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Song in the Sumatran Highlands

Context: Bagurau Lapiak

Definition of term: The term "bagurau lapiak" derives from the context. "Bagurau" is the typical term used to refer to saluang performers, "lapiak" means mats on which performers sit. While virtually all saluang performances involve mats (or sometimes carpet) on which performers sit, it actually refers to a set of contextual factors, the most important of which include economic and spatial factors.

Economic: As opposed to weddings, other life-cycle events, or community events, the performers are not contracted for these events and do not receive a fixed fee. Rather, they work for tips, dividing the earnings between themselves and, where relevant, the manager of the space. Pagurau at these events pay for the privilege of making requests, either for a particular song or of a particular singer. A financially successful bagurau lapiak is dependent on the performers’ ability to engage and keep an audience, a duty which falls largely to the vocalists and the janang, the emcee.

Space: These performances do not take place in the yards of private homes, rather they happen at markets, coffee shops, and road-side stalls, sometimes, like the coffee shop in Ngalau, they are specifically built for the purpose.

Musical Style: The context does not circumscribe the musical style. There are and have been performances involving one or more of the following styles:

saluang klasik
saluang orgen
orgen

In 2015, I witnessed two performances, both of which featured saluang orgen and/or orgen more than saluang klasik. The orgen was part of the key line-up with the tukang saluang and padendang. At the first event, there was so little use of saluang as an instrument, meaning it was largely songs affiliated with the repertoire of orgen, that I asked Pak Ketua why it was even called "saluang." He responded that the performances still started and ended as a saluang performance would.

Behavior: When I had conversations about bagurau lapiak in 2015 and 2016, several performers and devotees told me that bagurau lapiak were venues where activities and behaviors outside the normative standards of Islamic propriety occur. In other words, things happen in these contexts that you would not witness at other kinds of saluang performances, including the consumption of alcohol and men dancing with the performers, though I have personally never witnessed either of these, I suspect because of my presence. In my experience, there is more interaction between performers and audience members at these events, including more flirting and racier lyrics.

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Performance: Pasa Payokumbuah, July 31, 2015 11 Bagurau Lapiak image_header 2021-06-21T11:22:34+00:00 -0.2255, 100.63285 07/31/2015
Date: July 31, 2015
Time:
Place: Pasa Payokumbuah
Style: Saluang orgen and orgen
Occasion: Bagurau Lapiak
Set up:
Performers:
- Padendang:
  - Ria
  - #2 not identified
  - #3 Not identified
  - #4 Not identified
  - Guest: Ayu Lestari
- Tukang Saluang: Not identified.
- Tukang Orgen: Not identified.
- Janang: Not identified.
Audience:
Ethnographers: Jennifer & Pak Ketua
Attendance:
Notes:
Style: Orgen 10 Orgen is a musical style that has been incorporated into some saluang performances. image_header 2021-03-28T22:02:36+00:00
Definition: "Orgen" is the term people use in West Sumatra to refer to a synthesizer. "Orgen," short for "orgen tunggal" (standalone orgen), also refers to a musical style that features vocalists backed by a synthesizer that is pre-programmed with drum machine, special effects, and usually pumped through massive speaker systems.

The origins and context for orgen stand apart from saluang, the style is found frequently as daytime entertainment at weddings and other life-cycle events. However, the musical style--the instrumentation and repertoire or orgen--has been incorporated into some saluang performances, such as performances that involve mixed musical styles, like bagurau lapiak and other contexts at the request of the event host. For example, at the wedding in Sariak Laweh, an orgen performer and a vocalist had been arranged in addition to the saluang klasik group contracted.

On this website, we focus on orgen as it is incorporated into the saluang world, not how it exists outside of it.

Performer line up:
- one keyboard player
- padendang present who do dual duty covering saluang specific repertoire AND the popular music repertoire affiliated with orgen.
- It is important to note that the saluang itself is NOT used, even if the song is from saluang repertoire.
Finally, it is worth noting that there is an important distinction with the style listed here as saluang orgen. That style involves the use of orgen with saluang to accompany saluang songs. If the saluang is not involved, then it is simply orgen.

Economics: These performers would be contracted in advance (e.g. Sariak Laweh) and/or are a part of the saluang group (e.g. Bagurau Lapiak at Payokumbuah Market and Ngalau)

Performance Space: Outside on or nearby makeshift stage with saluang performers.

Amplification: Massive speaker systems.

Repertoire: As a musical style, orgen involves a range of popular music genres, including pop Minang, dangdut Minang, and other genres. When incorporated into saluang performances, it can involve all this repertoire but also cover saluang songs, though typically those that are identified as "gembira."

Time frame: Orgen has been popular for decades. It is the most economical musical style to engage for a wedding. Its incorporation into saluang is more recent.

Region: As a musical style, it is found throughout the entire Minangkabau region.
Contexts for Saluang Performance 9 This page explains various contextual factors for saluang performances image_header 2021-09-02T01:09:26+00:00
This page outlines a range of contextual factors that all have a hand in shaping the way a performance unfolds.
What
Saluang performances are held in association with a wide variety of events, ranging from events hosted by families to those hosted by communities or institutions. All the events at which saluang is found have a celebratory nature: the music enhances a sense of festivity and sociability.
- Life cycle events, especially weddings and circumcisions
- Community celebrations, such as fundraisers, halal-bihalal
- Bagurau Lapiak
When
Saluang performances are more common at certain times of the year than others. While Indonesia adheres to the Gregorian calendar for official business, the Islamic calendar equally structures the passage of time in Minangkabau society. Saluang performances won't be found at all during the holy month of Ramadan, when it is not appropriate to hold celebrations of any kind. As the most popular time for weddings and circumcisions is the month following Ramadan, saluang performances are the most frequent then. Jennifer deliberately designed her plan for fieldwork around this calendar. The patina of religiosity lingers through Lebaran and in the week or two afterwards, which does have some influence on the participation in and modesty at saluang performances. Finally, families and communities hosting events might give some consideration to season, whether it is the rainy or dry season. The dry season is better for hosting events held outside with strong attendance. The weather, however, has been less predictable with climate change. In summary, the following are important temporal factors that structure the ways events unfold:
- The year: performances were different in 2003-2004 vs. 2015-2016
- The month, particularly according to the Islamic calendar
- The season: dry or wet, which will affect people's ability to travel.
Where
Saluang performances occur wherever there is a sizable Minang population. The location where an event is held is very influential on the way an event will unfold, in part structuring to some extent the performers who are invited and the pagurau who attend, but also for the repertoire that might be requested. Historically, Bukittinggi was considered the "center" for saluang, with many performers in residence there. Over time, however, Payokumbuah became the center: many performers are now located in or near Payokumbuah.

The broadest distinction with regard to location is between events held in the darek vs. the rantau, including areas of the rantau beyond the borders of West Sumatra. The specific luak is another factor, as is the specific nagari, particularly if there are songs affiliated with it. A performance held in Luak Agam is likely to have some differences from one held in Luak Limo Puluah Koto. Both will have differences from a performance held in areas of the rantau, such as Solok or Pasaman. Those performances held beyond the province would be different yet again. The best singers, like Te E, have stories of traveling to neighboring provinces in Sumatra, including Riau, Jambi, Bengkulu, North Sumatra; to Jakarta and other parts of Java; and to parts of Malaysia. I've never attended a saluang performance in the rantau so I can't speak to how they are structured, but I wonder if people don't request the most classic songs, the songs closely associated with their hometowns. Finally, events held in urban centers are likely different from those in more rural locales. This factor is probably most influential on the participants, generating greater attendance closer to population centers. But it is not the only consideration. If a very famous singer will be singing in a more rural location, like Te E in Suayan (about 2 hours one direction by motorbike from Payokumbuah), pacandu are willing to travel.

Another factor that plays into the way performances unfold are the physical spaces in which they are located. There is a difference if they are held in a home or in a communal space, the inside of a house or in the yard. When they are held in communal spaces, are these regular gathering spaces for community events, a public marker, a specially-built cafe or road side stall? Are the guests seated at tables and chairs, on rows of chairs, mats on the floor, or must they stand?
Who
Who is hosting a saluang performance has a strong hand in shaping it, including the choice of performers, the choice of saluang styles, and so on. These factors include whether the host is an individual/ family, a community, or an institution. The economic capital of the host affects the budget for an event, which is turn might affect the style of saluang and the physical set up. The performances with the lowest budget, for example, are least likely to have seating or snacks for the pagurau (see Performance: Suayan, August 1, 2015 vs. Performance: Batu Balang, July 17, 20160. The religious values of the hosts--the relative piety--will affect the presence or absence of porno lyrics. The performers and pagurau will be more modest if they know a host is more devout. If a host is a known pacandu, then the event will be of a different quality, have different songs, and/or different interactions between performers and pagurau or among pagurau than if the host is less familiar with the scene.
Economics of performance
How a performance is structured relatively to economics shapes its structure. The most important distinction here is whether
- Performers are contracted in advance for the event: they are paid some uang muka ("face money," an advance) at the time they are contracted and the remainder at the performance. This can be the case even if the performance is functioning as a fundraiser, where all funds contributed for the honor of making requests goes to the designated cause.
- Performers need to generate their own income, working for tips and a share of the evening's takings (see bagurau lapiak).
Summary
In short, each event is completely unique and the conditions are not replicable.
Style: Saluang Orgen 8 This style features saluang songs accompanied by a synthesizer image_header 2021-03-28T22:00:39+00:00
Definition: This is a term that some people use to refer to the combination of saluang klasik line up plus a synthesizer.

Performer line up: The most conventional line-up involves:
- a tukang saluang
- 2-3 padendang, though more may be involved depending on the context
- a keyboard player
- a janang may be involved in certain contexts, such as community and fundraising events. They are not involved in performers for life-cycle events
Context: Saluang orgen can be found in a number of contexts including
- life cycle celebrations
  - weddings
  - circumcisions
- community celebrations
  - halal bil halal, held at the end of Ramadan
- bagurau lapiak
Economics: These depend on the performance context
- wedding etc.: contracted in advance
- bagurau lapiak: share of the takings for an evening.
Performance Space:
- Outside the house at family events
- In the street, indoor halls, markets, coffee house etc.
Amplification: Typically amplified through massive speaker systems.

Repertoire: saluang orgen line-up typically covers only part of the saluang repertoire, songs that have a steady rhythm, including singgalang, gembira, and some satangah tiang, along with all the songs imported into the repertoire from pop repertoire.

Time frame: This style is the dominant saluang style that has existed for many years. It is unclear when amplification was added. It is also unclear when the system of requests commenced beyond requests for a specific song.

Region: This combination style is found in the darek. It's unclear how common it might be in the rantau or whether people there prefer saluang klasik.

Note: As a style saluang orgen is distinct from just orgen. The two key distinctions are:
1. the use of the saluang and
2. the coverage of songs part of the broader saluang repertoire.
Some performances, like the malam bagurau at Sariak Laweh, involve a mix of styles: saluang klasik, saluang orgen, and orgen. Not all singers are comfortable straying beyond the saluang klasik format, participating only out of politeness.
Genre: Dangdut Minang
Dangdut Minang is the regional variant of dangdut, marked by the use of Minangkabau language texts, rather than Indonesian language texts of the wider genre. There are distinct songs in this repertoire that one doesn't find in dangdut Indonesia. These songs are adapted to a range of musical styles, including saluang dangdut and orgen.

