Riau Rhythm Chambers Indonesia

We will find our international world class stage and say “Nusantara” are very spacious with a wealth of culture that is priceless ..

logo-rrciRRCI (Riau Rhythm Chambers Indonesia) are formed originated from Rino Dezapati (Psaltery), Hari sandra (clarinet) and alyusra (violin) offering to play in the area of traditional music, to be introduced by the curator of our (late) Ben M Pasaribu and musician from medan, Anton Sitepu in 2001.
After undergoing a process of change the number of times a musician, Today 8 people join multi-instrument musicians:

Playing traditional concepts with local wealth exploration we are feeling free to explore the style of playing the instrument into the concept of innovative music that still comes from the malay roots . Playing the old tradition instruments thats almost forgotten become our challenge to present into today music era.

Riau Province have rich golden culture such as traditional ceremonies at kampar , when a mother or father in the area of Kampar put the kids to sing botimang (dandle) or nandung of indragiri hulu , menondong (nondong; sound falsetto are only allowed sung amid the fields or forests). Thats kind of the originality inspiring us to transform into the music notes.

Let’s get walked to Anak Dalam tribal children in the talang mamak indragiri hulu Riau. Traditional ceremony ” Bulian Besar” and in coastal areas viewed music  Zapin‘s mouth is different and there are many events its other cultural events.

It’s who makes us committed to continue to dig and lift the roots of traditional crafts native Malay Riau even largely been many who have not played or sung, it is because there is a ban customary in the villages.

Poetry of sincerity and the spirit of rural communities, we try to translate into draft form musical performances took long enough to proceed. The process is rather long time to adapt each have original art music tradition into the musical composition at the start of the process of researching, writing up the process of cultivating this musical composition. There are several posts about interesting stories in this poem, but we choose a poem that is not too long for the needs on the stage, so that the poem could have remained intact in the musical composition and do not need a piece if we bring the poem long to play.

4 Rivers at Riau are our album main concept exploration ::

  • Kampar River (Formerly called Embun Sea ),
  • Siak River (Formerly called Jantan River ),
  • Kuantan River (Formerly called koruh;keruh river )
  • Rokan River (Formerly called kelemunting river).

Kampar river formerly called embun sea , the place of century homeland of sri perca island (sumatera) that formerly called #suvarnadvipa the kingdom of Muara Takus, metal music ornaments that is almost gone by time until today. We start collecting data and interviewing community the local community starting from the head of customs, fiduciary local village, Bomo (smart people) to musicians – local traditional musicians.

Samplings of kampar original music and vocals recording original poetry allowed only in the middle of fields and forests (away from people), is a cultural event that is taboo. It’s something very interesting, so the concepts we present composition seem to be more attention to the value of originality source of this art itself.

Concepts of the traditional arts of Kampar, it can be concluded that from the research carried out, this poem is the “song – singing shackled by the local customs. 80 percent of music Riau into the concept riau rhythm, almost entirely using the instrument in Riau. In addition we play the instrument European and Indonesian original instrument, Lute, talempong and gong as the main instrument in the musical concept

We road about 2 months doing research, because it happened Kampar district not too far from where we proceed, and local community inform each other. But the process of this work takes almost approximately six months plus two months of the research process, the balancing process poetry, adaptation of the rhythm and style of play the instrument so that the value of originality of folk music is still there. Entire musicians feel enjoy the pre-workshop works on a number of up to 3 works entitled “clank, clink, thud” style resume cadenza into the joy of coastal communities in the process of riau rhythm entitled “Song from rural”.

Only 20 percent of us resume the archipelago and the rich diversity of music that we expand it into a stage musical performances of this, with the influence of Malay culture – ancient cultures. The concept of the archipelago culture there influenced in his playing style of each musician who had a different experience.

Representing Riau to the international scene like folklore in Italy, France, China and Turkey, got the invitation Indonesian night film festival in bushan south korea 2010, kampung Malays in Singapore, a single show in Riau, kuala lumpur, solo and Malacca, gamelan festival jogjakarta, Riau white black international, Malacca strait jazz festival, and the last one jakarta Indonesian performing arts market in 2013.

Riau Rhythm Chambers Indonesia Etchno Contempo