This reach has the same shape and has only difference in shape only, and it is performed with different types of dance of rapai.
RAPAI is a traditional percussion instrument of Aceh which is included in the frame drum family, which is played by being beaten by hand without using a stick. RAPAI is often used in traditional ceremonies in Aceh such as wedding ceremonies, circumcision of apostles, night markets, dances, anniversaries, birthdays and so on, and is an integral part of the life of the people of Aceh both 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).
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.
- Reach Daboih
- Reach Gerimpheng
- Reach Pulot
- Reach Pase
- Reach Children / whims
- Reach the Story
Daboih
(from Arabic Dabbus), means a kind of game / dexterity that shows 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 forth. 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 rhythm (andante) with the story or poem pronounced drummer dabus. Then when entered into the poetry section "Wamole", the tempo of Rapai turned into moderate tempo (moderato). In the poetry read "Amanah guru," the rhythmic blow becomes somewhat faster (allegro), and in the poem "Nyo he rakan," the tempo reaches to Allegreto
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)
Reach 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.
Reach the 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
Reach the child / acting,
is a little smaller, functioning as the sound is louder and more important, so the pressure of the clear beats.
Reach stories / intentions,
telling / singing in accordance with the intent / request that has a house of his own, then she reaches out with the other players berlagu recite / mensyairkan followed by rhythm of tingkahan rapai.
