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Kelantan–Pattani Malay (Malay: bahasa Melayu Kelantan–Patani; Thai: ภาษายาวี; baso/kecek Taning in Pattani; baso/kecek Klate in Kelantan) is an Austronesian language of the Malayic subfamily spoken in the Malaysian state of Kelantan, as well as in Besut and Setiu districts of Terengganu state and the Perhentian Islands, and in the southernmost provinces of Thailand.
Kelantanese Malays speak a highly divergent Kelantanese Malay, also known as baso Kelate or kecek Kelate by its native speakers. The language is known for its "e" and "o" sounds which is very different from standard Malay. One of the examples are saye 'love' but in Standard Malay it is called sayang and mano 'where' but in Standard Malay it is ...
[3] [b] In the next performance, she takes on the persona of a female tukang karut for "Dikir Timur" (Eastern Dikir), a song in her native Pahang dialect; this was opposed to the song traditionally known as "Dikir Barat" (Western Dikir), in the Kelantanese dialect, with the role of tukang karut taken by Isey Fazlisham from Kumpulan Dikir ...
As with many other ancient Malay forms of theatre, mak yong was once used for healing purposes. Healing mak yong is called mak yong mak puteri and involves trance dancing and spirit possession through the use of the traditional healing ritual called main puteri. These healing rituals are still practiced in the villages as well as in some more ...
Most residents of the five southernmost provinces of Thailand—a region that, for the most part, used to be part of an ancient Malay kingdom called Pattani—speak a dialect of Malay called Yawi (not to be confused with Jawi), which is similar to Kelantanese Malay, but the language has no official status or recognition.
Kelantanese Malay is somewhat mutually intelligible with other Malay dialects. Jawi script, which has less influence in other parts of Malaysia, is still widely used in writing and printing the Malay language in Kelantan. Signboards in Kelantan are written in both Jawi and Rumi.
Pahang folk songs refer to the collection of songs of unknown origin, possibly in existence among Malay communities in Pahang since the animistic era. The songs may be classified as a type of old oral literature in poetic forms, which exist in several different genres. The most notable one is a set of 36 songs in Indung dance.
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