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Song in the Sumatran Highlands

Performance: Pariangan, February 10, 2004

Date: February 10, 2004
Time: The invitation states a start time of 8.30p.m., slightly earlier than typical start time of 9p.m. It didn't actually get underway until 9.50p.m.
Place: Pariangan
Style: Saluang Klasik
Occasion: Malam Dana
Set up: The performance was staged in the front of someone's front yard, with a temporary stage covered by a large plastic canopy stretched over bamboo poles. On stage, mattresses were covered with embroidered pieces of cloth, and the sides of the stage similarly draped. Plastic chairs for the audience were set out in rows facing the stage. People were still setting up and adjusting the sound system as the performance started. The quality was particularly bad: I noticed that a padendang expressed displeasure at the microphone.

Performers:

Padendang:
- Contracted
  - Si Ai
  - Gadih Santan
  - Eri Tamala
  - Upik Pasilian
  - Upik Gantiang
- Special guest
  - Syamsimar
Tukang Saluang: Bujang Rao-Rao
Janang: Antoni Dt. Mangiang
- note that the invitation says "tukang oyak," which is an alternative term for the role.

Audience: This performance had more women and children present than any other I had previously attended since the start of fieldwork. When I asked Martis about their presence, he said it was partially about the context but also because they are interested in the genre, an interest which changes from region to region and is quite strong in Pariangan (possibly as it is home to famous singers, like Syamsimar).

The seats were provided for the “real” pagurau and invited guests, people who received the invitations; they were deliberately kept empty until their arrival. Women, children and some other men stood around the edges. Some women later found stones to perch on. This crowd of local onlookers started to thin out towards midnight. There were probably 200 people there at the peak. Some of the pagurau—regulars that the padendang recognize by visage--traveled from relatively nearby locations, like Batusangkar, Batipuah, Padang Panjang. Some came from as far away as Payokumbuah, which back then was probably at least a two-hour drive.

Ethnographers: Jennifer & Martis
Attendance:
Notes:

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People: Syamsimar 23 Syamsimar was a legendary padendang image_header 2021-03-02T21:41:42+00:00 -0.45471, 100.49178 September 24, 2004
Stage Name: Syamsimar (also spelled Samsimar)
Other Names: None known.
Role: Padendang.
Sex: Female.
Time Frame: Contemporary Figure
Source: personal interactions at performances and through an interview in 2004.
Born: Historical records of her birth are not exact. There are estimates that range from 1936-1945, with the later range more likely.
Died: June 14, 2011.
Place of Origin: Guguak, Pariangan.
Place of Residence: Pariangan.
Year started performing: @1965.
Training: Syamsimar learned from her father, Djamain Dt. Tumbijo, who was a tukang saluang.