Here's an example of a dangdut Minang song delivered in the style of orgen at a bagurau lapiak performance at Pasa Payokumbuah.
Role: Janang There are some saluang performances that involve a person who functions as an emcee, hired as part of the team to mediate between the pagurau and the performers. There are two terms used to describe the emcees: janang, which I have heard most frequently and term used throughout the site, and tukang oyak ("the crafter of the shaking (as in shaking the hips)"). Their job, as the second term hints, is to enhance the joviality of the evening. The emcees are present at specific contexts for saluang performance, such as community celebrations or bagurau lapiak. Their presence is essential when a performance is designed to raise funds (e.g. Performance: Pariangan, February 10, 2004), cover the communal cost of hosting, or to generate income for the performers, such as bagurau lapiak (e.g. Performance: Ngalau, July 31, 2015). They can also be present simply to add to the joviality of an event, even when pagurau don't pay for the privilege of making requests (e.g. Performance: Sekolah Tinggi Seni Indonesia, December 23, 2003). It is considered inappropriate to have janang involved at events that are hosted by individual families, at weddings and circumcisions.

The janang--always a man--typically sits on stage with the performers, situated at one end for easy audience access. Often they have a card box placed near them, in order to receive the money and/or requests. The pagurau have the option of writing out requests on paper or whispering them in person to the janang, as the performance proceeds. When the pagurau pay for their request, they will put the bill on the side of the box, especially if they need to make change. It often works on an honor system: they help themselves to the change they need in the box.

After receiving the requests, the janang's job is to deliver them. They do so verbally, announcing the requests over the sound system while the tukang saluang continues to play in the background. Their announcements include the particular request, the name of the requestor (either an individual pagurau or a group), and the amount offered. The requests can be for a particular song, the prolongation of a song, the repeat of a verse, or demonstration of an ornament. I've also heard requests of different nature: to remove a jacket, sit closer, or for a particular singer to respond to a question.

The janang interjects in the course of the performance, jumping into what might seem like the middle of the song, but usually after several pantun, to deliver a request to extend it or a request to change it. This is the beauty of the flexible song structures--padendang can continue to deliver new verses as necessary. When these interjections happen during a song, it might seem like an "interruption," but it is actually more of an "extension." Their announcements are a key part of the performances that include them, the interactions between padendang and the pagurau considerably livelier for their presence. The janang will also often introduce a performance and the performers, and make public service announcements, such as ushering invitations to upcoming saluang performances.

At the Bagurau di Udaro sessions at Radio Republik Indonesia, there were a couple of announcers who acted like janang, except they didn't take money for requests. The requests had been submitted in advance of the radio show, and the announcers read them out, announcing the request and the name of the person or group making the request. They also engaged in public service announcements and enhancing joviality. Their function was similar enough to janang in a staged performance with performer-audience interaction that I have grouped them here for that purpose.
Choosing Saluang Style
Why does one host prefer saluang klasik and work to secure the best singers for their event while another prefers a mix of style, working to bend saluang klasik with more popular styles, like saluang orgen or just plain orgen? To revisit the list of styles list the module on style.

The various contextual factors that structure the when, why, and what of an event play into and help guide the choice of saluang style a host family or organization are likely to desire at their event. The choice of style also has to do with positionally, or how a host choses to position themselves: are they traditionalists or are they cosmopolitan? Do they want to assert a foot in both worlds? Do they have the economic capital to do so? Put simply, those who are pacandu or saluang devotees will always choose saluang klasik as will those working with more limited budgets. But those who are interested in projecting themselves as a little more cosmopolitan might attempt a blend, like the event at Sariak Laweh which featured a mix of saluang klasik, saluang orgen, and orgen, the latter two to the chagrin of Te E and a number of her followers who came to see her. (She was not aware of the mix in advance and likely would have declined if she had been). If a host is holding a celebratory event, saluang lamak would not be appropriate--the limited audience would work against the festive atmosphere necessary. Other contexts, like bagurau lapiak, at least in 2015 and 2016, guaranteed a mix of styles, with little of saluang klasik and more orgen.

The style or styles featured very much structure and circumscribe the options available for which performers are engaged, which audiences attend, the songs performed, the nature of the interactions, and the kinds of lyrics.

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