Social and Aesthetic Drama
In this chapter I originally wanted to examine silat students as people who are between social states, as liminal personae, or threshold people (Turner 1969: 95; Van Gennep  1960). I wondered if silat students in England were more liminoid than their liminal Malaysian counterparts, and I proceeded to compare the training regimes in the two countries with an eye on how training was conducted in the past (Turner 1985: 291–301). I also wanted to know how silat becomes re-enchanted through the students’ ascription of charisma to the guru silat in a process of institutionalized liminality. Eventually, I found the separation between the liminal and liminoid and between ritual and theatre to be unhelpful as these forms are compounded in Seni Silat Haqq Melayu.
KeywordsSleep Deprivation Social Drama Religious Orientation Black Belt Break Glass
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