Contemporary accounts of Malay culture that focus on shamanism, dance, medicine and performance reveal only a partial view of Malay mysticism. However, given knowledge of the Malay martial art (silat) a more comprehensive understanding of Malay mysticism, religion, sorcery and magic becomes possible. Recognizing the silat master's (guru silat) role in Malay mysticism recon? gures the social anth- pology of Malay religion, sorcery and magic. Hence this account explores Malay mysticism, shamanism and sorcery from the perspective of silat, which may be considered as a kind of embodied war magic or warrior religion. Shadows of the Prophet: Martial Arts and Su Mysticism is based upon my d- toral dissertation (Farrer 2006b). Part I of the book, re ections, outlines the meth- ological and theoretical base of the research. Chapter 1 outlines the ? eldwork method of performance ethnography used to investigate a transnational silat organization called Seni Silat Haqq Melayu. This group are an offshoot of the Islamic Haqqani- Naqshbandi Su? Order headed internationally by Shaykh Nazim, and led in Sou- east Asia by a Malay Prince; H. R. H. Shaykh Raja Ashman. Readers who prefer to delve directly into the ethnographic materials may skip Chapter 2, which contains an extensive academic literature review of anthropological theories of art, embo- ment, magic, and performance read alongside Malay animism, shamanism, ritual and theatre.

Contemporary accounts of Malay culture that focus on shamanism, dance, medicine and performance reveal only a partial view of Malay mysticism. However, given knowledge of the Malay martial art (silat) a more comprehensive understanding of Malay mysticism, religion, sorcery and magic becomes possible. Recognizing the silat master's (guru silat) role in Malay mysticism recon? gures the social anth- pology of Malay religion, sorcery and magic. Hence this account explores Malay mysticism, shamanism and sorcery from the perspective of silat, which may be considered as a kind of embodied war magic or warrior religion. Shadows of the Prophet: Martial Arts and Su Mysticism is based upon my d- toral dissertation (Farrer 2006b). Part I of the book, re ections, outlines the meth- ological and theoretical base of the research. Chapter 1 outlines the ? eldwork method of performance ethnography used to investigate a transnational silat organization called Seni Silat Haqq Melayu. This group are an offshoot of the Islamic Haqqani- Naqshbandi Su? Order headed internationally by Shaykh Nazim, and led in Sou- east Asia by a Malay Prince; H. R. H. Shaykh Raja Ashman. Readers who prefer to delve directly into the ethnographic materials may skip Chapter 2, which contains an extensive academic literature review of anthropological theories of art, embo- ment, magic, and performance read alongside Malay animism, shamanism, ritual and theatre.