Rapa'i, The Tradisional Percussion of Aceh

Rapai is traditional Acehnese percussion instruments are included in the family of frame drum, which is played by being hit by hand without using a stick. Rapai often used in traditional ceremonies in Aceh such as marriage ceremonies, circumcision apostles, fairs, accompany dances, anniversaries, birthdays and so on, and is an integral part of the lives of the people of Aceh either philosophically or culturally. Rapai role set the tempo, rhythmic, tingkahan, clattering and make the atmosphere more lively and festive. The tool supports the chorus (melody) of Serune Kalee or longing Buloh (wind instruments berinterval diatonic).

There is a proverb that is often heard containing "peunajoh timphan, Piasan Rapai" which means the typical food of the Acehnese are timpan (a type of cake made from rice flour in it contains coconut and palm sugar, or containing Sarikaya / aso rich egg, wrapped in banana leaves and young steamed), then Piasan Rapai which is defined as a musical instrument is Rapai entertainment.

Based on the manuscript poem sung together Rapai, percussion instruments is derived from Abdul Kadir Sheikh Gilani, great scholars of fiqh of Persia who lived in Baghdad from the year 1077 till 1166 AD (470-560 AH)

Rapai brought by an Islamic broadcaster of Baghdad named Sheikh Neat (no mention of Sheikh Rifai) and played for the first time in the capital of the Kingdom of Aceh, Banda Khalifak (now the Village Pandee, Banda Aceh) around the 11th century.

Rapai played ensemble consisting of 8 to 12 players called crew Rapai and juxtaposed with other instruments such as serune Kalee or Buloh longing. Game of the ensemble Rapai can reach hearing from a distance due to echoes dipantulkannya and does not require a microphone for every appearance even at night in rural areas could reach hearing from a distance of 5-10 km.

Various types Rapai:

1. Rapai Daboih
   Daboih (from Arabic Dabbus), meaning a kind of game / stunt that show supernatural power of a player is immune to the arms of a pointed iron. Daboih crew headed by a caliph who have immune science, experts makrifat iron, so that the body is not immune to punctures sharp objects, can wrap a hot iron chain keieher, weight or waist, dancing in the fire (bloh lam Apui) and so on. Rapai accompanying Daboih game called Rapai DABOIH. In this Daboih Rapai show, at the time "Saleum" (greetings) Rapai played forming rhythmic slow tempo (andante) with a story or a poem spoken dabus drummers. Then when it gets into the poem "Wamole", tempo Rapai turned into a moderate tempo (moderato). In reading the poem "Amanah teacher," blow rithmik be rather fast (allegro), and the poem "Nyo he a friend," the tempo Rapai be Allegreto
   (fast)

2. Rapai Gerimpheng
   Rapai gerimpheng done seated. Starting with the greeting, then aim the next hand, melenggokan body laterally left and right simultaneously, then Peh (at) Rapai to accompany ratoih (song).

3. Rapai Pulot
   Rapai Pulot initially started with ratoih (song) as regards the introduction, followed by an acrobatic performance and expertise form a continuous circle among the perpetrators. They perform movements jungkiran shimmy-liukkan body, forming a rope games, and gymnastics skills

4. Rapai pase
   Rapai pase (located in North Aceh) with the formation of 30 fruit bat Rapai, being 15 10/12 fruit and small fruit formation. In addition to the usual Rapai size (Rapai daboih) plus the size of a large Rapai (Rapai parent / pase) is played should be hanged because Besai size and very heavy. The hit was to stand, specially brought rithmik alone, without the tone intervals, sung a song / poem religious perspective, advice, happy ceremonies, customs celebrations, circumcision Apostles, birthday and other ceremonies in Islam. There are times when pitted (betrothed) between groups, with the assessment criteria tingkahan, Rapai rhythm, sound, and reply to the answer rhymes opponent. Formerly started the night until morning with the customary fashion of Aceh.

5. Rapai anak/tingkah
   Rapai anak/tingkah, is Rapai with a slightly smaller size, function held tingkahan, because his voice is louder and chink, so the accent marks pressure / attack (clear beats) clearer sounds.

6. Rapai kisah/hajat,
   Rapai kisah/hajat, tells the story / sing in accordance with the intent / request which have their own home, and Sheik Rapai together with other players sing tells / mensyairkan as he followed the rhythm tingkahan Rapai