deeper and lower pitched tone during the performance. The geduk ibu is struck using a specially designed drumstick known as the pemalu geduk.

• Geduk Anak

Meanwhile geduk anak is a musical instrument that generates a high pitched sound different from geduk ibu.

• Gedombak Ibu

Unlike the gendang and geduk, gedombak ibu dan anak do not differ significantly in size. However, the sound of both tools are not the same.

• Gedombak Anak

Gedombak is played using the palms of hands. It is performed by switching patterns between gedombak ibu and gedombak anak.

• Tetawak Ibu

Tetawak is made from iron or copper and has a circular form. The instrument is composed of three important components which are the frame, the body and the centre protusion known as busut.

• Tetawak Anak

Both tetawak ibu and anak are traditional tools that belong to the idiophone class of musical instruments.

• Canang

It is built from wood as part of its body and frame.

• Kesi

Kesi had four metal plates. The first two function as a striker and the other two serve as a base. It produces a sharp and high pitch sound.

Ritual and Performance Structure

A standard Main Puteri performance is presided over by two main figures, Tok Puteri (the shaman-healer who acts as a spirit medium) and Tok Minduk (the interlocutor and master musician who plays the rebab). The ceremony typically progresses through four distinct stages.

1.Buka Panggung (Opening the Stage)

Its primary purpose is to invoke and persuade ancestral spirits (nenek moyang) and Guru Asal to descend, bless the performance and ensure the protection of the performers and the audience from any malevolent forces.

The ritual often begins with Islamic recitations. Before any spirits are called, the shaman typically would recite the Basmallah, the Kalimah, "Surah Al-Fatihah" and "Ayatul Kursi". This is followed by prayers dedicated to Allah, the Prophet Muhammad, the four archangels (Jibrail, Mikail, Israfil and Izrail) and the Prophet’s four close companions (Umar, Usman, Abu Bakar and Ali).

Then, a small altar known as sakak is prepared to pay homage to the spirits. The offerings intended to appease the spirits and invite them to a feast (kenduri). A special offering plate called nasi guru (teacher’s rice) which usually holds coins, raw rice, a boiled egg, betel leaves and raw string is prepared and hung directly from the rafters above the spot where the Tok Minduk will sit.

Once the crowd is seated, the shaman waves smoking benzoin incense (kemenyan) over the prepared offerings to ritually purify them. The shaman uses the same incense smoke to cleanse his own face, hands and feet and he also passes the smoke over the musical instruments to bless them. During this process, they will recite Mantera Mengangkat Nasi Guru to ask Guru Asal to form a protective shield over the arena, guarding the borders of the stage so that the event is not disturbed or destroyed. Then Mantera Membuka Panggung would be recited by Tok Puteri which serves as a symbolic request to the guardians of the earth to open the stage safely and protect everyone involved.

The Buka Panggung stage formally concludes with the traditional healer invoking entities like Dalang Asal (original puppet master) and Semar to protect the entertainment. This final blessing is directed at the gamelan ensemble which transitions the ceremony into the next phase where the diagnosis begins.

2.Diagnosis

This stage is focused entirely on establishing the exact nature and cause of the patient’s disease. The stage begins with the singing of Lagu Bertabik, an introductory song or apology. Tok Minduk initiates this phase by playing the rebab to a slow rhythm, soon joined by the rest of the gamelan orchestra. During this time, Tok Minduk and Tok Puteri sing Lagu Bertabik together. While the music plays, Tok Puteri purifies himself using incense, scented oil and parched rice. He works to bring himself into a state of oblivion or trance which is commonly referred to as lupa or naik syeikh. Tok Minduk then sings a song to awaken the possessed state and the orchestra would accelerate to a furious pace. Tok Puteri begins to sway, tremble and violently whirl his head before performing a stylized dance signaling that his body has been seized by a puteri (spirit).

Once possessed, Tok Puteri takes on various guises, speaking in different voices or singing undecipherable songs that the Tok Minduk must interpret. Then, Tok Minduk questions the possessing spirit to determine its name. If the spirit is deemed unsuitable to help with the patient, the music strikes up again until a more appropriate spirit possesses the shaman. When the correct spirit arrives, Tok Minduk interrogates it to ascertain the nature of the patient’s illness and the identity of the guilty malevolent spirit causing the affliction. The spirit often takes an aggressive stance, requiring Tok Minduk to speak in a quiet but firm tone or using coaxing and bribery to negotiate with the entity.

