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1. 1 2021-02-04T19:03:12+00:00 Jennifer Fraser 404477000adfd4e5c7a1128cfac82e1fc740e8c3 References Jennifer Fraser 2 List of bibliographic and discographic resources referenced in this project plain 2021-07-01T00:59:14+00:00 Jennifer Fraser 404477000adfd4e5c7a1128cfac82e1fc740e8c3

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• 1 media/image_Minangkabau flutes2.JPG 2021-01-18T01:33:02+00:00 Minangkabau Musical Genres 54 List of Minangkabau Genres image_header 2021-04-26T12:56:09+00:00

  'The Minangkabau have one of the richest traditions of performing arts to be found in Indonesia." (Yampolsky & Hanefi, 1994: 4)

  There is a rich array of musical genres and styles found throughout the Minangkabau homeland, both in the darek and the rantau. There are those genres that are indigenous and those that have been imported from elsewhere and made local. Many of the indigenous genres are deeply place-based, that is they are tied to specific places from the most localized (found in only one nagari) to those found in broader regions, such as the darek. There are only a few indigenous genres that are found throughout the homeland, such as talempong, but the expression of them is deeply localized. For talempong, this means different instruments, tuning, instrumental roles and names, repertoire, and even gender affiliations from place to place (see chapter 2 in Fraser 2015). There is no single vocal tradition found throughout the homeland, but rather a range of regional variants that use some kind of flute or fiddle for accompaniment.    
  
  Saluang, as discussed in this site, is one of those genres that has strong place-based affiliations--to the darek in general but also to specific places through repertoire choices. It has spread far beyond the borders, eclipsing and replacing some of the more localized flute traditions while absorbing and integrating some of the localized repertoire into the saluang mainstream. Because so many localized Minangkabau genres are absorbed into the saluang repertoire, they are laid out here. 

  Indigenous Minangkabau Genres

  In the Minangkabau vocabulary there is no singular word for “music.” Rather, sounds are divided into two broad categories: dendang (literally “song”) and buni-bunian (literally “sounds” but refers here to instrumental music). Most of the genres classified as dendang involve instrumental accompaniment, usually just a solo flute or fiddle of some kind. The genres are often named for that instrument. Below we lay out some of those genres. 

  Dendang 

  There are a rich array of indigenous Minangkabau vocal genres involving oral literary traditions. There are two primary forms of text employed in these genres: those that are based on pantun (a verse from found throughout the Malay region) and those that use kaba (a kind of epic story telling tradition). Most of these genres use some form of instrumental accompaniment, often some kind of flute or fiddle.  

  Genres from the Darek

  Some of these genres are widespread and found throughout the whole of the darek, like saluang and rebab darek (the pins provided on the google map were chosen for central locality). Others are more localized, like saluang sirompak and sijobang, found in the areas surrounding the pin provided on the map.  
  

  Genres from the Rantau

  
  
   

  Buni-Bunian
  
  
  
  Other Local Genres

  Modernist, Cosmopolitan Genres

   

• 1 media/IMG_1344.jpeg media/Image_Malam Suntuak 1a.jpeg 2020-10-06T01:29:57+00:00 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. 
  
  
  
   
• 1 media/Image_bansi.JPG media/Image_bansi.JPG 2021-04-20T18:52:57+00:00 Genre: Dendang Solok 23 Dendang Solok is a regional flute and vocal tradition from the Solok region image_header 2021-06-30T12:26:39+00:00 -0.851681, 100.689144 Dendang Solok is a regional flute and vocal tradition from the Solok region. The flute used is called the bansi, an end-blown block flute that is just 7.5 inches/ 19cm long. There are 7 finger holes on the front and a thumbhole on the back.
  
  The bansi was used to accompany dendang from the Solok region, like Ratok Solok or Cupak Maambiek Lado.  Philip Yampolsky included two songs played on the bansi on Night Music from West Sumatra (1994).
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  The tradition of using this flute to accompany this repertoire has mostly passed out of practice in deference to the saluang darek. Instead, tunes originating in the solok region, the dendang solok, have been incorporated into the more mainstream practice of saluang darek, with aesthetic changes in the process, most noticeable in tuning, range, and timbral differences between the flutes.  
  
