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Song in the Sumatran Highlands

Resource: Mardjani Martamin et. al.

Mardjani Martamin et. al. 1988. Dendang Minangkabau (Suatu Analisis dari Segi Karakater Musiknya). Laporan Penelitian ASKI Padang Panjang.

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People: Mak Sawir 25 Legendary padendang and composer image_header 2021-08-03T20:17:43+00:00 -0.24711, 100.16715 July 24, 2016 July 4, 2010
Stage Name: Mak Sawir.
Other Names: Sawir St. Mudo.
Role: Padendang, Composer.
Sex: Male.
Time Frame: Contemporary Figure.
Source: 1st personal interaction in January 2004.
Born: 1942.
Died: June 9, 2020.
Place of Origin: Koto Kaciak, Tanjung Raya, Agam.
Place of Residence: Aua Tajungkang, Tangah Sawah, Bukittinggi.
Year started performing: approximately 1957, when 15.
Trained Under:
- Djamarih
- Lenggang Kayo
  - Source: Mardjani et. al.
Performances:
- Bagurau di Udaro at Radio Republik Indonesia (RRI) Bukittinggi, January 26, 2004.
- Malam Suntuak at Radio Republik Indonesia (RRI) Bukittinggi, February 6, 2004.
Interviews:
- with Pak Amran, July 4, 2010.
- with Pak Ketua, July 24, 2016.
Songs Composed: 
1. "Banda Guntuang"
2. "Danau Mamukek"
3. "Katangih Sudah Mimpi"
4. "Ombak Tanjuang Cino"
5. "Riak Pandan"
6. "Riak Tanjuang Sani"
7. "Ratok Kaki Limo"
8. "Sarasah Aia Badarun"
9. "Suntiang Patah Batikam"
10. "Talago Biru"
11. "Talempong Anam Koto"
12. "Ujan Baribuik"
Recordings:
- Sawir had an active recording career from 1972 until his senior years, releasing many, many titles.
- Night Music of West Sumatra: Saluang, Rabab Pariaman, Dendang Pauah.
- Talago Buni.
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:
Repertoire Songs are the central musical unit around which performances are oriented. There might be anywhere from thirty to fifty songs performed in one evening. Many contexts for performance allow for attendees to request specific songs (see Introduction to Performances for more details). Performers, therefore, need to be familiar with the songs in the repertoire (the body of songs attached to the genre), but just how many songs and which songs are included in that repertoire is debatable and fluid. The "core repertoire" (defined here loosely as those songs I tracked at performances) in 2016 was not the same as those I tracked in 2004, nor surely the same as the 1980s, as suggested by the Mardjani et al. research report. The songs that performers know and that attendees request have shifted over the years, though the requests also shift based on place: where performances happen and the places from which attendees at those performances come. The "Repertoire" and "Interpretation" pages for each performance reflect the specific repertoire at each performance. For example, the performance in Suayan: repertoire and interpretation.

Establishing a precise number of songs in the repertoire is next to impossible as the tradition is not static and there is regional variation. The estimates of the number of songs vary greatly. When I spoke with Mak Sawir back in January 2004, he estimated 860 songs (casual conversation, January 26, 2004, coffeeshop in Bukittinggi). When I asked Te E in July 2016, she furnished a list of 227 songs that she made (interview with Te E, Payokumbuah, July 25, 2016). Mak Lenggang, a full time professor at Institut Seni Indonesia and part-time saluang player, told me once there were hundreds of songs, 150 of which were Singgalang (interview/ casual conversation, Padang Panjang, July 27, 2015). My favorite answer to this question--"too many to count"-- was from Mila (interview, Payokumbuah, July 26, 2016). These widely varying numbers, then, reveal differences in the experiences of performers: how many years they have been active, who they studied and performed with, and in what places they lived and mostly performed. I would expect Mak Sawir, then at the height of his career, to know the most, and a more junior singer to know considerably fewer. I would expect a padendang active mostly in Agam to have mastered that regional repertoire more than the repertoire associated with Tanah Data. The very best singers--such as Mak Sawir and Te E--will know the most songs, at least from the saluang klasik repertoire. It is incumbent on professionals to be as familiar with as many songs as possible because audience members can request any number of songs. Usually, one of the several padendang sitting on a stage will know the song. Of course, the tukang saluang also needs to know it as the saluang always begins a song. Only rarely have I see experienced performers fumble, struggling to remember a tune.

