Eating Sirih dance (dance offerings.)

Dance thomsoniae (offering) is a traditional dance or classical dance riau Malay are commonly performed to welcome and dedicated in honor of the great guests who came. When the show, one of the dancers in the dance offerings will carry a box containing betel leaves.

Betel leaves in a box is then opened and the guests who are considered great given the first chance to pick it up as a form of tribute, followed by the other guests. Therefore, a lot of people who call the dance offerings of Riau as thomsoniae dance.

For the community of Riau, betel is not just mere objects. Betel leaves also become media stickies in the Association. Through dance, the Riau society has shown that human consciousness is interconnected with other human beings.

Social consciousness is then able to foster good communication, mutual respect and appreciate, against fellow human beings. The existence of a welcoming dance for the guest pointed out that, the Malays greatly appreciate the relationships of friendship and kinship.

1. The origins 

Its history in 1957, in Soweto dance offerings of standardising the deliberations took place, which featured dances and songs, such as Riau Malay Dance Dance, Twelve Serampang Mak Kampai, dance Island Host Cape Katung and dance Lenggang Broke nine.

 Based on the discussion that then cultivate a dance for offerings to customers, then radiated Thomsoniae Dance now dance offerings created by artists. Socialization of standardising Dance Offerings this is done in order to be known by the people.

 Dancers Dance Thomsoniae must understand the specific terms in the Malay dances like igal (emphasis on the movement of hands and bodies), contortion (movement of subjecting or menganyunkan Agency), lenggang (walking while moving the hands), a batang titi (running in a line to pursue stem), gentam (dancing while menghentakkan the heel of the foot), cicing (dancing while trot), legar (dancing while driving around 180 degrees), and other (Ray, ed. , 2009).

2. A dancer and Fashion 

Dance offerings is the usual Malay dance performed to welcome guests. This dance is performed by the 5-9 people (and often odd) with one person that are considered special because it should bring as an offering to the guests.

The philosophy of the grant should containing betel is very high. Because when the guests were given a betel nut don't take (eat it) then it is considered disrespectful. Even in the days of the Kingdom, King will be angry when the betel is not eaten.

Motion dance offerings are very simple, based on the movements of the hands and feet. The movement looked down while Moor Palms is a form of homage to the guests arriving. Thomsoniae dance is generally performed by adolescents.

However, in its development of this dance can also be performed by the older. The dancers wear clothes commonly used bride, namely custom dress shirt known as Gulf braces caldron.

 On the head, there is the Crown that is equipped with a flower-shaped ornaments and knick-pernih such as dokoh, earrings, bracelets. While the lower part of the body of the dancers wrapped cloth by brightly colored songket.

3. Music Accompaniment. 

The dance is performed with the accompaniment of music offerings of the Malays were sourced from a combination of the sound of the violin, marwas or fill, drum, harp, and accordion.

Akordian sound is an important element in Malay music, remembering the sound that became the idiosyncrasies of Malay music. Dance Thomsoniae including themed dance for joy.

This diriingi dance by the typical Malay musical harmony as well as a partial Thomsoniae songs the lyrics read as follows: Fed of betel ujunglah ujungan how is dear Less lime added lah lah spittle My life is Luckily a chance factor is dear The day was happy to seharilah hard

4. Range of motion. 

 Dance movements Thomsoniae generally use movement in the Dance Lenggang Broke nine. Even so, there is a difference in the name of his movement in which to Dance only found 2 Thomsoniae movement, the movement of lenggang broke nine singles and a double.

Whereas a Dance on Broken Lenggang Nine there are 3 parts of the motion, namely, lenggang lenggang rotate one circle, and changed direction forward or lenggang (Tengku Mira rays, ed., 2009). The meaning of Dance Offerings which can be seen from the pattern of presentation, such as motion mulaidari

1. the movement of the gable is a form of the roof of the House of Riau Malay society.

2. movement of balam two Musketeers which contains the meaning of loyalty and togetherness.

3. broken nine Malay lenggang movement dedicated to honored guests with the intent to deliver the speech.

Riau Malay Traditional House Roof lipat Kajang

The building houses a Malay Fold Kajang, taken in accordance with the form of the roof of the building. It is also difficult to find in the village as a place of residence of citizens. Just look at the newly constructed office buildings by the Government with the concept of the building of modern architecture.

 Jensi Malay traditional house building can be seen on home Kenegerian Sentajo tribe godang, the District of Kuantan, Kuantan Singingi Regency, which is still preserved. But the age of the building was up to 2.5 a century.

 1. The shape of the House. 

• The steep roofs of houses called "Folding Home Pandan". 

• The roofs of the houses are rather flat called "Folding Home Kanjang".

• When the roof was given extra on the bottom (foot roof) with other roof then it is called the "Home Screen" or "Roof Home Ampar Pumpkin".

RIAU Malay House Folding Roof Sheet The steep second form called "folding kajang" can make it easier to drink rain water. The floor and walls of the House made of webbing is released to facilitate the circulation of air and to taste heat mengurangkam heat. Early Malay traditional house used by Malay called "loom up" or "teratak".

This tradition of home form is concise. In the past, the pillar of traditional Malay Houses are round and made of wooden children's staple. The whole House was made of wood and bumbungnya than a Palm or Palm roof.

 This form of Malay traditional House has undergone a change little by little. But the basic form which is the high-floored and colonnaded of land still is preserved.

 The used materials such as wood, Palm roofs, the roofs of thatched roof, bertam, Reed berayam, pelupuh, wood or Reed rods nibung, has been replaced with other ingredients such as zing and genting for pillar and simen and a brick.

Traditional house form is different for every country. These houses have features that tersendirian.