To confirm the diagnosis, Tok Puteri utilizes an elimination technique using roasted parched rice and yellow rice. He casts a spell over the rice, takes a pinch of the roasted grains and places them onto a pillow, repeating this action three times. The grains are then counted into specific groupings. These groupings are calculated down to number four, representing the core elements of earth, water, fire and wind. The final element revealed by the rice dictates the exact nature and stage of the patient’s illness.

3.Healing

The stage is dedicated to healing the patient by addressing their specific angin (inner winds which represent a person’s underlying personality, talents or repressed passions).

The stage begins with Tok Minduk playing rebab and soon followed by the rest of gamelan musicians. Tok Puteri then approaches the patient and recites curing mantras. During this process, Tok Puteri enters a state of ecstasy, often taking the persona of an old man and returns to Tok Minduk to engage in a dialogue that connects the patient's physical body to the spiritual nature of the disease. Tok Puteri then invokes various specific inner winds to see which one resonates with the patient. This search can take a considerable amount of time. Common winds invoked include Angin Dewa Muda, Angin Dewa Pecil, Angin Bidan, Angin Hala and Angin Pendekar.

Once the correct angin is revived, the patient enters a trance and begins to physically display behaviours associated with that specific angin. If it is Angin Hala, the patient will begin to act like a tiger aggressively attacking the prepared offerings and eating them directly with their mouth using their hands. If it is Angin Pendekar, the patient, even one who has been bedridden for months may suddenly wake up and perform silat. Through the subtle suggestions of the healers, a depressed or withdrawn patient might assume the royal personas such as the role of a king, allowing them to playfully bully or command the other participants which helps restore their feelings of self-worth. In some instances, the healing process is sped up when a close relative of the patient also loses consciousness and jumps onto the center of the stage. While in trance, this relative will explain the details of the disease and outline the exact conditions that must be met to achieve a cure.

Once the conditions for the cure have been established and met, the ritual often transitions into a highly theatrical Mak Yong performance. The patient may be dressed in royal attire and Tok Puteri and his assistants will assume lesser supportive roles to allow the patient to be the central figure. This role-playing acts as a form of social reinforcement and assertion training drawing the patient out of their morbid self-obsorption. The dancing, singing and acting continue until the patient’s emotional needs are completely satisfied and their repressed passions have been fully released.

4.Tutup Panggung (Closing the Stage)

The final stage serves to formally conclude the healing ceremony and ensure the safe departure of invoked entities.

This stage is initiated once the patient is cured and the malevolent spirits have been chased away or simply when the participants determine the session has gone on long enough. It is critical that the ancestral spirits who descended to bless, help and participate in the healing performance are properly thanked and sent back to their respective abodes. If this is not done correctly, the spirits may linger to taunt, haunt or inhibit the earth, the performers or the audience members continuing to cause illness.

In certain variations such as Main Pateri Berjamu, the closing occurs on the final night heavily revolving around presenting offerings to entertain specific spirits. A multi-storied pavilion typically with three or seven floors is constructed from sago or nipah thatch. The offerings are carefully divided by level. The lowest level is dedicated to the evil spirits that were extracted directly from the patient’s body, featuring items like bananas, beef, chicken and flour-based karas. The middle level is intended for unspecified bad spirits, featuring raw and boiled eggs, raw and cooked shellfish, chicken blood and palm wine. The upper level is reserved for the ancestral spirits, containing sweet treats like bahulu, gine and karas. If a pavilion is not constructed for the ceremony, these offerings are alternatively placed in an isolated spot within a bamboo nest alongside young coconuts.

The closing ritual often stretches into early hours of the morning. When the participants are thoroughly exhausted, the shaman will give a sign to the musicians to play the final closing rhythm. The event formally concludes with Tok Puteri reciting closing prayers. This typically involves Islamic recitations such as "Surah Al-Fatihah" and "Surah Al-Insyirah" followed directly by Mantra Menutup Panggung. This final mantra symbolically divorces the performance space from the spirit world, sending all invoked entities back to their origins after which the participants and the patient’s family take their leave.

Recognition

On June 7, 2023, Main Puteri was showcased at the 26th Festival de I’Imaginaire in Paris. The event was held at the Theatre de I’Alliance Francaise which is widely recognized as one of the world’s most prestigious festivals for culture and heritage. The performance was brought by PUSAKA following an exclusive invitation from the Maison des Cultures du Monde.