  Here is "Cupak Maambiak Lado" on the bansi
  
  You can hear an example of that tune transformed to saluang darek: 
  
  

   

  
  
  
  
  
  
   
• 1 media/29rababplayer in neon lights at shopping mall.jpeg media/29rababplayer in neon lights at shopping mall.jpeg 2020-11-06T13:21:57+00:00 Genre: Rabab Pariaman 16 Rabab Pariaman is a vocal genre that uses kaba texts image_header 2021-04-27T12:35:37+00:00 -0.62601, 100.12028

  Rabab Pariaman is both the name of a genre and the instrument affiliated with that genre. They are associated with the kabupaten Padang Pariaman.
  The rabab is three-stringed and uses a coconut shell as the body and resonator. Like its regional cousins, the rabab Pariaman is used to accompany vocals and is performed late at night. Unlike rabab Pasisia, however, it is a relatively rare genre and not represented prominently in the Minangkabau recording industry. It is one of the three genres included on the Smithsonian Folkways, Music of Indonesia series, Vol. 6. Night Music of West Sumatra. As Philip Yampolsky and Hanefi write in the accompany liner notes, rabab Pariaman "begin[s] with free-standing, non-narrative songs but shift to sung narrative [i.e. kaba] later in the evening" (1994). 

  
  
  Related Resources

  • Night Music of West Sumatra: Saluang, Rabab Pariaman, Dendang Pauah. 
• 1 2020-11-13T14:02:12+00:00 Rendition: "Padang Magek" on Night Music of West Sumatra 14 "Padang Magek" on Night Music of West Sumatra plain 2021-04-14T15:51:44+00:00

  Song: "Padang Magek" 
  Performance: Night Music of West Sumatra. Recorded in a private home in Kabupaten Agam. 
  Date: Recorded 9-10 September 1992; published 1994.

  People: 

  • Padendang: 
    • Mak Sawir
    • Nurasni
  • Tukang Saluang: Zaidir SK

  Find an excerpt of the track below, which starts at the isi of the second pantun with Nurasni: 
  
  

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  Lyrics 

  Here the black font represents delivery by a single padendang, while the text in red is where the two padendang join together. This collective singing is remarkable for two reasons. The first is the perfect coordination of text, especially the vocables (marked in bold font) and ornamentation, between the two singers. I know from interviewing Mak Sawir that when he made recordings, he wrote the lyrics out in advance and shared them with his co-singer (interview, Mak Sawir, 2010). It's not clear whether this includes the vocables or that the padendang who joins on the repeat of the line made sure to replicate them exactly. 
  
  The other is that I have never heard another rendition of "Padang Magek" quite like this, but the rendition at a performance in Suayan comes close. Structurally, it is similar but the use of just one microphone shared between the two padendang makes it harder to hear when--or even if--they are singing in a duet. 
  
  Note that in this song each line of the pantun is repeated (indicated below with the use of "()"), often with vocables inserted or certain syllables extended to fit the melodic line. Each half pantun is just two lines of text, but this tune requires four different melodic lines. 

  Pantun 1: Mak Sawir

  Batang

  Minangkabau
  Lah masak padi Padang Magek
  (Mak lah masak padi Padang Magek)
  Lah di tuai anak lah tuan oi ondeh lah mudo-mudo
  (Lah di tuai anak lah tuan oi ondeh lah mudo-mudo)
  
  English
  The rice of Padang Magek has ripened,
  Already harvested by the young children

  Isi

  Minangkabau
  Kasiah sayang mintak dijawek
  (mak kasiah sayang mintak dijawek)
  Lah ko lai di dalam lah tuan oi ondeh lah hati juo
  (Lah ko lai di dalam lah tuan oi ondeh lai hati juo)
  
  English
  Feelings of love, l ask that you accept
  them in your heart.

  Interpretation of Pantun 1

  Batang: The batang is descriptive about rice being ripe and ready for harvest. Note that the place for which the tune is named is mentioned in first line. 
  Isi: the isi is a romantic text, with a touch of advice. 