2. The Division of Functions 

EVERY ROOM HAS BEEN SET UP TO WORK WITH. THIS, NOT ONLY TO KEEP THE POSSIBILITY OF AN INFLUX OF PEOPLE COMING OUT OUTSIDE FREELY, KEEP ALSO FOSTERS A SENSE OF DISCIPLINE IN THE HOME OF A FAMILY MEMBER, THAT PUTTING SOMETHING IN ACCORDANCE WITH PLACE AND FUNCTION.

 THE MIDDLE ROOM SPECIAL FAMILY ROOM: THUS THE POSSIBILITY OF TERHINDARILAH THEN LALANGYA PEOPLE OUTSIDE THE HOUSE.

EVERY GUEST WHO COMES WILL LIMIT HIMSELF TO NOT GET INTO A FORBIDDEN ROOM FIT CUSTOM. BREEZEWAY

• PLACE RECEIVES GUESTS.

• PLACE THE CHILDREN PLAY.

• PLACE THE OBJECT PUT "LITTLE" TOOLS OF FARMERS AND FISHERMEN.

• FOR FAMILIES (ESPECIALLY MEN) ARE USED AS A PLACE TO RELAX.

 3. Influence of Religion Against the architecture of the House. 

Architecture in traditional houses very banguna dpengaruhi by the teachings of islam, because its spread through the trading that occurs on the coast-coast.

 Some influence of the religion of islam against the shape of the building include: • Ladder home: odd (usually numbering 5 steps). That means 5 pillars of islam

• Pillar: 1. the rectangular quarters: representing the mean wind will bring sustenance from all directions. 2. In terms of the six pillars of faith: it is meant to let homeowners remain obedient and faithful to God. 3. the heptagon: representing the existence of levels of Heaven & Hell. 4. the Octagon: equal to a rectangle. 5. In terms of the nine: Symbolic, that the owner of folks mamapu.

• Wall (House of lancing): the walls are leaning out with foot walls similar to perau or lancing.

• Roof (lontik) Home: representing sassy tribute to God

Home Belah Bubung Origin Riau.

One of the houses to shelter the community home Halve was Riau Islands Bubung. The House is also known as the House of the Pillar House or Ridge. The name home Halve Bubung given by Malay people due to the shape of its roof was torn.

Called home the harder because the roof using perabung. While the name Malay Bubung home given by foreigners, particularly China and the Netherlands, because of its shape is different from their original homes, namely in the form of home Kelenting and Limas.

 Big small homes built is determined by the ability of its owner, the more wealthy a person the greater the House and the more diverse the hiasnya. However, wealth is not as an absolute determinant.

The most important consideration in making a home is harmony with the landlord. To determine the matching or whether a House, the owner of the House size count count hasta, from one to five. As for uratannya is: snakes swim, pursue a ripple, ripple pursue debt runs out shelter, beetle changed its debt, and the debt of five berimbuh yet.

 The size that is best if just in a matter of ripples onto the beetle in the shade. The term Riau for the House are reserved for the region in the Riau Islands province which lies on a small island on the eastern side of Sumatra, in the Strait of Malacca and the South China Sea. The Custom House called ' home halve bubung '.

 Its shaped stage that quite high until the floor is passed, then 2 meters from the ground, the roof is shaped like a shield, berbubungan straight in the saddle-shaped upper part with an ornament on the lisplank. The walls of the houses tend to be upright and has a front porch with a roof canopy saddle. On the canopy this is stress building definable with decorate gevel and lisplank.

 The morphology of House bubung also named other names by the Malay people of Riau Islands.

(1.) Home halve a steep roof slope bubung called pandan ' folding ',

(2) If the roof is kinda flat called the ' fold ', kajang

(3.) If the lower part of the roof was given additional other roof called ' pumpkin ', ampar

(4.) if the bubugannya parallel streets called ' perabung ',

(5.) if the bubungannya transverse Street known as ' transverse ' perabung

1. The origins 

Natural conditions and the Riau Islands society strongly influenced the architectural pattern. The influence of the surrounding nature and belief can be seen from his home, that form the shape of the stage erected on the top of the mast with a height of about 1.50 metres up to 2.40 m.

 The use of the materials for making home, awarding motif, and the use of colours to beautify homes is a form of adaptation to the environment and the expression of religious values and cultural values. One of the houses to shelter the community home Halve was Riau Islands Bubung.

 The House is also known as the House of the Pillar House or Ridge. The name home Halve Bubung given by Malay people due to the shape of its roof was torn. Called home the harder because the roof using perabung. While the name Malay Bubung home given by foreigners,

particularly China and the Netherlands, because of its shape is different from their original homes, namely in the form of home Kelenting and Limas.

 Name of the House is also sometimes provided on the forms and variations, for example: called home Folding roof is steep because the Pandanus; Home Folding roof is rather flat due to Kajang; Home Screen or Roof Ampar Pumpkin because the lower part of the roof is coupled with the other roof; Home Perabung Perabung length as the roof parallel to the highway; and Perabung not Perabungnya due to Transverse parallel to the road.

Big small homes built is determined by the ability of its owner, the more wealthy a person the greater the House and the more diverse the hiasnya. However, wealth is not as an absolute determinant. The most important consideration in making a home is harmony with the landlord.

 To determine the matching or whether a House, the owner of the House size count count hasta, from one to five. As for uratannya is: snakes swim, pursue a ripple, ripple pursue debt runs out shelter, beetle changed its debt, and the debt of five berimbuh yet. The size that is best if just in a matter of ripples onto the beetle in the shade.

Riau Malay Traditional House Lontik / Lancang From Kampar.