Relationships to other performers:
- her 4th husband, Yusri Lelo Sati (m. 1966), was a tukang saluang.
- her niece, Hutamawati, is a tukang dendang.
Group:
- Syamsimar and her husband Yusri Lelo Sati established a group called Minang Maimbau. Other members, according to Mardjani (pp. 396, 400), include
  - Aminuddin, tukang saluang
  - Asminar, padendang
  - Hutamawati, padendang
  - Ernawati, padendang: Is this the singer now known as Te E? When I interviewed Te E she did not mention this.
- When Yusri Lelo Sati died (1989), tukang saluang accompanying Syamsimar included Hen Peke and Malin Cayo.
Performances:
- As a special guest at Performance: Pariangan, February 10, 2004.
- As a special guest at Performance: Padang Panjang, April 10, 2004.
Interviews: September 24, 2004.
Songs composed:
1. Song: "Banda Sapuluah"
2. Song: "Bungo Larangan"
3. Song: "Bujang Marando" (source: Syamsimar)
4. Song: "Guguak Maniti Ameh" (obit.)
5. Song: "Indang Bareh Maha"
6. Song: "Indang Kurinci"
7. Song: "Indang Sirenti"
8. Song: "Kamaman"
9. Song: "Kambang Aia Aji"
10. Song: "Kutang Barendo" (source: Syamsimar)
11. Song: "Lego Puyuah"
12. Song: "Lintau Basiang" (obit.)
13. Song: "Lubuak Aluang"
14. Song: "Manyongsong Riak" (obit.): is this the same song as "Riak Mayonsong Bayua"?
15. Song: "Palaiaran"
16. Song: "Piaman Lamo" (obit.)
17. Song: "Racun Dunia"
18. Song: "Salawaik Talam" (source: Syamsimar)
19. Song: "Singgalang Oyak Kapua"
20. Song: "Siriah Langkok" (source: Syamsimar)
21. Song: "Talempong Unggan" (source: Syamsimar)
Recordings:
Other notes:
People: Gadih Santan 20 Gadih Santan is a well-known padendang. image_header 2021-06-22T22:27:50+00:00 -0.23089, 100.74755 July 14, 2016
Stage Name: Gadih/ Adi Santan: "santan" means coconut milk. Her nickname came about as she was seen as "sweet," like santan.
Other Names: Adi Harnis
Role: Padendang.
Sex: Female.
Time Frame: Contemporary Figure
Source: personal encounter in 2004 and 2016.
Born:
Died:
Place of Origin:
Place of Residence: Lurah Bukik, Nagari Balai Panjang.
Year started performing:
Training:
Relationships to other performers:
Performances:
- Performance: Sekolah Tinggi Seni Indonesia, December 23, 2003.
- Performance: Pariangan, February 10, 2004.
- Performance: Suayan, July 29, 2016.
Interviews: July 14, 2016.
Songs composed:
Recordings:
Other notes: She is particularly liked in Agam because of a preference there for padendang with lower voices.
People: Bujang Rao-Rao 14 Bujang Rao-Rao is a tukang saluang. image_header 2021-06-19T18:53:48+00:00 -0.37679, 100.55631
Stage Name: Bujang Rao-Rao; his stage name asserts a place affiliation with nagari Rao-Rao.
Other Names:
Role: Tukang Saluang.
Sex: Male.
Time Frame: Contemporary figure
Source: in person encounter at a performances in 2004 and 2015
Born: unknown
Place of Origin: Rao-Rao
Place of Residence:
Year started performing:
Training:
Relationships to other performers:
Performances: Performance:
- Pariangan, February 10, 2004.
- Performance: Suayan, August 1, 2015.
Songs composed:
Recordings:
Other notes:
People: Antoni Datuak 12 Antoni Datuak is a janang. image_header 2021-06-24T00:37:58+00:00
Stage Name: Antoni Datuak (Pak Ketua identified him by this name)
Other Names: Dt. Mangiang (Martis identified him by this title)
Role: Janang.
Sex: Male.
Time Frame: Contemporary figure
Source: in person encounter at a performance in 2004
Born:
Died:
Place of Origin:
Place of Residence: Bukittinggi (according to Martis)
Year started performing:
Training:
Relationships to other performers:
Performances:
- Performance: Pariangan, February 10, 2004.
Other notes: Martis identified him as affiliated with the radio station, Radio Arau, which used to feature regular saluang shows. He also sung during a song at Performance: Pariangan, February 10, 2004, suggesting he had some capacity and knowledge as a padendang. It makes sense that janang need some familiarity with the repertoire.
People: Eri Tamala 10 Eri Tamala is a padendang. image_header 2021-06-24T00:31:13+00:00 -0.2245, 100.634
Stage Name: Eri Tamala.
Other Names:
Role: Padendang.
Sex: Female.
Time Frame: Contemporary figure
Source: in person encounter in 2004
Born:
Died:
Place of Origin:
Place of Residence: Payokumbuah.