  Pantun 2: Nurasni 

  Batang

  Minangkabau
  Lah masak padi lah Padang Magek
  (Lah masak padi lah Padang Magek)
  Lah manguniang iyo ondeh lah tuan oi lah daun tuonyo
  (Lah manguniang ondeh lah tuan oi lah daun tuonyo)
  
  English
  The rice of Padang Magek has ripened, 
  The old leaves are already yellow.

  Isi

  Minangkabau
  Tuan tagamang lai bajawek
  (Lah tuan tagamang lai bajawek)
  Denai tagamang lah tuan ai yo ondeh lah jatuah sajo
  (Denai tagamang lah tuan ai yo ondeh lah jatuah sajo)
  
  English
  lf you are about to fall, I catch you,
  but if I am about to fall, you let me drop.

  Interpretation of Pantun 2

  Batang: The batang is another one about rice being ripe and ready for harvest. Note that the place is mentioned again.  
  Isi: this isi is advice: treat others like you are treated. 

  Raun Saluang 
  
  Pantun 3: Mak Sawir

  Batang

  Minangkabau
  Kalam bakabuik Bukik Kaluang
  (Mak kalam bakabuik Bukik Kaluang)
  Tampak nan dari lah tuan oi ondeh lah Kampuang Lambah
  (Tampak nan dari lah tuan oi ondeh lah Kampuang Lambah)
  
  English
  Bukik Kaluang (probably the name of a hill) is dark and covered with fog
  Evident from Kampung Lambah

  Isi

  Minangkabau
  Bapasan denai ka nan kanduang
  (Lah bapasan denai ka nan kanduang)
  Janji nan dulu lah tuan oi ondeh lah jan diubah
  (Lah janji nan dulu lah tuan oi ondeh lah jan diubah)
  
  English
  My message to my sweetheart is,
  don't go back on your promise.

  Interpretation of Pantun 3

  Batang: The batang is another descriptive one about a hill covered in fog. Specific places are mentioned here but it is unclear if they are near Padang Magek. I think "Bukit Kaluang" might be the nickname for a local hill. I could not find it on google maps. 
  Isi: The message is clear: don't break promises. 

  Pantun 4: Nurasni 

  Batang

  Minangkabau
  Kaparak batuang den sandakan
  (Kaparak batuang den sandakan)
  Kajalan urang lah tuan oi ondeh lah taniayo
  (Lah kajalan urang lah tuan oi ondeh lah taniayo)
  
  English
  To the grove of big bamboo I stand myself
  To the road of people oppressed. 

  Isi

  Minangkabau
  Ka tuan untuang disandakan
  (Ka tuan untuang disandakan)
  Lah indak nan kontan lah tuan oi ondeh lah surang juo
  (Lah indak nan kontan nan kanduang oi ondeh lah surang juo)
  
  English
  l have to rely on you,
  I have no brothers.

  Interpretation of Pantun 4

  Batang: The batang uses references from nature, including going to a grove of giant bamboo and using it to buttress oneself. 
  Isi: Another clear moralistic message: "You need to be there for me, because I am without family."

  
  Source: The lyrics, including the vocables, are from the supplemental liner notes (pp 2-3). The Minang texts were transcribe by Hanefi.  
• 1 media/image_saluang pauah.JPG media/image_saluang pauah mouthpiece.JPG 2021-04-19T12:23:36+00:00 Genre: Dendang Pauah 13 Dendang Pauah is a vocal genre accompanied by the saluang Pauah from the Pauah region near Padang. image_header 2021-04-27T11:52:52+00:00 -0.939496, 100.433804
  
  Dendang Pauah is a vocal tradition from the Pauah region near Padang. It uses the saluang pauah, an end-blown bamboo duct flute, as accompaniment. The instruments often have pyrographic marks (patterns burned into the bamboo).
  