The House of lontik which can also be called the House of presumptuous because this home form atapnyamelengkung over and somewhat pointy Buffalo Horn, while the walls are leaning out with hiasankaki walls similar to the boat or presumptuous.

This symbolic homage to the Tuhandan against each other. The House of lontik is estimated to be kebudayaanMinangkabau because of the influence of kabanyakan are found in areas bordering West Sumatra. Stairs of the House usually odd, even home-child lontik the stairs of lima, it is adakaitannya with the teachings of islam i.e. Islamic tenets. 

1. The origin of. 

Home of Sassy or Pencalang is the name of one of the traditional Counties of Kampar, Riau Province, Indonesia. In addition to the name of the home of Sassy or Pencalang, the House is also known as the House of the Lontik.

Called Sassy or Pencalang because of its front wall hangings foot shape similar to a boat, the shape of the walls of the House are tilted out as miringnya of the walls of their sailboat, and when viewed from far away form the House such as boat-houses (magon) made of ordinary residents.

While the name Lontik was used because it forms perabung (Ridge) roof melentik up. The House is the home of Sassy stage. The type of construction of the stage chosen to avoid the danger of attacks of wild beasts and window floods.

In addition, there is the custom of the society to use the space under the House as the enclosure of livestock, boat storage containers, place bertukang, where children play, and a wooden shed, in preparation for welcoming the fasting month.

 In addition, the construction of a house-shaped stage so as to enter it would have to use the stairs which had rung odd, lima, is a form of expression of the confidence of the community. The outer wall of the House entirely Sassy tilts out, unlike in the perpendicular wall.

 The front exterior wall beam load bearing curved upwards, and, sometimes, spliced with engraving on the corners of the walls, then it looks like the shape of the boat. Beam cover over the wall also curved beam semelengkung although it is not the object.

 Lengkungannya follow the curved side down the field of the roof. Both ends of the perabung given the ornament called bayung sulo. Whereas sayok lalangan ornaments on the four corners of the roof of the stream. There are various forms of decoration, which resembles a Crescent Moon, Buffalo Horn, spurs and so on. The existence of the House of Presumptuous, it seems, is the result of the process of acculturation of native architectural society and the Minangkabau of Kampar.

The base and the wall of the House that is shaped like a boat is typical of society whereas the roof of Kampar, tapering (Lontik) is a characteristic of Minangkabau architecture.

 The process of acculturation occurred because the architecture area of Kampar River Cruise, the Groove is Mahat, of the five Koto to the flat ground in Payakumbuh, Minangkabau. The five areas include Rumbio, Kampong Koto Kampar, water, Tiris, Bangkinang, Salo, and Kuok. Because of Kampar is part of the Groove Community mobility, then the process of acculturation is very likely to occur.

The result of the process of acculturation that appears from the uniqueness of the Sassy little House a lot different with the architecture of the buildings in the area of Riau Mainland and Riau Islands.

 2. materials and energy. 

materials In order to make the home building process went smoothly and the results were as expected, so the ingredients are selected and prepared in advance. If the required ingredients have not collected all, the construction of houses will not be started because it was feared disrupting the development process.

In sampaing, if the construction of the House until it stops due to lack of materials, it is considered very embarrassing. Therefore, usually, the process of collecting materials lasted many months, even years. As for the necessary ingredients of which are:

• Wood Kebesi, used to make the pillars and carvings.

• Wood sills used to Kulim-sills.

• Wood used for Resak sill and rasuk.

• Wood Punak is used to floor and wall Board.

• Tools to prepare wood (machete, Pickaxe, axes, saws, etc.) and tools (crab, chisel, pepatil, and so on). • Rope from bark, is used to unify the distel.

• Rope charcoal or charcoal yarn. This tool is made from cord set with a liquid that is a mixture of charcoal and oil packed and are used to make straight lines at the time of processing the wood.

• Straw roofs, sago Palm, Nipah, Sikai, and Bengkang. The materials used to make the roof of the House.

• Zinc. Lately, the use of leaves to make the roof of the House has been using zinc.

Riau Malay Traditional House Limas Potong.

Limas Cut is one form of Malay traditional House of Riau Islands. Limas House Cut shaped stilts. It has a distinctive shape, as well as traditional houses in Sumatra in General. The height is approximately 1.5 meters from above ground level.

The wall is made of composition Board brown color, while the roof is in the form of zinc in red. Door frames, Windows and pillars of the bridge before the House painted white oil. with the roof resembles a limas are truncated.

 Malay traditional house type of the other is a traditional home Halve Bubung. If the Riau mainland, its traditional home Lontik home Salaso Home, and Twin Falls. RIAU MALAY TRADITIONAL HOUSE LIMAS CUT BATAM

The shape of the House.

This home has five main parts, namely, terrace, front room, Center, rear (bed), and a kitchen. The front part of the House used to post photos of the history of this piece of limas House, middle room contains dioramas of the Malay typical bride, and the back is a room containing a bed of lies that merges with the kitchen.

Kitchen appliances and eat typical Malay is still well maintained and on display at the kitchen of the House, such as a plate, a spoon, a saucepan, a wood stove, a few jars, and other kitchen equipment. In ancient times, one of the large-sized jars were placed outside the home, that is on the bottom rung. Jars that contain water used per person to wash their feet every time will go into the House.

Like the indigenous Malays in General, any person who will go into the home should take off their sandals or shoes first, and then wash it off with clean water. This traditional House is belonged to Haji Sain, one of the residents of Batam which have started to occupy these houses since November 1959. The House is located in Kampung Melayu, RT 01 RW 08, Kel. A large stone, Nongsa tourist beach not far from Boneta. located amidst the lush coconut groves nan, a stark contrast with the surrounding houses that are more modern.