Year started performing:
Training:
Relationships to other performers:
Performances:
- Performance: Pariangan, February 10, 2004.
Songs composed:
Recordings:
Other notes:
People: Upik Pasilian 9 Upik Pasilian is a padendang. image_header 2021-06-24T00:32:31+00:00 -0.5518, 100.66754
Stage Name: Upik Pasilihan; her stage name asserts a place affiliation with nagari Pasilian.
Other Names:
Role: Padendang.
Sex: Female.
Time Frame: Contemporary Figure
Source: personal encounter at a performance in 2004.
Born:
Died:
Place of Origin: Nagari Pasilian, Kecamatan X Koto Diatas, Kabupaten Solok.
Place of Residence:
Year started performing:
Training:
Relationships to other performers:
Performances:
- Performance: Pariangan, February 10, 2004.
Songs composed:
Recordings:
Other notes:
People: Upik Gantiang 9 Upik Gantiang is a padendang. image_header 2021-06-24T00:34:21+00:00 -0.527242, 100.683442
Stage Name: Upik Gantiang; her stage name asserts a place affiliation with Gantiang.
Other Names:
Role: Padendang.
Sex: Female.
Time Frame: Contemporary Figure
Source: personal encounter at a performance in 2004.
Born:
Died:
Place of Origin: Padang Gantiang.
Place of Residence:
Year started performing:
Training:
Relationships to other performers:
Performances:
- Performance: Pariangan, February 10, 2004.
Songs composed:
Recordings:
Other notes:
People: Uncu Ai 7 Uncu Ai is a retired padendang. image_header 2021-06-19T19:11:09+00:00 -0.24499, 100.72381
Stage Name: Uncu Ai. "Uncu" means "aunty." When I first started working on saluang, she was identified as Si Ai. "Si" indicates a younger woman, so as the padendang age, their names change.
Other Names: Asnita
Role: Padendang.
Sex: Female.
Time Frame: Contemporary Figure.
Source: personal encounters in 2004 and 2016.
Born:
Died: n/a.
Place of Origin:
Place of Residence: Balai Panjang.
Year started performing:
Training:
Relationships to other performers:
Performances:
- Performance: Pariangan, February 10, 2004.
Interviews: July 13, 2016.
Songs composed:
Recordings:
Other notes:
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.
Context: Community Celebrations 5 Various community celebrations are cause for saluang performance image_header 2021-03-24T12:21:07+00:00
There are a wide range of occasions celebrated by a community that could incorporate saluang. Some that I have encountered include:
- halal-bihalal (which means asking for forgiveness). These are community gatherings, often held to celebrate Lebaran, the week or so of celebration following Ramadan, the month of fasting in the Islamic calendar. Examples include
  - Performance: Kampung Jambak, December 2, 2003
- community entertainment
  - Performance: Balai Cacang, July 16, 2016
- fundraisers
  - Performance: Pariangan, February 10, 2004
- institutional events, such as reunions, conferences, meetings
  - Performance: Sekolah Tinggi Seni Indonesia, December 23, 2003
Some of these events are held explicitly as fundraisers for a community project (Pariangan, February 10, 2004) and others might include collecting fiscal contributions to offset costs of putting on the event (Kampung Jambak, December 2, 2003). If attendees are paying for requests, then a janang is always involved. At these events, refreshments may be available nearby, but pagurau need to purchase for themselves.

Economics: Even if one of these events are designated as a fundraiser, the performers for all these occasions are contracted and paid a fixed fee. Unlike bagurau lapiak, they are not working for tips: funds raised go the designated cause.

Space: These performances do not take place in the yards of private homes, rather they happen in spaces accessible to the targeted community, including by the side of the street, in an open area, in institutional buildings,

Musical Style: The context does not circumscribe the musical style, but all those I witnessed involved saluang klasik

Behavior: Most of these performances followed mainstream Minangkabau standards of decorum. They are more jovial and interactive, however, if there is a janang present. At some events, men might play games in the background, present for the sociality of the evening as much as for the music.

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