  

  "... dendang Pauah differs from other kaba forms, in that it is sung entirely in pantun, and as a performance genre it differs from both saluang and rabab Pariaman since it does not regularly include free-standing, non-narrative songs. An evening of dendang Pauah begins around 8:00 or 9:00 PM. and lasts until nearly dawn." (Yampolsky & Hanefi 1994)

  Unlike other kaba forms where texts are "usually rhythmic lines, without rhyme schemes or stanza forms" (Yampolsky & Hanefi 1994), the kaba used in dendang Pauah are shaped into pantun. You can hear an excerpt of this genre below. 
  
  
  
  Related Resources
  • Yampolsky. 1994. Night Music of West Sumatra: Saluang, Rabab Pariaman, Dendang Pauah.  
• 1 2020-07-16T19:14:15+00:00 Song: "Padang Magek" 13 This song is named after the place, the nagari Padang Magek. plain 2021-06-26T23:44:00+00:00 Translation of Title: This song is named after the place, the nagari Padang Magek.
  Composer: Unknown.
  Type of song: Satangah Tiang but as Philip Yampolsky explains "Padang Magek can be either happy [gembira] or "half-happy" [satangah tiang, as listed here] but cannot be sad [ratok]. The pantun the singers choose make it half-happy in this performance" (Yampolsky, 1994, liner notes).  
  
  Place affiliations: 
  • Nagari: Padang Magek.
  • Kecamatan: Rambatan.
  • Luak: Tanah Data.
  • Darek or Rantau: Darek.
  Source: Te E's List of Songs, Mardjani's List of Songs.
  
  Song Structure: The pantun used for this tune are 4 lines in total, split into the two halves: batang and isi. Each half is 2 lines of text. The tune is somewhat unique in that each line of the pantun is repeated. The melodic line, however, is slightly different on the repeats. Either vocables are inserted or certain syllables of the pantun are extended, both are techniques to make the pantun fit the melodic line. 
  
  One other special feature of this song is that in delivery, it often involves an atypical method of delivery, where the padendang combine forces singing momentarily as a duo (see Rendition: "Padang Magek" on Night Music of West Sumatra) or the second padendang takes over mid-verse to complete the end of the last line (see Rendition: "Padang Magek" 07/29/16). 

  Lyrics

  As presented in Sekilas Lintas Dendang Minang (57-58). They are presented as stock verses, rather than accompanying any specific rendition of the song. 

  Pantun 1 

  Minangkabau
  Masaklah padi Padang Magek 2x
  Disabik anaklah tuan oi ndeh lai mudo-mudo 2x
  Kasiah sayang mintak dijawek 2x
  Kok lai di dalam lai tuan oi ndeh lai hati juo 2x

  Indonesian
  Masaklah padi Padang Magek 2x
  Disabit mak lah tuan oi ndeh lah muda-muda  2x
  Kasih sayang minta dijawat (diterima)
  Kalau ada di dalam lai tuan ndeh hati juga 2x

  Pantun 2 

  Minangkabau
  Nan manuai baduo-duo 2x
  Paneh mamanggang lah tuan oi ndeh lai tangah hari 2x
  Hati baralah kaibonyo 2x
  Yo nan baganggam lah tuan oi ganggam tak jadi 2x

  Indonesian
  Yang menuai berdua-dua 2x
  Panas membakar lah tuan oi ndeh lai tangah hari 2x
  Hati bukan main kan hibanya (sedihnya) 2x
  Yo nan bergenggam lah tuan oi genggam tidak jadi 2x
  
  
• 1 2020-07-16T19:14:14+00:00 Song: "Muaro Labuah" 9 This song is named after the place, the nagari Muaro Labuah. plain 2021-06-26T23:34:17+00:00 Translation of title: This song is named after the place, nagari Muaro Labuah.
  Composer: Unknown.
  Type of song: Satangah Tiang (Others noted this as ratok)
  Genre of origin: Dendang Solok
  Place affiliations: 
  • Nagari: Muaro Labuah. 
  • Kecamatan: Sungai Pagu.
  • Kabupaten: Solok Salatan.
  • Darek or Rantau: Rantau.
  Source: Te E's List of Songs.
  Description: According to Martis, the pantun are connected with the sadness of an individual
  Other notes: "Muaro Labuah" is included on Night Music of West Sumatra, performed on the bansi, in a regional style, dendang Solok, not on the saluang darek.  
  