Currently, the keberadaaan custom homes limas cut it becomes difficult to be found Particularly in Riau in Batam. For that reason, the house belonged to Haji Sain was finally made as cultural heritage by the local city government. After undergoing some renovations at the home – without removing the original form — limas cut custom homes was established as tourist attractions and is open to the public in November 2011.

Big small homes built is determined by the ability of its owner, the more wealthy a person the greater the House and the more diverse the hiasnya. However, wealth is not as an absolute determinant. The most important consideration in making a home is harmony with the landlord.

To determine the matching or whether a House, the owner of the House size count count hasta, from one to five. As for the sequence is: Snake-swimming. -Pursue a ripple. Ripples onto the beetle in the shade. -Discharged debt changed its debt. -Debt of five berimbu yet. The size that is best if just in a matter of ripples onto the beetle in the shade

traditional house selaso jatuh kembar of riau

Custom homes of Twin Falls, also known as Selaso Hall salaso fall is like a custom House but its function is not to place to live except for the deliberation or in custom. In accordance with its function of this building has various names, among others, the Royal Treatment Hall, Sari, the density of the Hall and others.

The building now lives a few houses away, didesa-desa place of the deliberations made at the House of the King, while regarding religious do in the mosque. This House consists of a large room for the bed. room and kitchen pavilions, cross-legged. This traditional House is equipped also with the Customs Hall for meetings and deliberations of the indigenous.

Traditional House of Riau society at large is stage House which stands above the mast with rectangular shape of the building. Of some form of the House is almost similar, good stairs, doors, walls, the arrangement of the rooms are the same, and has a carving of a Malay like Gable, bees bergayut shoots, bamboo shoots, etc.

Selaso twin falls own means a House that has two breezeway (selaso, salaso) that the floor is lower than the living room.

 1. The origins

In 1971, the Central Government wants to build the TMII (Taman Mini Indonesia Indah) and every province must specify one type of custom homes to be heated Pavilions showcasing traditional house traditional House official in an area of the province.

By that time the Governor of Riau was Arifin Ahmad formed a team of 9 consisting of artists and thinkers. 9 team is tasked to design and make custom homes with Riau Riau circumference research. Then there was born a architecture of the traditional House of Riau with the name Selaso Twin Falls. Then the House Selaso Twin Falls popularized and defined by the Governor of Riau Munandar Priest as traditional house cultural society.

 2. Characteristics

Home Selaso Twin Falls is a house-shaped building (walls, covered with a door and window) but its function is not to place to live except for the deliberation or meetings in the customs because of "home" has no room or foyer.

 If the described, blueprints of the House Selaso Twin Falls have only a Breezeway on the front. The Middle House on the central part with bersekat Board between the lobby and the telo. Then the House shrink on the telo that is useful as a place to eat, etc.

 on the back there is the kitchen. Hall Salaso Fall round-the verandah floor is lower than the living room, because it was said Salaso fell. All buildings both traditional house or porch decoration especially given the customary carving.

 At the peak of the roof there is always wood ornaments that stuck out over the crossing and usually ornate carving was called Salembayung or Sulobuyung which contains the meaning of recognition of God Almighty. Breezeway in the Malay language called Selaso.

 Selaso twin falls own means a House that has two breezeway (selaso, salaso) that the floor is lower than the living room. From the diversity of the forms of traditional houses in Riau, there is commonality of different types and styles of architecture.

 Of its kind, the traditional House of Riau society at large is stage House which stands above the mast with rectangular shape of the building. Of some form of the House is almost similar, good stairs, doors, walls, the arrangement of the rooms are the same, and has a carving of a Malay like Gable, bees bergayut shoots, bamboo shoots, etc.

 The next two lies in the direction of the traditional House of Riau society which was built overlooking the river. This happens because of the traditionally Riau society using the River as a means of transfortasi.

Then no wonder if we will find many Riau society village is located along the banks of the river Mandau, Siak, Siak and on Small tributaries in other pedalam. Because of tipographi Riau society such a settlement, then we will find the base boat mooring places and also the shower in front of each House.

In addition, up to the 1970s, these villages do not know a certain boundaries, as does the village community beach. Their villages are usually named after the river or plants there. But today certainly have created administrative means as a village Hall, etc. with the term "expansion".

3. The pattern of Home Ornaments. 

This traditional House is decorated with the basic pattern of the Riau Malay generally sourced from nature, which is made up of flora, fauna, and celestial bodies. Objects that are direka-reka in certain forms, either according to the original floral flower forest, kundur, nor in the form diabstrakkan or modified so that it no longer appeared to exist originally, but using only the name alone like a duck go home evening, beriring, ants and bees are dependent.

 The pattern of the most used is sourced in plants (flora). Judging since antiquity, the pattern of the style of architecture and sculpture Riau society very strongly influenced by the pattern of Hindu-Buddhism.

A transitional style on this pattern because in general the community of Riau have been Muslim. THE RIAU CUSTOMS HOUSE ORNAMENT PATTERN DUCKS GO HOME THE EVENING OF Ducks go home the evening of So the pattern of animals (fauna) leading to the feared things that smelled of idols. The birth of writing Malay (Arabic script) and sculpture flora Riau Malay first effected by the development of the religion of Islam begin from the time of the Kingdom of Malacca. 

The pattern of animals used are generally containing the specific nature or relating to a myth or belief. The pattern of the ants beriring meaning the nature of ants get along well and tolong-menolong. The pattern of the bees, called bees rely, meaning the nature of bees who always eat a clean, was expelled for exploited people (honey).

 Dragon pattern was associated with the myth of a dragon's might, as ruler of the seas and so on. In addition, celestial bodies such as the Moon, the stars, the Sun and the clouds made the pattern because it contains certain philosophical value as well.

 In addition there are also sourced from the pattern of certain forms such as diamond (Rhombus), circles, cubes, facets, and others. In addition, there is also the pattern of calligraphy which is taken from the book of the Koran.

Development pattern of basic motifs that, on the one hand enrich the decoration. On the other hand, it also enriches the development philosophy of values contained therein.

4. Variety of ornaments. 

RIAU MALAY CUSTOM HALL buildings are generally given a range of garnishes, ranging from doors, jendelah, vetilasi to kepuncak the roof of the building, a motif adapted to the meaning of each carving.

Gable 

Gable also called "violoncello bayung horns" and "wasting" is located crossing the decoration on both ends of the perabung building in the building of this Malay custom Hall each roof corner meetings give gable are made of carved wood.

 Lambai-lambai 

Lambai-lambai is the frosting on the top of the door and jendelah, symbolized suave.

 Click-click 

Ornament click click is called the lattice and jerajak on jendelah and the fence.

Riau Malay Traditional Clothes.

Riau Malay traditional clothes are almost always associated with social norms, religion and customs. This makes custom clothing is growing with meaning and philosophy. Riau Malay traditional dress consisted of a variety of types.

This type of clothing depending on the situation and condition of the wearer and activities to do, for example for official events or to be worn in daily activities.

 1. The origins 

Clothing is a cultural symbol that marks the development, acculturation, and cultural distinctiveness. Clothing can also be a marker for provoking the community, including Riau Malay traditional dress. Traditional clothes in Riau Province consist of daily official clothing and apparel/custom clothing. Daily clothes worn every day, either by children, adults, and the elderly.

The everyday clothing worn for daily activities, for example when working in the fields, playing, to the sea, in the home, as well as other activities. This type of clothing for women, grouped into women's clothes and children's clothes adult women (O.K. Nizami Jamil, et al. 2005:15-16).

 While the official clothes or traditional clothes worn on certain occasions with regard to official events or custom event. Colors, shapes, and custom clothing model is determined based on the philosophy of Riau Malay containing certain values.

 Riau Malay society still holds the Customs intact. The indigenous influence felt in the attitude and behaviour of the majority of society, especially in rural/interior. Riau Malay custom bersendikan custom was Islamic jurisprudence (M.A. Effendi, 2004:9).

Islam and Malay custom interplay which then formed a new culture, one of which is reflected in the clothing worn. In addition, clothing and jewelry not just to meet the requirements or the usefulness of the aesthetic, but also contains a certain spirit. The spirit pervading the value of gratitude and honesty of life (Siti Zainon Ismail, 2004:34).

2. Colour of garments. 

The colors are very dominant in Riau Malay community is a golden yellow, moss green and blood red bird, color is the color that has been passed down hereditary since the ancestors of the Malays in this Sassy Yellow Earth.

The color of the third lay on the altar veil veil-Riau Malay in a customary marriage event or the greatness of the Malay culture.

 a. the color of moss green, 

symbolizing fertility and faithfulness, obedient and submissive, against religious teachings.
Clothing color moss green used by clans of the nobility, Tengku, and Wan, Mr.

b. golden yellow Colour, 

symbolizing greatness and authority and splendor and authority of golden yellow Color at the time of the Kingdom of Siak, Riau Lingga, Indragiri and the Pelalawan is a ban on color and taboo for commoners if wearing it. Who wears a golden yellow color is the Sultan or King of a land of Malay kingdoms. Royal consorts or wives of the Sultan wore a golden yellow on the Royal ceremonies.

c. Black, 

symbolizing fidelity, fortitude and responsible and honest. The black dress worn by the great men of the Kingdom and grandfather in a ceremonial Royal greatness.

 d. the red blood of birds, 

symbolizes the heroism and bravery, obedient and faithful to the King and the people. The color red from the blood of birds emit brilliance.

6. The values 

The values contained in the Riau Malay traditional outfits are as follows:

a. the value of Tradition 

Clothing worn in a traditional ceremony has become a tradition for many years. This has been the hallmark of uniqueness and a community. From custom clothing worn, then it can be learned about the traditions of the societies concerned.

 b. preservation of Cultural Values 

Clothing is one of the products of modern culture that is increasingly growing day. Custom clothing which is currently widely used Riau Malay community is a cultural heritage that should be preserved. Preserving the traditional clothing of the same meaning with preserving the wealth of Malay culture.

c. Social Value 

Clothing became a symbol of a certain status markers become someone. In addition, through the values that it contains, a Malay outfit also means as a medium to bring together a community. Social values that appear for in the traditional clothes pinned particular meanings that are assessed and interpreted by the people.

Balimau Kasai from riau

Balimau Kasai is a special traditional ceremonies for the community of Kampar in Riau Province to greet the holy month of Ramadan. The event is usually held a day ahead of the entry of the fasting month. This traditional ceremonies other than as an expression of gratitude and joy entered the month of fasting, is also a symbol of purification and self-cleaning.

The area was dubbed as the ' Foyer mekah'Riau, Balimau meaning baths using water mixed citrus lime is called by local people. Oranges used are Kaffir lime, lemon, Orange and cotton. The show focuses on the village side of the Stone is 58 KM from Soweto.

(Department of Culture Arts and tourism 2006). This is done when the evening event after the ASR. Interestingly, limes and kasai delivered by his nephew to the home of paman-pamannya and its relatives in the other. Here, there are the values of hospitality, "said Maalib, one of the community leaders in Kampar. From the old to the young people who go down to the river and bathe together.

Community leaders, religious leaders, government officials ranging from the Governor to the Chairman of the RT, and the general public gathered to cheer for the ceremony. Among them, there are the elders of the indigenous tribal use attributes. According to local community activity Balimau this is a mandatory ritual Kasai to do.

