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Song in the Sumatran Highlands

Place: Suayan

Suayan is a nagari in Kecamatan Akabiluru in Kabupaten Limopuluah Koto.

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Performance: Suayan, August 1, 2015 24 Malam Bagurau image_header 2021-06-25T18:00:39+00:00 -0.17798, 100.48907 08/01/2015
Date: August 1-2, 2015
Time:
Place: Suayan
Style: Saluang Klasik
Occasion: Malam Bagurau for a Wedding

Set up: The stage for this performance involve a structure erected at one end of a dry and empty rice field. The material used to hold up the back and the roof covering was bamboo, the roof covering a blue nylon tarpaulin, and the back a multicolor striped nylon cloth of the kind used to cover and wrap materials for transportation of goods on the back of a pickup. The floor of the stage was covered with a plastic mat with no other padding provided. No chairs were provided for the audience so a few crowded on to the stage with the performers.

Performers:
- Padendang:
  - Te E
  - Nor Cingkariang
- Tukang Saluang:
  - Bujang Rao-Rao
- Janang:
  - None, as is appropriate for a malam bagurau attached to a wedding.
Audience:
Ethnographers: Jennifer & Pak Ketua
Attendance:
Notes:
Performance: Suayan, July 29, 2016 17 Malam Bagurau image_header 2021-04-29T14:08:00+00:00 -0.185604, 100.467192 07/29/2016
Date: July 29-30, 2016
Time: We arrived just before 11p.m. It probably began around 10p.m.
Place: Suayan, a nagari that has strong ties to saluang, both for the famous singer, Gadih Suayan, named for the place, and for the series of songs tied to the place.
Style: Saluang Klasik

Occasion: Malam Bagurau for a Wedding. This was the evening before the main celebration, where food was being prepared.

Set up: The stage for this performance was erected between two houses. A plank of wood was laid between the porches on facing sides of the houses. The stage was covered with a decorative cloth and a backdrop hung. The performers are sitting on a thin mat. Like most saluang performances, the sound was amplified. You can see one of the speakers in the bottom right of the picture. Rows of plastic chairs were set out facing the stage, though some pagurau chose to sit cross-legged on the porch.

Performers:
- Padendang:
  - Gadih Santan
  - Si Sri
- Tukang Saluang:
  - Man PP
- Janang:
  - As is typical of weddings, no janang was involved in the performance.
Audience: The audience was fairly robust. In the early part of the evening, women and children lined up on the right side facing the stage. Men, likely pagurau who traveled specifically for the performance, occupy the chairs.

Ethnographers: Jennifer & Pak Ketua

Attendance: We arrived just before 11p.m. and left around 2a.m., before the performance had finished.
Notes:
People: Gadih Suayan 16 Gadih Suayan was a well-known padendang. image_header 2021-03-19T12:25:29+00:00 -0.17798, 100.48907
Stage Name: Gadih Suayan (maiden/ young unmarried woman from Suayan): her stage name asserts a place affiliation with nagari Suayan. An obituary written by Saiful Hadi, a.k.a. Pak Ketua--his day job is a journalist--suggests that she acquired this name from fans. One can imagine when she started singing, she was known as the maiden from Suayan. As Saiful writes, this name "which she carried with her until end of her life, was more popular and known by fans of saluang klasik in Luak nan Tigo, West Sumatra, and moreover throughout Indonesia.”
Other Names: Kartini.
Role: Padendang.
Sex: Female.
Time Frame: Contemporary Figure.
Source: learned about Gadih Suayan by name through ethnography.
Born: @1959 (Sanday 2002:153)
Died: June 19, 2015.
Place of Origin: Suayan.
Place of Residence:
Year started performing: @1970s
Training:
Gadis Suayan...started attending performances when she was twelve or thirteen just to listen. She then studied with a saluang player by following him wherever he went just to listen. This man made her popular by including her in his group. (Sanday 2002:154)
Sanday does not provide details of who the tukang saluang was. It is interesting that her teacher was a tukang saluang rather than a padendang.

Trained: Eri Tamala, who is described as a "foster child." Its unclear whether this means literally or that it indicates a teacher-student relationship, or a little of both.
Performances: None. I never got to see her perform.
Songs composed: A number of Suayan titles, including "Suayan Anguih" (Hasnul Fikri, Syofiani Syofiani and Lolita Lestari 2017: 530).
Commercial Recordings: Many titles.
Other notes:
Sanday writes about Gadih Suayan in her chapter on saluang (2002). She writes how she was
One of [her] favorite female singers... because of her throaty voice and the passion with which she sings. She is about forty-three, wears her hair very short, smokes, and always dresses in pants. She was born in Suayan, a village near Payakumbuh, famous for four songs called the Four Suayan... Gadis Suayan has been married twice and is presently divorced from her second husband. She speaks of him withgreat sadness and longing. Much younger than she, he left her to live with his parents in a city in eastern Sumatra. She jokes with me about being sawah liek, that is, an arid rice field-the title of a famous song she will sing later in the evening about a woman who lies fallow, uncultivated and unfertilized because she has no man... (Sanday 2002:153)
Excerpts from her obituary:
For fans of saluang klasik the name “Gadih Suayan” is a very familiar name in their ears because the name ... raises the name of the nagari where she was born, which is known with dendang “Ratok Suayan", "Suayan Ampek Lenggek” [likely the tune referenced here as "Suayan Balenggek"] along with “Suayan Anguih” and lots of dendang klasik which were presented by her always get great praise from saluang fans, because indeed we recognize that the sound of this dendang maestro is difficult to find a match even now.
… there is not a young artist or a padendang which has the sound of the same caliber as her, moreover the level of memorization and understanding of these dendang klasik songs which have lots of kalorok, gumam, garinyiak, kadakuak, genggong, japuaik anta and cokoiak where the shrewdness of padendang play with anak suara.”
Eri Tamala, her foster child/ student, is quoted in the obituary as saying Gadih Suayan worked with younger singers to “share her knowledge.”
Her sound was excellent and her mastery of songs was perfect was a speciality of hers and there is not yet someone who can replace her position...

Her departure is a sign of uncertainty for the fans of the future of saluang klasik in the region of Luak Nan Tigo …. Because we see the development of saluang klasik recently is very worrying to us because a group of young padendang prefer songs that are accompanied by modern instruments, moreover a group of young padendang don’t know the klasik dendang at all and this will become the major work for all of us...
Resources:
- Saiful Hadi, "Gadih Suayan Tutup Usia"
- Hasnul Fikri, Syofiani Syofiani and Lolita Lestari, "Semiotic in Lyrics and Perception of Community of Nagari Suayan on Saluang Ratok Suayan Anguih"
- Sanday 2002
Rendition: "Suayan Maik Ka Turun" 07/25/2016 12 "Suayan Maik Ka Turun" performed at Malam Bagurau, Sariak Laweh. plain 2021-08-04T22:45:53+00:00
Song: "Suayan Maik Ka Turun"
Performance: Sariak Laweh, July 25, 2016
Context: Malam Bagurau for a wedding
Style: Saluang klasik
Type of Song: Ratok
People:
- Padendang:
  - Te E
  - Si Sri
  - Ika
- Tukang Saluang: Kamarudin
- Tukang Orgen: Warlan
Duration: 4.14

Structure: This version has 3 pantun. The first pantun has just 2 lines for each half, repeating the last line in each half to make it fit the melodic shape. The second and third pantun have 3 lines in each half.
Lyrics:
Pantun #1: Te E
Batang
Minangkabau
Di baliak bukik Sarang Alang
Suayan di tapi rimbo x2
Indonesian
Dibalik bukit Sarang Elang
Suayan di tapi hutan
English
Behind the hill Sarang Alang
Suayan is by the side of the forest
Isi
Minangkabau
Pambaleh jaso rang nan hilang
Siang-siangi pusaronyo
Indonesian
Mengingat orang yang sudah meninggal
Bersihkan juga kuburan.
English
Recalling people who have passed away
Clean up the grave sites.
Interpretation of Pantun 1
Type of Pantun: Pantun nasehat
Batang: The batang mentions specific places and Suayan's placement by the side of the forest. The two places referenced attach the song firmly to Suayan.
Isi: The isi is considered to cover nasehat: remember your loved ones and take care of their graves. The content is also directly linked with the song title. This is an example of a pantun baku affiliated with this specific song as it should always be used in this song.
Pantun #2: Si Sri
Batang
Minangkabau
Sariak Laweh Koto Malintang
Tibo kian Sungai Balantiak
Ai "Suayan" kami ka nyanyikan
Indonesian
Sariak Laweh, Koto Malintang
Sebelah sana lagi Sungai balantiak
Oi, "Suayan" lagu kami akan nyanyikan.
English
Sariak Laweh, Koto Malintang
On the other side there is Sungai Balantiak
Oh, “Suayan” this is the song we’ll sing
Isi
Minangkabau
Adang-adang badan den pulang
Taserak tangih turun naik
Nan kontan bana nan tak ado.
Indonesian
Sering pulang ke rumah
Menanggis mask ke rumah, turun dari rumah
karena urang yg dikasihi tidak ada lagi.
English
Come home often (to one's kampung)
Crying when going in and out of the house
Because those who are loved are all gone.
Interpretation of Pantun 2
Type of Pantun: pantun parasaian.
Batang: The batang is largely about places, including those that one must pass through on the road from Payokumbuah to Suayan, including Sariak Laweh, Koto Malintang, and Sungai Balantiak. As is typical of batang, there is also a reference to the title of the song that will be delivered, though rather than the full title it is simply "Suayan." This is the third line of the pantun, an additional line to the two lines delivered in the first pantun by Te E.
Isi: This isi is about homecoming and loss encountered after being away.

