Nasidroe aneuk at moe's at at
Lam jeut jeut when ... when two ngeon Poma
In tanyeong bak ma ..... bak ma ..., Daddy O jinoe jinoe pat pat
Ulon miss That longing That way keuneuk eu ...
Nyoe mantoeng hudep meupat address
Uloen seutoet jak ... jak seutoet 'oeh watee highway
Nyoe meuninggai ka ....... meuninggai, Meupat keuh jeurat ee jeurat
Uloen Siat jak ... jak Siat Loen read prayers
(Aneuk Orphans - Rafly)
When entering the room was dim, no foam Aceh coffee aroma or taste of curry goat challenging. On the road to the dim room, no guest greeters who offer rich or bread timphan asoe typical mesh in the far west province of Indonesia. However, the guests know that they are entering 'Aceh', enter 'misery barely find the gap. "
Dim room was none other Salihara Theatre hall, Salihara Road 16, West Pejaten, South Jakarta. And 'to-Aceh-ness' that is too thick in the room was created by the distinctive vocal Rafly Kande nan, who collaborated with Dwiki Dharmawan, in a contemplative show titled "Teumeumeung" in theaters Friday is, Saturday, September 20, 2008.
Both musicians are brought about five songs interspersed composition "Ilir-ilir" performed solo by Dwiki Dharmawan. Rafly, who 'discovered' Jazz pianist Dwiki when Asr prayer is finished in a refugee camp in Aceh a month after the tsunami devastated the province was capable of firing melengkingnya a distinctive sound to the ears of the audience. Twisted a dial-connect-cengkoknya impeccable sense memiuh audience: they seemed to be a prisoner Rafly and Dwiki.
The situation is seen when Rafly asks the audience to clap and follow humming. The audience did not look shy or embarrassed: they follow the rhythm with vocals and processed Rafly Dwiki with his piano. So, that night they both are not diving performances, but also the spectators who come from various walks of life.
Spontaneity is presumably the fruit of the 'Foreword' Rafly delivered. He said the turmoil in Aceh, which found its peak during the New Order government, yielding instantaneous at the time the tsunami struck. In Salihara, Rafly want to divide situation-wedge between grief and happiness-with the audience by making them as one of his musical accompaniment.
After that, the atmosphere Theatre Salihara sad again when Rafly singing "Aneuk Orphans". A song that became very popular in post-tsunami Aceh. The song was actually not a story about the tsunami. Only, his fame after the disaster made the song "Orphans Aneuk" brought near in the tsunami.
Verses that I quoted at the beginning of writing is part of the song "Aneuk Orphans" which means roughly this: There was a little boy who often cry / Every time she cried when her mother / He asked his mother where his father was / There longing and desire which is to see the way the father / If the father is still living where he is / I want to look for any future adult / When he died where lies pusaranya / For a moment I could pray.
Teumeumeung
Since the introduction of both a month after the tsunami hit Aceh, Rafly and Dwiki Dharmawan more friendly through the "teumeumeung" (the term given to a jam session Rafly). "Teumeumeung" is now a pattern of musical communication between Rafly, which continues to explore the various shades of vocal music in Aceh, and Dwiki, which always falls in love with the style of inspirational music that combined local traditions with jazz full of spontaneity. When the evening gig at Salihara, Dwiki several times banging on his piano keys without mercy. Together Ubiet (Ina His Raseuki), Dwiki been a producer for the album together Rafly Kande "Meukondroe" which was released in 2007.
It is not surprising if they are so intimate that night, a solid and united in the song. In one section, when Dwiki and Rafly talking to the audience, Rafly suddenly clapped his hands and stared Dwiki. The pianist felt was a signal for him to 'match'. Then he walked to the piano and, instead of drumming his fingers on the keys of the piano, hitting the wires in the body tone piano.
Rafly 'craze'. He mentioned "Rabbana, Rabbana" taking out his trademark wail. Dwiki greeted with increasingly intense stomping finger over the wire. Rafly responded with rhythmic tones bercengkok; Dwiki serve with the nimble fingers dance, which has now been above the piano keys. Then they merged in the improvised magic-improvisation that characterizes jazz. Led the audience that night to the wealth of musical treasures of Indonesia, in fact.