In addition to bathing in the River with lime which is considered as the purification of the physical, the event also served as a means to strengthen the sense of brotherhood of fellow Muslims by mutual visit and apologized. Typically, in each visit there will be the food that brought such as Lemang, Lepat, pastries, meat Soup and beef Rendang.

These foods, will be made into a meal at the time of last meal first thing in the month of Ramadan. If in the past, this tradition is just filled with eating and balimau. As the development of the tradition. There are certain additions such as a single organ and other events such as Motocross.

But sanagat's unfortunate at this time, this tradition is getting violated, there used to be a restriction between men and women. Now all mixed in the mix-up. No longer shows the actual self purify, 1. The origins Most likely the speaker according to the information we received, Balimau Kasai comes from India, namely Hindus in India. Balimau kasai is considered similar to the Makara Sankranti, i.e.

when Hindus bathe in the Ganges to the solar deity worshipped in mid-January, then there Raksabandha as the amplifier cord love between fellow conducted in July-August, then Vasanta Panchami in January-February as ablutions to welcome spring.

 The purification here meaning bath balimau kasai sins they lost along the river water flowing out of and then that religion evolved in Indonesia to get to corners of the country that existed in the Malay Archipelago and river in kampar. This proves that the existence of the hindu religion until in kampar.

Moreover, with the discovery of a cluster of temples at muara takus located in XIII Koto Kampar. And after going in the area of culture and development of pelalawan tradition and culture that is still growing to this day. Kasai Balimau tradition in Kampar, is said to have lasted for centuries — centuries since the region is still under the control of the Kingdom.

Ceremony to welcome the arrival of Ramadan is held to commence from Pelalawan King habits. But there is also another assumption saying that traditional ceremonies originated in West Sumatra. For the people of Kampar Balimau Kasai ceremony itself is considered a mixed Hindu-Islamic tradition that has existed since the Kingdom of Muara Takus in power.

(XIII Koto Kampar). in historical records the first Balimau Kasai in Riau was carried out in the village of Kampar side stones in the ' 70s, even older dar West Sumatra. In the beginning balimau kasai was just being a community ceremony along the kampar River.

 But after yrs of 60s, the Government even sub county has contributed balimau kasai ceremony designed for the purpose of promotion of cultural tourism. Balimau itself is derived from the ocu (Kampar). Balimau means to wash yourself with Herb lime stew purut or lime wedges.

 While kasai meaning wraps in Malay is a natural ingredients such as rice, turmeric, pandan leaves and flowers fragrant body that makes bungaan. For the people of Kampar, this scent (kasai) is believed to be able to repel all kinds of sense of envy that you have in your head, before entering the month of fasting.

 This tradition lasted, hereditary among the Melayu Riau. The tradition is done almost in the whole district/city, with a name different from each other. For example just Balimau Kasai is better known by the people of Kampar and kuantan singingi. In Soweto, this tradition is called Evening Holding while in Indragiri Hulu simply by the name Balimau, then in the town of Pelalawan, better known as Kasai Potang Balimau Mamogang.

In West Sumatra is also known for similar terms, namely, Bath Balimau. Special for city of Pelalawan, additional words potang mamogong meaning towards the evening because the event implementation time is pointing.

A musical instrument Gambus of Riau

Gambus Melayu Riau is one type of instrumental folk music found almost throughout the region. Harp is one of the traditional musical instruments of Riau which forms similar to a guitar, but has a form similar to the fruit of the gourd is divided in two. The primary musical instrument is one of a stringed instrument quotation. This instrument has a function as a counterpoint to the dance zapin originating from the Middle East, using the Malay version of string 9-12 wire learned.

In general there are two types of harps, Psalteries and Harps Hadramaut Yemen. Tool music is also a counterpoint to the singing at the time held the wedding or event Thankgiving. This instrument is identical to the chant of Islam.

In accompanying singers, this instrument is also accompanied by other instruments, such as the marwas to embellish the rhythm of the song. The unique shape like chayote fruit shape or pumpkin water, making it easily known.

 1. The origins Besides Riua, 

the tool can also be the primary musk found in some other areas, such as Deli North Sumatra, Jambi, Borneo, Sulawesi, Lombok, Malaysia, Singapore, and Brunei.

 The primary instrument is believed by most people in Riau Province as a result of modification or impersonation Al'ud musical instrument derived from Arabic, but there are also contended that the primary tool is the original music from the region of Riau.

 Supposition in part of the community and the artists the tradition that says that Malay is the primary instrument of Riau, it is largely still the presence of the fairy tale the fairy tale in Riau Malay community which tells about the beginning of the existence of the Harps instrument Melayu Riau. One of the dongengnya is as below:

 "That story in ancient times, there was a young man who was falling to a woman's heart, but the young man did not dare to approach the woman, due to their social status are much different, the pemudapun can only see and admire the woman from a distance only.

 At one time, the young man accidentally sees women's idamannya was sitting in his house porch with cascading down, the young man tried to take a closer look, but the look is just limited to the feet and calf only.

 The calves and feet that keeps the woman imagined by the young man, until finally it occurred to the youth to create shapes that resemble the feet of the woman from a piece of wood to be embraced and dibelainya. After so form the feet were adopted and dibelainya while singing songs of romance.

 He came to inspire the youth of yesteryear so wooden that resembles the shape of the foot can produce sound, then direntangkannyalah some string from foot-shaped piece to goto the shaped calves.

By way of picking the string-string was dihasilkanlah tones that can accompany the songs there. From the beginning of the existence of the Harps instrument Riau Malay ". This psaltery instrument was originally known by the Malay people dwelling in the area of the coast, along with the influx of traders from the region of the Middle East.