Pantun #3: Ika
Batang
Minangkabau
Rang Canduang di ma balai den
Di baliak balai si Fatima
Di bawa kayu nan rondok
Indonesian
Urang Canduang di mana balai
Di balik balai si Fatima
Di bawah pohon yang besar
English
The person from Canduang asks where the balai (hall) is
Behind the balai of Fatima
Beneath the big tree
Isi
Minangkabau
Rang kampuang di ma mandeh den
Nan den silau indak di rumah
Janjang rabah pintu basaok.
Indonesian
Urang kampung di mana itu saya
Yang saya lihat dia tidak dalam rumah
Jenjang rusak, pinti ditutup.
English
People from the village, where is my mother?
I see she is not in her house
The steps have disintegrated, the door is closed.

Interpretation of Pantun 3
As we listened to the recording of this rendition, Pak Ketua anticipated the isi, saying this batang is coupled with the isi in this case, suggesting the whole pantun is a pantun baku.
Type of Pantun: pantun parasaian.
Batang: The batang makes a reference to place, interestingly a place further away from Suayan and neighboring nagari referenced in the first two pantun.
Isi: The sense of sadness and loss is extremely strong in this isi. This text implies that a man has come home after a long time, to find the house all abandoned and his mother deceased.
Summary
Content: This rendition featured pantun baku strongly affiliated with this specific song. Two of the three pantun were parasaian, connected with loss, including connection to place and death of love ones. This is fitting not only for a ratok but this specific title connected with burying a loved one.
Sense of Place: In each of the batang, specific places were mentioned, most of them connected with Suayan and neighboring areas.
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.
Song: "Suayan Anguih" 8 This song is named after the place, the nagari Suayan. plain 2021-06-29T23:23:49+00:00 -0.17798, 100.48907
Translation of Title: "Anguih" means scorched. "Suayan" is inserted in the title to indicate the song's affiliation with a specific place.
Explanation: According to Martis, all songs associated with Suayan are derived from laments, specifically those grieving the loss of an individual.
Composer: Unknown, Gadih Suayan (suggested by some).
Type of song:Ratok.
Place affiliations:
- Nagari: Suayan.
- Kecamatan: Akabiluru.
- Luak: Limopuluah Koto.
- Darek or Rantau: Darek.
Source: Te E's List of Songs, Mardjani's List of Songs.
Description: Martis explained the pantun for this song should be extremely sad, related to the concept of one's inner/spiritual self ablaze.
Song: "Ratok Suayan" 7 This song is named after the place, the nagari Suayan. plain 2021-06-27T00:27:51+00:00 -0.17798, 100.48907
Alternative Title: "Suayan," "Suayan Lamo" and "Suayan Tanahnyo Tinggi"
Translation of Title: "Ratok of Suayan." This song is named after the place, the nagari Suayan.
Explanation: According to Martis, all songs associated with Suayan are derived from laments, specifically those grieving the loss of an individual.
Composer: Unknown.
Type of song: Ratok.
Place affiliations:
- Nagari: Suayan.
- Kecamatan: Akabiluru.
- Luak: Limopuluah Koto.
- Darek or Rantau: Rantau.
Source: Te E's List of Songs, Mardjani's List of Songs.
Song: "Suayan Maik Ka Turun" 7 This song is named after the place, the nagari Suayan. plain 2021-06-29T23:29:36+00:00 -0.17798, 100.48907
Alternative Title: "Suayan Maik Katurun"
Translation of Title: "Maik" means "corpse," "Ka turun" means "to put down," so "laying a corpse to rest." "Suayan" is inserted in the title to indicate the song's affiliation with a specific place.
Explanation: According to Martis, all songs associated with Suayan are derived from laments, specifically those grieving the loss of an individual.
Composer: Unknown.
Type of song:Ratok.

Place affiliations:
- Nagari: Suayan.
- Kecamatan: Akabiluru.
- Luak: Limopuluah Koto.
- Darek or Rantau: Darek.
Source: Te E's List of Songs, Mardjani's List of Songs.
Description: Martis related that this song was sung while taking the body to the grave. The melody is not all that different from Ratok Suayan.
Song: "Suayan Tanahnyo Tinggi" 6 This song is named for the place, Suayan. plain 2021-06-29T23:30:39+00:00
Alternative Title: "Suayan Lamo," "Ratok Suayan." The tune performed under this title appears to be identical to tunes performed under these other titles.

Translation of Title: "Suayan is the high land." Like the other songs from here, it is named for the place, the nagari Suayan.
Explanation: According to Martis, all songs associated with Suayan are derived from laments, specifically those grieving the loss of an individual.
Composer: Unknown.
Type of song: Ratok.

Place affiliations:
- Nagari: Suayan.
- Kecamatan: Akabiluru.
- Luak: Limopuluah Koto.
- Darek or Rantau: Rantau.
Song: "Ratok Bainar" 5 This song is affiliated with the place, the nagari Suayan. plain 2021-06-27T00:08:54+00:00 -0.17798, 100.48907
Translation of Title: "Ratok of Bainar," where I think "Bainar" is the name of a person.
Composer: Unknown.
Type of song: Satangah Tiang.
Place affiliations:
- Nagari: Suayan.
- Kecamatan: Akabiluru.
- Luak: Limopuluah Koto.
- Darek or Rantau: Darek.
Source: Te E's List of Songs.
Song: "Suayan Balenggek" 5 This song is named after the place, the nagari Suayan. plain 2021-06-29T23:25:10+00:00 -0.17798, 100.48907
Translation of Title: "Balenggek" means "to have graduated levels." This title references the melody for this song, the particular type of stepped ornamentation that is the song's characteristic feature. "Suayan" is inserted in the title to indicate the song's affiliation with a specific place.
Explanation: According to Martis, all songs associated with Suayan are derived from laments, specifically those grieving the loss of an individual.
Composer: Unknown.
Type of song:Ratok.
Place affiliations:
- Nagari: Suayan.
- Kecamatan: Akabiluru.
- Luak: Limopuluah Koto.
- Darek or Rantau: Darek.
Source: Te E's List of Songs.
Description: This song features a very characteristic ornament, distinguishing it from other dendang. In performance, I have heard requests for that ornament to be extended, i.e. repeated multiple times.
Song: "Suayan Bukik Sarang Olang" 4 The song called Suayan Bukik Sarang Olang plain 2021-06-29T23:26:12+00:00 -0.17798, 100.48907
Translation of Title: "Bukik Sarang Olang" is the name of the hill, literally "Hill of Hawk Breeding Grounds," that sits to the southwest of Suayan, separating Suayan from Agam. "Suayan" is inserted in the title to indicate the song's affiliation with a specific place.
Explanation: According to Martis, all songs associated with Suayan are derived from laments, specifically those grieving the loss of an individual.
Composer: Unknown.
Type of song:Ratok.
Place affiliations:
- Nagari: Suayan.
- Kecamatan: Akabiluru.
- Luak: Limopuluah Koto.
- Darek or Rantau: Darek.
Song: "Suayan Lamo" 4 This song is named after the place, the nagari Suayan. plain 2021-06-29T23:27:20+00:00 -0.17798, 100.48907
Translation of Title: "Lamo" means "long (time)," "Suayan" is inserted in the title to indicate the song's affiliation with a specific place. "Suayan Lamo" could mean "the Suayan song/ place of long ago."
Explanation: According to Martis, all songs associated with Suayan are derived from laments, specifically those grieving the loss of an individual.
Composer: Unknown.
Type of song:Ratok.
Place affiliations:
- Nagari: Suayan.
- Kecamatan: Akabiluru.
- Luak: Limopuluah Koto.
- Darek or Rantau: Darek.
Source: Mardjani's List of Songs,Martis.
Description: According to Martis, this is a burial lament that was sung a very long time ago. It is the oldest dendang from Suayan. The textual theme becomes relating someone's sadness and disappointments inhabiting this world when someone close dies.
Song: "Suayan Usoli" 4 This song is named after the place, the nagari Suayan. plain 2021-06-29T23:31:35+00:00 -0.17798, 100.48907
Translation of Title: "Usoli" means "original," "Suayan" is inserted in the title to indicate the song's affiliation with a specific place, so the title could mean something like "the original Suayan [dendang].
Explanation: According to Martis, all songs associated with Suayan are derived from laments, specifically those grieving the loss of an individual.
Composer: Unknown.
Type of song:Ratok.
Place affiliations:
- Nagari: Suayan.
- Kecamatan: Akabiluru.
- Luak: Limopuluah Koto.
- Darek or Rantau: Darek.
Source: Te E's List of Songs.
Song: "Suayan Anak Gubalo" 4 This song is affiliated with the place, the nagari Suayan. plain 2021-06-22T16:08:36+00:00 -0.17798, 100.48907
Translation of Title: "Anak Gubalo" literally means "Child of a Herder," but more likely "Someone who herds." The herding could refer to goats, cows, water buffalo or even ducks. "Suayan" is inserted in the title to indicate the song's affiliation with a specific place.
Explanation: According to Martis, all songs associated with Suayan are derived from laments, specifically those grieving the loss of an individual.
Composer: Unknown.
Type of song:Ratok.

