Although Ani’s mother, Dayu, was not known in the saluang world under her name, she was a capable singer. Ani acknowledges that “her ability or expertise as a pendendang is a legacy from her mother,” but she “never directly learned dendang from her mother” (Erlinda 2001:71-2). Given that her father, Bujang Bagindo Marajo, was a tukang saluang, it seems likely she picked up knowledge from him, too. Her mother, at least, was reluctant for Ani to become a padendang, but, as explained in Erlinda, Ani considered it “her destiny.” Two more distant relatives of Ani, who functioned as “mamak jauh” (a term referring to a more distant role of guardianship) were tukang saluang: Undai Sidi Bagindo and Anduang Hitam. They taught Ani to sing and took her along with them to the saluang shows. This, as Erlinda emphasizes, is contrary to Minangkabau norms; typically “a mamak will strictly prohibit if his niece becomes a saluang singer, an entertainer for the public at night, because such women [out at night] are seen as having bad morals and will be made into play things by men.” But these two mamak of Ani’s resisted these negative views, making sure to “watch and protect Ani from the views and actions of others.” Their acceptance of, and support for, Ani singing in public helped, Erlinda implies, shift societal attitudes (2002:72). Although Ani performed under their watch, she went in secrecy, her appearances shielded from the knowledge of her mamak kandung, the man ultimately responsible for her. When Zainuddin, her mamak kanduang, learned of her behavior, he “strongly scolded and forbade Ani [from participating]," threatening her with a gun. According to the narrative presented in Erlinda, that did little to deter Ani: “she did not think the job was wrong, [nor] did it violate her morals as a woman.” Afterall, she wasn’t going to the shows “with any random person, but with her distant mamak who [were also] responsible for the good name of their niece.” When Zainuddin learned that she persisted, he had her detained by the wali nagari (head of the nagari) for a day. This still did not discourage her and she overcame familial resistance to become a padendang (Erlinda 2001:73).
The narrative then discusses how she started appearing in public in 1961. She was in high demand, performing for 20 consecutive days. “According to Ani,” Erlinda relates, “those conditions were very tiring, but she was happy and liked it.” Her career took off from there. She was active as a singer until the 1990s, participating in commercial recordings. Even in the 1990s, despite her “advanced age,” she would still accept requests, but by the time of the interview with Erlinda in 1998, when Ani was almost 70, she had ceased to sing (Erlinda 2001:73-74).
Biographical Page: Ani Aia Angek
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