This trading period began around the 7th century until 15th century. In addition to trade, they usually preach, introducing Islam to the local community. In addition to trade and to call people, these merchants also carry music equipment, including Harps. The influx of traders from the Middle East specifically to the area of Riau, has left his influence in the field of culture and the arts.

A thriving arts dimasyarakat Riau Malay arts such as dance zapin and gambus. Art harps at the beginning of many thriving in Bengkalis, Penyengat Island, and Siak Sri Indrapura. In the beginning the Harps in Riau Malay only played singly in accompanying songs sung by the players as the primary entertainment inside the home with sya'ir-the sya'ir of Islam, without being accompanied by other instruments.

 Psaltery instrument not only played on the home only, but is also played by the fishermen on a boat while fishing, or as entertainment at the break being down the River with the sya'ir-sya'ir which tells the story of everyday life or romance. In the context of the presence as entertainment, serving Malay Harps play for more spontaneity, without prepared or designed in advance, and of course very dependent upon condition, situation, and the feelings that are created from the Harp player.

Presentation of the above Primary home, in addition to functioning as a means of entertainment in an individual or family, also serves as a means of approach to the Almighty. in its development today, the function of the Harps instrument is often played to accompany the dance-dance Zapin. In the accompanying dance zapin, was originally a tool of musi

Musical Instruments Are The Rebab From Riau

The rebab is a musical instruments (lute type) that serves as a melodic solo. Rebabrebab played with how put under musical instruments such as the cello, while starring in a sitting position. included in the category string instruments, such as violins.

 Unlike the violin played by way of resting on the shoulders. In the days of yore in Persia there is one who laced the rebab is used to accompany the diklamasi called "the rebab ul Shaer." Musical instruments are the Rebab any forerunner of the violin and cello. In Riau, the songs are accompanied by musical instruments are the rebab. Of which are titled Taunjam, Rod Palayaran, Ulak Bangkinang and others.

The rebab is getting a high position among the other instruments, as well as the position of violin at the music in Western culture. This high position, one of which, shown in traditional Malay theatre called Makyong. At the beginning or opening there is the opening ceremony called the dance "Facing the Rebab", where the players dancing and then sit facing the rebab player.

 With respect to the high position of the instrument rebab, then often the rebab (called "kecopong") and on the stem (called the "shaft"). carved and decorated, either on the head. Only people who have kempampuan in this field that could produce a spike of interest and sound in 2009.

 The creators need to abide by if they want to discourage abstinence produces a rebab. They recommended not to cut wood as the time for Maghrib or midday. They also recommended not to cut down staple in breech. Wood that has been cut down nor should was jumped over.

 This instrument is unique based on the use of different types of wood to produce a rebab. The types of wood such as tembusu, jackfruit, sena, and star fruit. In addition, the uniqueness of the rebab is seen from the beauty of engravings at the head of the rebab bermotifkan Crown.

 1. The origin of. 

The rebab is one of the traditional musical instruments of the community, especially in the Riau Islands of Bintan Regency. The origin of the rebab is derived from the Middle East and then to Persia and India and then reach the islands of the archipelago.

So this instrument at first, actually an instrument that came from outside but in his way and in his playing a musical instrument has its own color with different music games from his home country. The game has its own distinctive features tailored to the indigenous people of the Malay culture and tradition.

 In the book the art of Community, traditional Riau Islands, written by Evawarni (2006) mentioned that, the Rebab was mentioned by Al Farabi (870-950 CE) in his book "Al Musiqi al Kabir". Some say that spike has been on the wall describe the Borobudur Temple (11th century CE).

The words of the rebab in the Arabs is "R a b a b" and perfected with string which was then widespread. Through the center of the Islamic Caliphate in Cordoba (Spain) 8th diabad Ad he then spread to Western Europe so that the shape of a cello and violin then as it is now.

 Through Turkey and Central Asia, he entered Persia and India also China, then to Southeast Asia. In Afghanistan he called "Rubab", but in the Persian language "Rabab" means a collection of string instruments. In India the instrument whose name "Sarod" comes from the Rebab which under from the Middle East. Experts who play is famous singer TANSEN, (ca. 1520-1590),

who became the singer of the Mughal King Akbar. To Tansen was also given the service creates a kind of rebab, is a bit different with a spike from the Middle East.

Derivatives of Tansen was called RINSE KHAN expert play the rebab compatriots last and is known as "rababyah ghar" (the rebab player). Although the sarod is derived from the rebab but difference sarod played with CF. While a spike with a swiped. In the days of old in Persia there is one who laced the rebab is used to accompany the recitation called "rebab ul Shaer".

5. How to play. 

Spike has the role of yan is high, as is the violin in the land of the West, so too does the rebab in Malay. Respect for the rebab is possible because this tool has an affinity with the ceremony that is unseen. The sound can be heard high spike.

Because of its position which is considered high. String (String) spike there are 3 and 2 are played at once together. Melody E, A and E are high, there is also a G, D, a. how to play string instruments is performed by placing the right thumb on the side of the head of the friction,

then the radius of the 2nd and 3rd finger, whereas under the 4th and 5th harden strap. Rope friction is played on top of the "shell", while the rear part of the rebab facing towards the players.

Musical instrument nafiri

Trumpets is a driven tool horn like a flute that is made from silver and measuring the length of 32 inches or 33 cm. It reads sounds faintly up to. Nobat music played in thetrumpet in the entertainment Council relatives diRaja (Royal), accompany theCustoms-Customs pertabalan customs, castles, days keputeraan Sultan, the Royalwelcome ceremony and the marriage of the King. 