Place affiliations:
- Nagari: Suayan.
- Kecamatan: Akabiluru.
- Luak: Limopuluah Koto.
- Darek or Rantau: Darek.
Source: Mardjani's List of Songs.
Song: "Suayan Buaian Anak" 4 This song is named after the place, the nagari Suayan. plain 2021-06-25T00:10:12+00:00 -0.17798, 100.48907
Translation of Title: "Buaian Anak" means to sway a child [to sleep]." "Suayan" is inserted in the title to indicate the song's affiliation with a specific place.
Explanation: According to Martis, all songs associated with Suayan are derived from laments, specifically those grieving the loss of an individual.
Composer: Unknown.
Type of song:Ratok.
Place affiliations:
- Nagari: Suayan.
- Kecamatan: Akabiluru.
- Luak: Limopuluah Koto.
- Darek or Rantau: Darek.
Source: Te E's List of Songs.
Song: "Suayan Tinggi" 4 This song is named after the place, the nagari Suayan. plain 2021-06-22T16:12:51+00:00 -0.17798, 100.48907
Translation of Title: "Tinggi" means "high," which Martis said refered to the melody of this song and was used [as a lament] for high-ranking people within the adat system. "Suayan" is inserted in the title to indicate the song's affiliation with a specific place.
Explanation: According to Martis, all songs associated with Suayan are derived from laments, specifically those grieving the loss of an individual.
Composer: Unknown.
Type of song: Ratok.
Place affiliations:
- Nagari: Suayan.
- Kecamatan: Akabiluru.
- Luak: Limopuluah Koto.
- Darek or Rantau: Darek.
Source: Mardjani's List of Songs, Martis.
Song: "Suayan Sungai Balantiek" 3 This song is affiliated with the place, the nagari Suayan. plain 2021-06-22T16:12:12+00:00 -0.17798, 100.48907
Translation of Title: "Sungai Balantiek" is the name of the river that runs parallel to nagari Suayan. "Suayan" is inserted in the title to indicate the song's affiliation with a specific place. This song, then, has two references to place.
Explanation: According to Martis, all songs associated with Suayan are derived from laments, specifically those grieving the loss of an individual.
Composer: Unknown.
Type of song:Ratok.
Place affiliations:
- Nagari: Suayan.
- Kecamatan: Akabiluru.
- Luak: Limopuluah Koto.
- Darek or Rantau: Darek.
Source: Mardjani's List of Songs.