  
  
  When the song is transferred to saluang darek, it sounds rather different: 
  
  
  
  
  
  
   
• 1 2020-07-16T19:14:10+00:00 Category of Song: "Jalu-Jalu" 8 The title for the songs that can be used to close a saluang performance. plain 2021-05-17T12:06:34+00:00 "Jalu-jalu," which means spur, is the title for the collection of songs that can be used to close a saluang performance, rather than the name for a specific song. Mak Lenggang told me about the function of these songs: a performance always finishes with a song from this category. Before the padendang present one of the Jalu-jalu, they typically perform a couple of other songs first, including "Bacarai Kasiah" and "Manjalang Subuah." The presentation of one of these songs indicates to the audience that the performance is coming to a close and they can no longer make requests. If they do make requests, Mak Lenggang asserted, it’s clear they don't know the etiquette, the rules of saluang performances. The use of any of the songs labeled as "Jalu-jalu" indicates to remaining audience members they should get up and take their leave. I can only postulate that "spur" is used as a metaphor here, a spur that encourages people to go home. 
  
  The songs associated with "Jalu-jalu" include “Sonsong,” “Satampang Baniah,” "Lubuak Aluang," and “Siti Johari.” Mostly these songs are only heard at the end of performances, but there are exceptions: "Lubuak Aluang" was the 7th song performed at the Malam Bagurau at STSI in December 2003. Mak Lenggang also related how these songs can be sung collectively by the padendang, by what he called a kor (chorus), although there are typically just two to three singers at any event. He explained how this collective singing worked: one padendang starts and is joined by a second on a later phrase. The first padendang is either joined by just one more padendang or by all present. To clarify that I understood our conversation, I asked if "Padang Magek" could be an example of this as I have always puzzled over the two padendang singing together on this track included on Night Music of West Sumatra album. Mak Lenggang confirmed that "Padang Magek" is also jalu-jalu, clarifying that jalu-jalu songs are the dendang that can also be used in randai. (Personal Conversation with Mak Lenggang, Padang Panjang, July 27, 2015).
  
  
   
• 1 2020-11-20T11:29:30+00:00 People: Zaidir SK 7 Zaidir SK is a tukang saluang. plain 2021-02-21T20:09:03+00:00 -0.295822, 100.400532 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:
  
• 1 media/Image_rabab Pasisia.JPG media/Image_rabab Pasisia.JPG 2020-11-06T13:01:10+00:00 Genre: Rabab Pasisia 6 Rabab Pasisia is a regional vocal genre. image_header 2021-04-23T13:45:13+00:00 -1.34854, 100.574

  Rabab Pasisia is both the name of a genre and an instrument affiliated with the southwestern coastal region called Pasisia Salatan. As an instrument, it is a four-stringed fiddle modeled on a violin. As a genre, the performer uses the fiddle to accompany vocals that draw on kaba. Like saluang, the performances accompany community and life-cycle events, performed over night. Sometimes other performers may join for the opening session of gembira songs using percussion. Rabab Pasisia is relatively prominent in the recording industry. It is the Pasisia Salatan genre that is equivalent to saluang in musical importance and prevalence. 
  
  
  Related Resources

  • Collins, Megan. 2003. “The Minangkabau Rabab Pasisia: Music, Performance and Practice in West Sumatra, Indonesia.” Ph.D. Diss, Victoria University of Wellington.
  • Night Music of West Sumatra: Saluang, Rabab Pariaman, Dendang Pauah. 
• 1 2020-11-20T11:29:29+00:00 People: Nurasni 4 Nurasni is a padendang. plain 2021-02-12T14:38:05+00:00 Stage Name:
  Other Names:
  Role: Padendang.
  Sex: Female.
  Time Frame: Contemporary Figure
  Source: knowledge from recording and conversation with Mak Sawir, a frequent pairing. 
  Born: unknown. 
  Died: unknown. 
  Place of Origin:
  Place of Residence:
  Year started performing:
  Training:
  Relationships to other performers:
  Performances:
  Songs composed:
  Recordings: Night Music of West Sumatra.
  Other notes: