About Aceh part# 3 RAPA-I

Hi steemian........!!!
sauce

RAPAI is a traditional musical instrument of Aceh which is included in the frame drum family, which is played by being beaten by hand without using a stick like dram banf.

RAPAI is presented and invited to traditional ceremonies in Aceh such as marriage ceremonies, circumcision of apostles, night markets, accompanying dances, anniversaries, birthdays and so on, and is an integral part of the life of Acehnese people either philosophically or culturally.

Rapai play the role of tempo, rhythm, tingkahan, jangling and make the atmosphere becomes more lively and festive. It supports choruses (melodies) from Serune Kalee or buloh longs (blowing instruments beratonval diatonic tones).

There is a pameo that is often heard containing "peunajoh timphan, piasan rapai" which means Acehnese special food is a timpan (a kind of rice powder in it contains coconut and palm sugar, or contains sarikaya / rich egg aso, wrapped in young banana leaves and steamed), then piasan rapai which is defined as an entertainment musical instrument is reach.

Based on the poetry script sung with RAPAI, this instrument comes from Syeh Abdul Kadir Jailani, the great scholar of fiqh from Persia who lived in Baghdad from 1077 to 1166 AD (470-560 Hijriah). The poem mentioned (in Indonesian):

The star's sky shines high
The light of the candlestick shines the earth
The origin of reach from Syeh Abdul Kadir
The legitimate Inilan of the creator was born earthly.

Rapai was taken by an Islamist broadcaster from Baghdad called Sheikh Rapi (one of whom called Sheikh Rifai) and played for the first time in the Capital of the Kingdom of Aceh, Banda Khalifak (now Gampong Pandee, Banda Aceh) around the 11th century.

Rapai is played in an ensemble consisting of 8 to 12 players called a crew and paired with other instruments such as serune kalee or buloh longs. The game of the Rapai ensemble can reach the hearing from a distance due to the reflected echoes and does not require a microphone for every performance even at night in the countryside can reach hearing from a distance of 5-10 km.

Various kinds of RAPAI

• Daboih (from Arabic Dabbus),

means a kind of game / performance dexterity that demonstrates the power of a player who is immune to weapons from pointed iron. Daboih crew is led by a caliph who has immune science, experts makrifat iron, so that his body did not work sharp pricks, can wrap the chain of hot iron keieher, body or waist, dancing in the fire (bloh lam apui) and so on. The accompanying accompaniment of Daboih's game is called DABOIH REMAIN.

In this Rapai Daboih show, at the time of "Saleum" (salam) Rapai is played to form a slow tempo ritmik (andante) with the story or poem pronounced drummer dabus. Then when entering the "Wamole" poem, the tempo of Rapai turns into moderate tempo. In the poetry read "Amanah guru," the rhythmic blow becomes rather fast (allegro), and in the poem "Nyo he rakan," the tempo reaches to Allegreto
(fast).

Reach gerimpheng done sitting. Begin by greeting, then straightening the hands forward, bending the body sideways to the left and right simultaneously, then peh (at) reach to accompany ratoih (song).

• Rapai pulot initially begins with ratoih (song) as a greeting introduction, then proceed with acrobatic appearance and skill form a continuous circle between fellow the culprits. They do fluttering movements, forming rope games, and finesse
  gymnastics.

• Rapai pase (found in Aceh Utara) with 30 beat baton formation, 15 pieces and 10/12 small formations. In addition to the usual size of the reach (rapai daboih) plus the size of the big rapai (rapai parent/pase) played should be hung because of the size of the besai and very heavy.

The beatings must also be established, especially rhythmic, without tone intervals, performed religious songs / poems, advice, exhilarating ceremonies, cReach the child / acting, is a little smaller, functioning as the sound is louder and more important, so the pressure of the clear beats obvious sounds.

• Rapai kisah/ intent, tell / sing that they have their own house, then shear rapai together with other players, singing followed by rhythm of tingkahan rapai

Take a brief history of the traditional Acehnese homecoming that still exists in today's globalized era