Song in the Sumatran HighlandsMain MenuGetting OrientedThis page provides an introduction to the projectSongsTitle pagePlacesTitle pagePeoplePerformancesTitle pageModulesThis section provides modules focused on specific topicsGlossaryList of terms used throughout the projectReferencesList of bibliographic and discographic resources referenced in this projectTechnical NotesPathway explaining some technical decisionsProject TeamList of contributors and their roles within the project.AcknowledgmentsPage with AcknowledgmentsLicense, Citation & UseHow to use and cite the material found in this site.
People: Jahar Malin Marajo
1media/Image_Mardjani_Ganto SoriFINAL.jpg2021-02-25T14:08:42+00:00Jennifer Fraser404477000adfd4e5c7a1128cfac82e1fc740e8c322Jahar Malin Marajo was a tukang rababimage_header2021-03-01T20:27:31+00:00Jennifer Fraser404477000adfd4e5c7a1128cfac82e1fc740e8c3Role: Tukang Rabab Sex: Male Time Frame: Historical figure Generation: 4th Performed with: Ajis St. Sati in group Ganto Sori Source: Mardjani et. al.
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1media/Image_Mardjani_Complete Chart of Performers.jpg2021-02-25T20:12:10+00:00Jennifer Fraser404477000adfd4e5c7a1128cfac82e1fc740e8c3People: List of Historical FiguresJennifer Fraser6List of Historical Figures involved in Dendang Darekimage_header2021-03-02T21:59:12+00:00Jennifer Fraser404477000adfd4e5c7a1128cfac82e1fc740e8c3
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1media/Image_Ajis St Sati.jpegmedia/Image_Ajis St Sati.jpeg2020-10-20T18:46:40+00:00People: Ajis St. Sati17Ajis St. Sati was a legendary padendang and composerimage_header2021-03-04T13:26:55+00:00-0.30028, 100.3612Novermber 18, 2004Stage Name: Ajis St. Sati. Ajis is sometimes spelled "Adjis." Other Names: Role: Padendang, Composer. Sex: Male. Time Frame: Contemporary figure Source: in person encounter in 2004 Born: 1934 (interview) Died: unknown; still active in 2004. Place of Origin:Bukik Apik, Bukittinggi. Place of Residence: Bukittinggi. Year started performing: when he was 12 years old, so 1946 (interview). Training: He trained under Djamarih Relationships to other performers:
He led a group called Ganto Sori. Other members included:
Abas St. Pamenan
Jahar M. Marajo
Rahman St. Basa
According to Ani Aia Angkek (Mardjani 399), he also performed with her.
Performances:
Performance: Radio Republik Indonesia Bukittinggi, September 27, 2004.
Interviews: Novermber 18, 2004, with Mak Il St. Rajo Endah.
Songs composed: List of songs from Agus Taher
Alang Tabang
Batang Hari
Bayang Salido
Indang Sari Lamak
Lubuak Sao
Malereang Tabiang
Mudiak Arau
Ombak Mamacah
Pariaman Kini
Randang Kopi
Riak Tanjuang Sani
Sabai Nan Aluih
Sawah Rawang
Si Bungsu Babilang Malang
Sinar Riau
Singgalang Jaya
Singgalang Maimbau
Siriah Langkok
Talago Biru
Tanti Batanti
NEW (https://minangkabauheritageofficial.blogspot.com/2019/06/syahrul-tarun-yusuf-syahrul-tarun-yusuf.html)
Alang Tabang
Banda Sapuluah
Batang Hari
Bayang Salido
Kelok Sambilan
Lubuak Sao
Mudiak Arau
Ombak Mamacah
Randang Kopi
Saluang Talago Biru
Sinar Riau
Adjis Sutan Sati with Arman
Singgalang Maimbau
Tanti Batanti
Recordings: Other notes: He also worked as a bendi driver (Mardjani 391) Sources: https://aguslitaher.wordpress.com/2020/01/01/ajis-sutan-sati-pencipta-lagu-dendang-paling-produktif/
12021-02-11T21:17:53+00:00Role: Tukang Rabab9This page explains the role of tukang rababimage_header2021-03-01T20:23:52+00:00Tukang rabab are people who play the rabab. The term "tukang" means "someone who has specialization in something," which in this case would be rabab. Here we are talking specifically about the rababa darek (the rabab from the darek region) which is used to accompany the same vocal repertoire as the saluang darek. To my knowledge this role has always been gendered male, like tukang saluang.
Historically, there are some examples of both a tukang saluang and a tukang rabab playing. Certainly, by the time I was present in West Sumatra in 1998, I never witnessed such a practice. Indeed, in all the years I've been interested in this repertoire I've only encountered one tukang rabab, Fahmi, at a recording session at STSI (now ISI) which was organized, in part, to document a declining practice. Clearly, something shifted in the performance practice that allowed saluang to become the dominant instrument. Was is an aesthetic preference, was it pragmatic as there were few tukang rabab to be found, a combination, or something else entirely?
The training for a tukang rabab would, I imagine, be similar to a tukang saluang, in that they needed to familiarize themselves with the repertoire, mastering hundreds of songs. They probably be learned in a similar process of observing and listening carefully, before attempting tunes themselves. Some, as Mardjani et. al.'s chart of performers suggest, acknowledged training under a more senior performer. See, for example, Nijon.
Historical Tukang Rabab
Ismail Rajo Bujang
Jahar Malin Marajo
Mak Agam
Mangkuto Mawi
Nijon
Samsu
Contemporary Tukang Rabab
Fahmi
1media/Image_Mardjani_Ganto SoriFINAL.jpg2021-02-25T14:12:03+00:00Group: Ganto Sori3Ganto Sori was an organized groupimage_header2021-02-25T20:20:29+00:00Ganto Sori was an organized, named group that performed dendang. Ajis St. Sati, padendang, was the leader. Other members included:
Abas St. Pamenan, padendang
Jahar M. Marajo, tukang rabab
Rahman St. Basa, tukang saluang
This page references:
1media/Image_Ajis St Sati.jpegmedia/Image_Ajis St Sati.jpeg2020-10-20T18:46:40+00:00People: Ajis St. Sati17Ajis St. Sati was a legendary padendang and composerimage_header2021-03-04T13:26:55+00:00-0.30028, 100.3612Novermber 18, 2004
1media/Image_Mardjani_Ganto SoriFINAL.jpg2021-02-25T14:12:03+00:00Group: Ganto Sori3Ganto Sori was an organized groupimage_header2021-02-25T20:20:29+00:00