The only performer who has so far shared a list of songs with me is Te E. When I interviewed Syamsimar in 2004, she had a list of 247 songs (which excluded new imports), though I was not able to save a copy of this list (interview with Syamsimar, Pariangan, September 24, 2004). What is interesting is who has made lists and why they did so. Here we have tried to track and count those songs encountered, whether in live performance, Te E's list, or the list produced in Mardjani et al.'s research report. For the latter, however, it does not replicate all 385 songs, because the report was on Dendang Minangkabau broadly speaking and not just the repertoire associated with saluang. I decided to extract all those titles that were clearly affiliated with the darek. I excluded those that had no indication of region or those that were affiliated with the rantau, as they are affiliated with other musical traditions and the songs may not have made their way into saluang repertoire. Also excluded from this list are the titles to songs encountered only on commercial recordings in my possession. That would add another 30 or so titles to the list.

In the following pages, we present different ways of organizing the repertoire, along with the repertoire that was represented at performances Jennifer witnessed.
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/
People: Ita Singgalang 13 Ita Singgalang is a padendang. image_header 2021-06-24T00:40:12+00:00 -0.43916, 100.38928
Stage Name: Ita Singgalang; her stage name asserts a place affiliation with nagari Singgalang.
Other Names: Ibu Ta.
Role: Padendang.
Sex: Female.
Time Frame: Contemporary Figure
Source: personal encounter at performances in 2003 & 2004.
Born:
Died:
Place of Origin: Singgalang.
Place of Residence:
Year started performing:
Training: I believe she might be the "Uni Ta" identified as one of Ani Aia Angek's students. The time frame and the relative location of the two singers (Aia Angek and Singgalang) makes sense for that connection (Mardjani et. al. 400).
Relationships to other performers:
Performances: Performance:
- Sekolah Tinggi Seni Indonesia, December 23, 2003.
- Performance: Padang Panjang, January 25, 2004.
Songs composed:
Recordings:
Other notes:
People: Nijon 12 Nijon was a tukang rabab. image_header 2021-05-08T14:28:39+00:00 -0.164466, 100.537014
Stage Name: Nijon.
Other Names:
Role: Tukang Rabab & Padendang, the rabab allowing a performer to play and sing.
Sex: Male.
Time Frame: Historical-contemporary Figure
Source: I heard about him during ethnography; he is also listed in Mardjani et. al.
Born: 1944.
Died: @1997 (Sanday 2002: 168).
Place of Origin: Sungai Talang
Place of Residence: Payokumbuah.
Year started performing:
Trained under the following tukang rabab:
- Mak Agam, from Magek
- Samsu, from Kubang
- Mangkuto Mawi, from Biaro
- Rajo Bujang, from Kamang
Relationships to other performers: He was the first husband of the padendang now known as Te E.
Performances:
Songs composed: According to Sanday, a number of songs about his kampung, Sungai Talang (2002). They are not, however, identified by title.
- Song: "Tigo Balai": identified by Pak Ketua as his compositions during performance of it at Sariak Laweh
Recordings:
Other notes: Like Ajis St. Sati, he also worked as a bendi driver.
People: Zaidir SK Stage Name: Zaidir SK (SK stands for Sutan Kayo, an adat title)
Other Names: Zaidir Sutan Kayo.
Role: Tukang Saluang.
Sex: Male.
Time Frame: Historical Figure
Source: personal encounter in 2004 and 2016.
Born:1943 (Mardjani et al. 1988:390).
Died: unknown.
Place of Origin: Parik Putuih, Kec. IV Angkek Canduang, Agam (Mardjani et al. 1988:390)
Place of Residence:
Year started performing:
Training: He studied under Pak Idi, a tukang saluang from Bukik Apik.
Relationships to other performers:
Performances:
Songs composed:
Recordings: Night Music of West Sumatra.
Other notes:
People: List of Historical Figures 6 List of Historical Figures involved in Dendang Darek image_header 2021-03-02T21:59:12+00:00
I was interested to seek information about performers in the past to understand the gendered changes in the genre, to get a sense of training and lineages, and a sense of regional affiliations. "The past" I speak of here is a relatively close past, one established through oral history and recollected memories of the oldest generation I consulted and from archival sources that exist. It ranges from the earliest part of the twentieth century through the end of the century to 1998, when I first traveled to West Sumatra. Some people I worked with during fieldwork began their careers in the mid-twentieth century, but many only in the late twentieth century. I've distinguished those that were inactive or deceased by the time my fieldwork began as "historical figures" and those active during my fieldwork "contemporary." Some, of course, straddle the two periods. Although somewhat arbitrary, it helps parse the development of the genre.