Today we can see the game this instrument along with the performances of makyongwhich is a traditional art form which is currently still plays and is inherited in RiauProvince. In addition to traditional music as a tool of diperguankan, were also used as a means of communication, especially the Malay people to inform about the existence of a disaster, 

and news of his death. At the time of the Kingdom in the past, even the trumpets have a very important function that is worn at the coronation of the King.

1. The origins

The origins of the instrument has not been so clear. If looking at the history, from the province of Riau is already occupied by the Malays during kerajaanSriwijaya. The Malay people occupy a wide variety of places in the Strait of Malacca. Intermingling that took place between ethnic Malay community Pasture, Javanese, Minangkabau, Banjarese,

Bugis and Batak led to a variety of cultures including music instruments. However, there is an opinion that this instrument came from India because of similar to musical instruments to play snake. In addition there is also an opinion that this toolis derived from the region of the Middle East because of the similarity of the name i.e.naifr.

At the time of kingdoms, the trumpets is one of the important tools to be used at thecoronation of King other than as a musical instrument in the Palace. On theinheritance of tools used to Malay Kingdom Nobat like trumpets, kettledrum, esar, and cogan is a coat of arms or commonly called by Royal regelia serve as spiritual strength and honor the Kingdom along with customs. In the absence of such tools the coronation of a King could not be validated.

There is a belief in ancient times if both the spiritual power of the damaged then it will bedestroyed and the House the dignity and pride of the nation. For the Kingdom of Malay kingdoms in the region it is okay, a Kingdom was defeated, captured, and is controlled by the other party. The King or sultannya could have been expelled and fled to other countries orregions,

sought refuge. But, if not deprived and Regelia is not captured, while the Galaxy and sacred Regelia is still held by the King, then the country's sovereignty is still upright. Sultannya still have sovereignty, and he can be established anywhere, and made aKing anywhere.

Because the tools are considered to have magical power that, not yetconquered. For that reason, anyone who holds and given the job of guarding Regeliais a powerful and mighty. Someone who has power far above other powers, including sultannya himself.

Usuallythe person is an adviser to the King. Kedah trumpets along with the nobat musical instruments other stored in a place called Balai Nobat. Balai Nobat is a distinctive building with Islamic architecture. It can be seen by the existence of a dome on it.

The building has been renovated often especially in the reign of the Sultan of kedah 25th Sultan Ahmad Tajuddin Mukarram Shah who has occupied the Throne from 1854 to 1879. Nobat originates from the Persian Words 'Naubat "which means nine instruments.

Nobat Orchestra is a music Empire that is primarily used for the coronation of the King, the nobility as well as welcome special guests. The players called by the people of Nobat. Nobat also played along with other sacred feasts like death. There is a belief that the nobat originated the tradition of India who transmitted by merchants whostopped at Malacca Strait.

At the time of the Kingdom in the past, were used as a means to declare war against the other kingdoms. In addition, the trumpets used to preach about the death of the King, which the King. This tool is also used to gather the people, that they might soon come to Palacesquare to listen to the news or the announcement of their people.

Therefore, this toolwas used as a Royal heirloom items, musical instruments are also used for the coronation of knighted. One of the people who never get an honorary degree Customary in Riau was sultan Hamengku Buwono X.

When his coronation took place the voice Trumpets along withother traditional music instruments accompany the event in front of the TribunalPerapatan Malay custom. These tools are used as a marker of someone he regarded as royalty.

The currentfunctions of the trumpet became more reduced because only used on Royal occasionsor festivals conducted by Malay people. According to the beliefs of the Riau Malay, when playing this instrument the playerspossessed by the gods, mambang,

and fairies. So as if they conveyed the message of impending danger or other important events. Therefore, before being blown this instrument needs to be dipusung i.e. smoked beefon top of the censer. The trumpets were blown with air flow is not interrupted for twoor three hours.

Players must be people who have Blow deep breath, healthy body, and has a special technique so as not to break up tiupannya. The trumpets were blown by hand only his right hand while his left hand holding the bottom.

2. The process of making 

Trumpets made of wood measuring 25 to 45 centimeters. Between the stem and place the tiupnya with given boundary made from a coconut shell. Using a kind of trumpet tongue split in two is made of young coconut leaves or bamboo sections that are already dry.

 A tongue that is called with a vibrator that will produce a sound or sounds. There are three finger holes that the magnitude is roughly of maize seeds to set high to low tone. At its base are given a connection the ovoid shaped like a truncated and hollow to make the volume issued is greater. Music issued sounded like flailing than an obvious melody to be heard.

A piece of wood that has been circumcised according to the desired size ditoreh large dipangkalnya so that its shape is similar to an egg that has already cut the part edges. Then given bebatang, the process known as balan or designate the trumpets. Then the balan was refined using knives look on and swiped for mashed with the leaf trap or flower petals sukon found in Sumatra.

 Then perforated using a small drill and chisel, doing so will make the trumpets are hollow with a thick Peel approximately half a centimeter. In the trunk were made with finger holes using a heated besiyang. How to play and make the trumpets derived continuously from generation to generation by the Malay community.

 3. The function and usability.

(1.) a companion of traditional dance, dance Jinugroho, dance and Henna dance Ellya Olang.
(2.) As the main instrument in the robat music is music played in the neighborhood community.
(3.) as melody that is used to determine the movements of silat.
(4.) for the coronation of the Kings when Riau still shaped kingdoms and nobility.
(5.) mark against the occurrence of disasters, war, and death.
(6.) tool that is used as a marker to summon spiritual gods, spirits, or ghosts of ancestors.

source : http://riauberbagi.blogspot.co.id/2015/11/alat-musik-nafiri.html