Contexts for Saluang Performance
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, influencing participation in and modesty at saluang performances. Finally, families and communities hosting events might give some consideration to season, rainy or dry. 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 for an event- year
- month, particularly according to the Islamic calendar
- season: dry or wet
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 is between events 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. Finally, events held in urban centers are likely different from those in more rural locales.
- West Sumatra
- Darek
- Luak Limopuluah Koto
- Luak Agam
- Luak Tanah Data
- Rantau
- other kabupaten in West Sumatra, like Solok or Pasaman
- Darek
- beyond the province
- the best singers 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.
- Rural-Urban continuum
- 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, pacandu are willing to travel.
Another factor is the space in which a performance is held:
- Private home
- Inside
- Outside
- Communal space
- Gathering space
- Public market
- Café
- Road-side stall
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- Individual/ family vs. community or institution
- Economic class: their budget affects style
- Religious values: i.e. more devout to less, might structure the presence or absence of porno lyrics
- Social/ educational capital
- Their personal level of connoisseurship and/or involvement in 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 of contracting 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.