In recreating this partial history, I have consulted several different sources:
- discussion with older performers and devotees who recall performers from the past, including their own teachers and co-performers
- archival sources, such as research reports generated by ASKI (now ISI)
- commercial 78rpm recordings
One of the most valuable sources about performers of the past I have consulted, includes Mardjani et. al.'s research report. Published in 1988, it includes interviews with key figures, consultation with them to name other performers, along with a chart that attempts to map lineage. As the authors themselves acknowledge, it is not comprehensive, but from the perspective of 2021, it provides invaluable data, a window into a world otherwise lost. I have relied on that data to re-create a very partial history of saluang in the 20th century. The genre is likely much older than that, but we have no historical record beyond this and the earliest 78 records, the first with saluang dating to 1938.

The records in Mardjani et. al. are incomplete. We have approximate years of birth for some performers (extrapolated from estimated age at the time of publication of the research report), and a few dates of death. But for many we have nothing. There are also a few inconsistencies in names and/or roles. I have relied on the lineage chart included, labeling what seem to be generations of performers based on who trained them, more than age. The terms "1st generation," "2nd generation" etc. are mine, to help give a sense of time. I was lucky to meet and interview several of the performers of the 4th and 5th generations listed here, including Ajis St. Sati, Syamsimar, and Sawir St. Mudo.

This page tags all those listed in this research report and other archival resources, only a few of whom I had the opportunity to meet. All of the people on the chart are tagged, but not all of the people tagged are on that chart.

The following map provides a sense of geographical distribution. Agam is strongly represented, which may suggest a bias in the research reports or reflect the strength of the region in producing performers.
People: Nurana 5 Nurana was the first known female padendang. plain 2021-03-02T21:21:07+00:00 -0.17912, 100.68161
Role: Padendang, Composer (Nijon identified Nurana as a "pencipta dendang," creator of dendang, in Mardjani et. al.)
Sex: Female
Time Frame: Historical figure. In an interview with Erlinda,
when asked if there was any female padendang before her, she answered that as far as she knew there was no-one (1999: 45).
- In other words, Nurana is the first known professional female padendang.
Born: @1930
Died: unknown, before 2015.
Place: Batu Balang
Years active: approx. mid-1940s-1990s. She said she started singing as a teenager (Erlinda)
Training: she learned by ear, then participating in randai. It's also possible that her mamak, Mone, was a singer. See biography.
Performed with: she mentions that she sang with another female padendang, Sarinam, who was blind.
Other Notes: She was also a trader of limes
Source: Mardjani et. al.; Erlinda 1999; Erlinda 2001.
People: Buyuang Kamang Stage Name: Buyuang Kamang, which means "young man of Kamang," so he's named for the place.
Other Names: Jaizar St. Nagari
Role: Padendang
Sex: Male
Time Frame: Historical figure
Born: @1929
Generation: 4th
Place: Kamang
Trained under: Djamarih
Source: Mardjani et. al.
People: Hutamawati 3 Hutamawati is a padendang image_header 2021-02-26T15:10:01+00:00
Role: Padendang
Sex: Female
Time Frame: contemporary figure
Generation: 6th
Place of Origin:
Place of Residence:
Relationships to other performers: Niece of Syamsimar
Performed with: Syamsimar in group Minang Maimbau
Performances:
- She was a guest padendang at Performance: Padang Panjang, April 10, 2004
Source: Mardjani et. al.; personal encounter at performance in 2004.
People: Rusa Other Names: Rusa Pakiah Rajo
Role: Padendang/ Tukang Ratapi Mayat (is it possible this is not the same Rusa? it is curious that a lamenter would be male)
Sex: Male
Time Frame: Historical figure
Born: @1918
Place: Suayan Randah
Other Notes: he was also a garin (caretaker of a mosque)
Source: Mardjani et. al.
People: Pono Kayo 3 Pono Kayo was a tukang saluang image_header 2021-03-02T20:21:16+00:00 -0.43916, 100.38928
Role: Tukang Saluang
Sex: Male
Time Frame: Historical figure
Generation: 2nd
Place: Singgalang
Trained under: Si Legon
Trained:
- Djamarih, a padendang
- Lenggang Kayo, a tukang saluang
- Pak Idi, tukang saluang
- Dt. Sampono Sati, tukang saluang (Mardjani 395, 400).
Source: Mardjani et. al.
People: Si Legon Role: Tukang Saluang
Sex: Male
Time Frame: Historical figure
Generation: 1st. He is the first individual mentioned as a performer in the lineage presented by Mardjani. He may well be the first tukang saluang we know about by name.
Place: Lubuak Matokuciang
Trained: Pono Kayo, a tukang saluang (according to Djamarih, Mardjani p. 397)
Source: Mardjani et. al.
People: Ani Aia Angek 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.
Note: Tukang Ratapi Mayat Tukang Ratapi Mayat means a "specialist in lamenting the dead." It's interesting that in the Mardjani report "tukang dendang" (i.e. padendang) and "tukang ratapi mayat" are identified as distinct roles, suggesting the vocalists specialize in different repertoire: songs vs. laments.

