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1. 1 media/Image_Mardjani_Complete Chart of Performers.jpg 2021-02-25T20:12:10+00:00 Jennifer Fraser 404477000adfd4e5c7a1128cfac82e1fc740e8c3 People: List of Historical Figures Jennifer Fraser 6 List of Historical Figures involved in Dendang Darek image_header 2021-03-02T21:59:12+00:00 Jennifer Fraser 404477000adfd4e5c7a1128cfac82e1fc740e8c3

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• 1 2021-03-16T20:13:08+00:00 Story: Dayu, a singer who disguised herself as a man 3 Dayu's story plain 2021-03-16T21:05:51+00:00

  Dayu (see her brief biographical page) was Ani Aia Angek’s mother. We know about her through Erlinda’s interview with Ani (2001:71-72). According to Ani, her mother was a talented singer, but she was “not a tukang dendang or professional padendang.” Nobody knew the name “Dayu” as someone that sang. According to Ani, her mother didn’t sing in any of the places known for saluang performances, limiting her participation to intimate settings in a private house with just a handful of people. She was not specifically invited nor was she paid for these appearances (we can surmise, therefore, that these are two markers of professional status), but she sang for the pleasure of her penggemar (devotees). Moreover, her appearance was made possible because her husband, Bujang Bagindo Marajo, was a tukang saluang and he would always accompany her. Finally, Dayu appeared dressed as a man. Erlinda suggests that this was an indication that Dayu knew it was not appropriate for a woman to sing in public at the time, but that she found a way that she was able to participate (Erlinda 2001: 71-72). Further evidence of this position could be taken in Dayu’s opposition and reluctance to her daughter, Ani, becoming a padendang (Erlinda 2001: 72). 

  Interpretation: This is a fascinating story. I wonder how successful Dayu was in her cross-dressing. Were fans oblivious or aware and brushed it off? At the very least, it speaks to ideas about gender roles within saluang and the lengths women needed to go to pass and participate at any level. 

  Resources
  • Erlinda 1999
  • Erlinda 2001
  
   
• 1 media/Image_Mardjani_Ani etc.jpg 2021-02-25T14:08:41+00:00 People: Ani Aia Angek 2 Ani Aia Angek was one of the first professional female padendang image_header 2021-02-25T23:19:52+00:00 -0.40776, 100.41081 Other Names: Ani Angek
  Role: Padendang
  Sex: Female
  Time Frame: Historical figure
  Born: @1941 (interview in Mardjani); @1928 (Erlinda 1998: 51)
  Generation: 5th
  Place: Aia Angek
  Year Started Performing: she started performing professionally in public in 1961 (Erlinda). She was one of the first professional female padendang. 
  Active: most active 1961-1990, but occasionally singing until 1998.
  Relationships to Other Performers: her mother, Dayu, was a padendang who disguised herself as a man; her father, Bujang Bagindo Marajo, was a tukang saluang. Other relatives include tukang saluang, Undai Sidi Bagindo and Anduang Hitam.
  Trained under: Ajis St. Sati (Mardjani, but not mentioned that in her biography in Erlinda); 
  Trained: Uni Dar, Uni Ta (it's possible this is Ita Singgalang), Uni Da
  Other notes: she also worked as a farmer (Mardjani 393)
  Source: Mardjani et. al.; Erlinda 1998; Erlinda 2001. 
• 1 2021-02-25T14:08:42+00:00 People: Dayu 2 Dayu was a female padendang who sang disguised as a man. plain 2021-02-26T14:57:51+00:00 Role: Padendang
  Sex: Female, but performed disguised as a man
  Time Frame: Historical figure
  Generation: 4th
  Place: Aia Angek
  Relationships to other performers: Married to Bujang Bagindo Marajo, a tukang saluang, with whom she performed; the mother of Ani Aia Angek
  Source: Erlinda (2001)
• 1 2021-03-19T17:55:11+00:00 Story: Ani Angek, one of the first professional female padendang 2 Ani Angek's story plain 2021-03-19T17:55:54+00:00

  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
  
  Resources: 
  • Erlinda 1999
  • Erlinda 2001
  
   

This page references:

• 1 media/Image_Mardjani_Ani etc.jpg 2021-02-25T14:08:41+00:00 People: Ani Aia Angek 2 Ani Aia Angek was one of the first professional female padendang image_header 2021-02-25T23:19:52+00:00 -0.40776, 100.41081
• 1 2021-02-25T20:49:58+00:00 Resource: Erlinda, 2001, Kehadiran Wanita dalam Musik Malam 1 Erlinda, 2001, Kehadiran Wanita dalam Musik Malam plain 2021-02-25T20:49:58+00:00