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Song in the Sumatran Highlands

Place: Bukittinggi

Bukittinggi is the biggest city in Luak Agam, with an estimated population of 131,953 in 2019. Bukittinggi literally means "high hill."

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People: Ajis St. Sati 17 Ajis St. Sati was a legendary padendang and composer image_header 2021-03-04T13:26:55+00:00 -0.30028, 100.3612 Novermber 18, 2004
Stage 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/
Introduction to Place 12 Introduction to Place image_header 2022-02-08T03:45:06+00:00
Place--where one is situated, where one lives, works and travels--governs people's experience. Much of my time in the highlands of West Sumatra has been spent in the highland town of Padang Panjang, surrounded by the peaks of Mt. Tandikek and Mt. Singgalang to the northeast and Mt. Marapi to the northwest. Often, those mountains were covered in cloud, but when the peaks were revealed, I reveled in their beauty. Many Minangkabau people experience these mountains on a regular basis but their experiences are likely structured by different views, such as living in Koto Baru directly between them or in Bukittinggi where they are located to the south. My experience, my knowledge of Mt. Singgalang is specific to my location.

The experience of place in West Sumatra, as anywhere, is condition by personal experience, collection of places lived or traveled over a lifetime, the visits to see people or performances located in specific places, and the roads traveled to get there.

To help you, the user, get a sense of the place where this music lives, we've provided several tools.
- The first is two-dimensional maps that present a sense of the boundedness of places, where one places begins and another ends.
- The second is interactive google maps where you, as the user, can choose your view. You can zoom in or out, to see where a named place is situated. You can choose your view, toggling between "Map" and "Satellite" views, between "Streetview" and "Terrain" within maps, and with and without labels in "Satellite" view. My personal favorite is "Terrain" view because it gives you the best sense of the lay of the land, of the topography, which in the mountainous highlands is really important.
- The third is images of places, where possible. We've opted to use images where authorship has been guaranteed, either my own or from family and friends who have traveled to experience this place I've called home. When you click on the page for a place, any associated images will be included there. For example, click on the link to go to the page for Padang Panjang, the place at the center of the google maps above.
Contexts for Saluang Performance 9 This page explains various contextual factors for saluang performances image_header 2021-09-02T01:09:26+00:00
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, which does have some influence on the participation in and modesty at saluang performances. Finally, families and communities hosting events might give some consideration to season, whether it is the rainy or dry season. 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 that structure the ways events unfold:
- The year: performances were different in 2003-2004 vs. 2015-2016
- The month, particularly according to the Islamic calendar
- The season: dry or wet, which will affect people's ability to travel.
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 with regard to location is between events held 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. A performance held in Luak Agam is likely to have some differences from one held in Luak Limo Puluah Koto. Both will have differences from a performance held in areas of the rantau, such as Solok or Pasaman. Those performances held beyond the province would be different yet again. The best singers, like Te E, 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. Finally, events held in urban centers are likely different from those in more rural locales. 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 (about 2 hours one direction by motorbike from Payokumbuah), pacandu are willing to travel.

Another factor that plays into the way performances unfold are the physical spaces in which they are located. There is a difference if they are held in a home or in a communal space, the inside of a house or in the yard. When they are held in communal spaces, are these regular gathering spaces for community events, a public marker, a specially-built cafe or road side stall? Are the guests seated at tables and chairs, on rows of chairs, mats on the floor, or must they stand?
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 whether the host is an individual/ family, a community, or an institution. The economic capital of the host affects the budget for an event, which is turn might affect the style of saluang and the physical set up. The performances with the lowest budget, for example, are least likely to have seating or snacks for the pagurau (see Performance: Suayan, August 1, 2015 vs. Performance: Batu Balang, July 17, 20160. The religious values of the hosts--the relative piety--will affect the presence or absence of porno lyrics. The performers and pagurau will be more modest if they know a host is more devout. If a host is a known pacandu, then the event will be of a different quality, have different songs, and/or different interactions between performers and pagurau or among pagurau than if the host is less familiar with 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 they are contracted 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 (see bagurau lapiak).
Summary
In short, each event is completely unique and the conditions are not replicable.
People: Kakao 6 Kakao is an amateur padendang. plain 2021-02-11T23:45:14+00:00 -0.30477, 100.36957
Stage Name: Kakao.
Other Names: Ali Hasan.
Role: Amateur padendang and pacandu. When I encountered him, he was not the invited guest, but participated by singing a song or two. By amateur I mean that he was not a professional singer on the circuit.
Sex: Male.
Time Frame: Contemporary Figure
Source: personal encounter at performances in 2004.
Born:
Died:
Place of Origin:
Place of Residence: Bukittinggi
Year started performing:
Training:
Relationships to other performers:
Performances:
- as a guest
  - Performance: Radio Republik Indonesia Bukittinggi, January 26, 2004
  - Performance: Radio Republik Indonesia Bukittinggi, February 6, 2004
Songs composed:
Recordings:
Other notes:
Song: "Kurai Batagak Rumah" 5 This song is affiliated with the place, Pakan Kurai, an area of Bukittinggi. plain 2020-11-27T17:32:23+00:00
Alternative Title: "Ratok Kurai Batagak Rumah"
Translation of Title: "Batagak Rumah" means "to raise/build a house," "Kurai" functions as a place affiliation, the neighborhood of Kurai in the city of Bukittinggi.
Composer: Unknown.
Type of song: Ratok.
Place affiliations: Kurai, or properly Pakan Kurai, is an area of Bukittinggi.
- Luak: Agam.
- Darek or Rantau: Darek.
Source: Te E's List of Songs, Mardjani's List of Songs.
Description: This is a relatively well-known dendang, part of the curriculum in dendang & saluang classes at ISI.