This is interesting because I have heard that it is no longer permissible to lament in the old manner--becoming deeply emotional over the death of a loved one--under current interpretations of Islam among the Minangkabau. Some ratok (sad songs) are derived from or closely affiliated with the act of lamenting, especially from the area of Suayan. For example, the dendang "Suayan Maik Ka Turun" (Laying the Corpse to Rest). These laments were recoded as "ratok," accompanied by saluang and/or rabab, so as to be more acceptable. It's interesting that back in 1988 lamenting was an acceptable category of practice.
People: Ismail Rajo Bujang 2 Rajo Bujang was a tukang rabab image_header 2021-03-01T19:50:43+00:00 -0.22695, 100.42799
Role: Tukang Rabab
Sex: Male
Time Frame: Historical figure
Generation: 3rd
Place: Kamang
Trained:
- Taher, padendang from Tilatang Kamang
- Rapiun, padendang from Tilatang Kamang
- Kasiun, padendang from Tilatang Kamang
- Nijon
Source: Mardjani et. al.
People: Rapiun Role: Padendang
Sex: Female (because of the voice on the 78 commercial recordings)
Time Frame: Historical figure: active in late 1930s if this is the same Rapiun as on the 78s.
Generation: 4th
Place: Tilatang Kamang
Trained under: Djamarih
Recordings: It is possible this is the Rapiun listed on a series of 78s from 1938.
Source: Mardjani et. al.; 78 labels
People: Taher Role: Padendang
Sex: Male
Time Frame: Historical figure: active in late 1930s if this is the same Rapiun as on the 78s.
Generation: 4th
Place: Tilatang Kamang
Trained under: Djamarih
Recordings: It is possible this is the Taher listed on a series of 78s from 1938.
Source: Mardjani et. al.; 78 labels
People: St. Angkeh Role: Tukang saluang
Sex: Male
Time Frame: Historical figure
Generation: 3rd
Place: Batagak
Performed with: Djamarih (it makes sense that groups of performers clustered around place as it would have been easier for transportation considerations in the past)
Source: Mardjani et. al.
People: Lenggang Kayo 2 Lenggang Kayo was a tukang saluang image_header 2021-03-02T13:52:21+00:00 -0.32209, 100.38428
Role: Tukang Saluang (and padendang?)
Sex: Male
Time Frame: Historical figure
Generation: 3rd
Place: Tigo Baleh, Bukittinggi
Trained under:
- St. Malenggang (Mardjani et. al.: 395)
- Djamarih (Ajis in Mardjani et. al.: 398)
Trained:
- Ajis St. Sati
- Buyuang Kamang
- Basa Bote
- Sawir St. Mudo
- Buyuang Puntuang
Source: Mardjani et. al.
People: Sarani Role: Padendang
Sex: Male
Time Frame: Historical figure
Born: @1930
Place: Surau Baru Kaluang (it's not clear where this is, but might be jorong Kaluang Tapi in Koto Tangah, Tilatang Kamang)
Other Notes: he was also a garin (caretaker of the mosque)
Source: Mardjani et. al.
People: St. Malenggang 2 St. Malenggang was a padendang image_header 2021-03-02T21:32:41+00:00 -0.31909, 100.38428
Role: Padendang
Sex: Male
Time Frame: Historical figure
Generation: 2nd
Place: Tigo Baleh, Bukittinggi
Trained:
- Djamarih, his nephew;
- St. Rumah Panjang from IV Angkat Canduang;
- Lenggang Kayo from Tigo Baleh.
Source: Mardjani et. al.