KERANGKA PENILAIAN KESENIAN TRADISIONAL BERASASKAN USUL AL-FIQH: KAJIAN KES MAK YONG DI NEGERI KELANTAN
A Principle of Islamic Jurisprudence Evaluation Framework for Traditional Performing Arts: A Case Study of Mak Yong in Kelantan
DOI:
https://doi.org/10.22452/fiqh.vol23no1.15Keywords:
Kelantan, Mak Yong, Traditional Performing Arts, Uṣūl al-Fiqh, ʿUrf (Custom)Abstract
Traditional performing arts have long been a subject of debate within Muslim societies. The controversy arises between religious scholars, who generally advocate their prohibition, and cultural practitioners, who seek to preserve them as part of the community's cultural heritage. This dilemma is exemplified by the Mak Yong performing art, which continues to be practised in the state of Kelantan, Malaysia. To address this issue, the present study proposes an analytical framework for evaluating traditional performing arts based on the discipline of uṣūl al-fiqh, employing five legal instruments closely associated with local cultural practices, namely ʿillah, ʿurf, maṣlaḥah, fatḥ al-dharāʾiʿ, and sadd al-dharāʾiʿ. The study adopts a qualitative research design based on document analysis, applying these five uṣūl al-fiqh instruments in an integrated and systematic manner. The findings reveal that the original legal ruling of Mak Yong is one of permissibility as a form of traditional cultural entertainment. However, it becomes ḥarām li-ghayrih (prohibited due to external factors) when associated with acts of worship directed to other than Allah, unrestricted interaction between non-maḥram men and women, and practices that contravene the principles of Islamic law. From the perspective of ʿurf, these elements are classified asʿurf fāsid (invalid custom) and must therefore be removed. The maṣlaḥah analysis further demonstrates that the purported therapeutic benefits of Mak Yong do not attain the level of maṣlaḥah sharʿiyyah recognised by Islamic law. The study also finds that the application of the principles of fatḥ al-dharāʾiʿ and sadd al-dharāʾiʿ should be implemented progressively and accompanied by appropriate Sharīʿah-compliant alternatives. In conclusion, Mak Yong may continue to be performed as a form of cultural heritage, provided that it is comprehensively purified of all elements that contradict the teachings of Islam.
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