Page:Christiaan Snouck Hurgronje - The Achehnese Vol II. - tr. Arthur Warren Swete O'Sullivan (1906).djvu/265

 radat, as in the ordinary ratéb. There is also a tambourine orchestra which accompanies the songs and gestures of the players. These tambourines are called rapana (compare the Malay rěbana) or else rapaʾi, from the religious performance in which they are much used.

The musicians proper play on large tambourines; the members of the company often have small ones set before them on which they play their own accompaniment in certain portions of the performance.

This ratéb is played entirely in a sitting posture (ratéb duëʾ) and resembles the ratéb sadati in essentials except that the sadatis are missing.

The radats of the party which commences the recitation set the tunes and intone four ajats to every tune; after this the "companions" (rakan) follow suit. Like the dalém of the sadati performance they accompany their intoning with rhythmic gestures, such as movements of the arms, snapping of the fingers, manoeuvring of kerchiefs and especially with the bòh or bruëʾ pulèt. While all this is going on, the opposite side must join in and keep time, which is made as difficult for them as possible by their opponents.

As soon as one party has intoned a number of lagsèës, there is here also (as in the ratéb sadati) an interval which is filled up by a nasib similarly rounded off with a kisah. The nasib is started by the radats of the leading party, and the members of this party only chime in with the recitation; nor is there any gesticulation or play with kerchiefs etc. in this part of the performance.

At the beginning of the ratéb pulèt the performers recite certain lines in imitation of a real ratéb or dikr, and which give an impression as though the task on hand were a work ordained of the Prophet and the saints—e.g.

"In the name of Allah I now commence, following the fashion handed down from the very beginning. We borrow our tradition from the Prophet; respond, my masters all!"

For the rest the recitation consists mainly of ordinary pantōns, by far the most of which celebrate the joys and sorrows of love.

The ratéb pulèt has not, any more than the ratéb sadati, a religious character.

The ulamas regard it as a forbidden amusement, but are somewhat less severe in their condemnation of the ratéb pulèt than of the ratéb sadati, since the former does not include boys in female dress among its performers.