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Song in the Sumatran Highlands

Category of Song: "Jalu-Jalu"

"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).

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Repertoire: Sariak Laweh July 25, 2016 20 List of repertoire at Malam Bagurau, Sariak Laweh plain 2021-05-12T19:19:38+00:00
This performance was unique in that of all the malam bagurau attached to weddings that I attended in 2016, it alone involved a mix of musical styles: saluang klasik, the reason I attended, saluang orgen (songs, many of which are from dendang repertoire, accompanied by saluang and synethsizer), and orgen (just a vocalist and synethsizer). If a dendang is performed on saluang orgen or orgen, it is from the gembira category, the synthesizer providing a consistent rhythmic backdrop. The timeline for this performance, therefore, has a few more categories. It represents style first and foremost so the user can appreciate the relative amounts of time in each style. Within the saluang klasik style, dendang are represented by their type. When the songs are performed in the style of saluang orgen or orgen, then the type of song is specified in the description. See the following page for analysis on relative amounts of time on each style and each type of song.
1. Musical Item: Imbauan Saluang
2. Musical Item: Imbauan Singgalang
3. Song: "Singgalang Induak"/ "Singgalang Alai [new"]: nobody identified the title for me so I don't know for sure what to call it, but as Sri was one of the performers and she used the title "Singgalang Induak" for the same tune a few days before, I expect that she would identify the tune that way.
4. Song: Title Unknown
5. Song: "Raimah Tanjuang"
6. Song: "Singgalang Jaya"
7. Song: "Singgalang Singgah"
8. Song: "Danau Indah"
9. Song: "Kawin Batambua"
10. Song: "Pariaman Panjang"
11. Song: "Indang Ramolai"
12. Song: "Pariaman Laweh"
13. Song: "Muaro Cinto"
14. Song: Title Unknown
15. Song: "Indang Sari Lamak"
16. Song: Title Unknown
17. Song: "Indang Sing Guliang"
18. Song: Title Unknown
19. Song: "Sungai Rimbang"
20. Song: "Talago Biru"
21. Song: "Lubuak Sao"
22. Song: "Padang Magek"
23. Song: "Pitaruah Ayah"
24. Song: "Sirompak Taeh"
25. Song: "Koto Tuo Tabek Sarojo"
26. Song: "Suayan Maik Katurun"
27. Song: "Kamang Patah Tigo"
28. Song: "Bukik Apik Randang Kopi"
29. Song: "Pasaman Ilia"
30. Song: "Indang Kurinci"
31. Song: Title Unknown
32. Song: "Lubuak Aluang"
33. Song: "Sungai Pua Manurun"
34. Song: "Tangkerang"
35. Song: Title Unknown
36. Musical Item: Imbauan Saluang
37. Song: "Ampaian Santo"
38. Song: "Kambang Aia Aji"
39. Song: "Koto Tuo Patah Pucuak"
40. Song: "Tigo Balai"
41. Song: "Banda Sapuluah"
42. Item: Talingkin, Song "Simarantang"
43. Song: Title Unknown
44. Song: Title Unknown
45. Song: "Gali-Gali"
46. Song: "Cimpago Biru"
47. Song: Title Unknown
48. Song: "Bujang Marando"
49. Song: "Siriah Langkok"
50. Item: Jalu-Jalu
Performance: Sariak Laweh, July 25, 2016 20 Malam Bagurau image_header 2021-05-12T19:13:22+00:00 -0.22432, 100.5288 07/25/2016
Date: July 25-26, 2016
Time: 10p.m.-3.15a.m.
Place: Sariak Laweh

Style: This performance was unique of those I attended in 2016 as it included a range of musical styles, much to the surprise of Te E, who had specifically invited Pak Ketua and I to the performance. She had anticipated that it would only be saluang klasik, as she declined invitations to performances where the style would be what she called "campua adok" (all mixed up).

The three styles here include:
- Saluang klasik: this is the main style discussed in this project.
- Saluang orgen: instrumentation and songs from saluang klasik combined with the use of an orgen (the local term used for synthesizer)
- Orgen: this refers to a line-up of singer/s with orgen. The songs are typically from local pop genres and not from the saluang repertoire.
Occasion: Malam Bagurau for a Wedding. In this case, the music was the night time entertainment, after a long day of receiving guests.

Set up: A stage was set up next to the house, with tables and chairs set out under a canopy. Some pagurau chose to stand on the sides, in the adjacent rice paddies.

Performers:
- Padendang:
  - Te E
  - Si Sri
  - Ika
- Tukang Saluang: Kamarudin
- Orgen: Warlan, 1994 graduate of ASKI (now ISI).
- Janang: None. It is customary to not have a janang at a wedding.
Audience: At the beginning of the evening, the audience was mixed gender. But as the night progressed, the women went home and the men were left. I estimated about 150 people at the peak.

Ethnographers: Jennifer & Pak Ketua
Attendance: We were there for the entirety of the performance, from the opening with "Singgalang Induak" packing up as the singers launched into "Jalu-Jalu."
Notes:
Repertoire: Harau, July 23, 2016 18 List of repertoire at Malam Bagurau, Harau plain 2021-06-28T11:47:02+00:00
1. Song: "Indang Pariaman"
2. Song: "Tigo Sapilin"
3. Song: "Salawat Dulang"
4. Song: "Cancang Pidia"
5. Song: "Baruah Andiang"
6. Introductory Material: Imbauan Saluang
7. Introductory Material: Imbauan Singgalang
8. Song: "Singgalang Jaya"
9. Song: "Singgalang Cancang"
10. Song: "Koto Tuo Tabek Sarojo"
11. Song: "Cupak Ambiak Lado"
12. Song: "Solok Manuai"
13. Song: "Ratok Sianok"
14. Song: "Sirompak Taeh"
15. Song: "Ratok Sianok"
16. Song: "Oyak Ambacang"
17. Song: "Kincia Tuo"
18. Song: "Guguak Manitik Ameh"
19. Song: "Pariaman Panjang"
20. Song: "Tangkerang"
21. Song: "Suayan Balenggek"
22. Song: "Ratok Balingka"
23. Song: "Bonjol Lamo"
24. Song: "Sungai Pua Manurun"
25. Song: "Ratok Sabu"
26. Song: "Ratok Singkarak"
27. Song: "Ratok Sari Aji"
28. Song: "Lawang Sari Bulan
29. "Song: "Ratok Bonjol"
30. Song: "Koto Tuo Caruak"
31. Song: "Bacarai Kasiah"
32. Item: Jalu-Jalu, Song: Title Unknown
33. Item: Jalu-Jalu, Song: "Siti Johari"
Repertoire: Sungai Baringin, July 15, 2016 17 List of repertoire at Malam Bagurau, Sungai Baringin plain 2021-06-19T19:13:31+00:00
1. Song: "Bola"
2. Song: "Intan Bajalan Sorang"
3. Song: "Mudiak Suak"
4. Song: "Lubuak Basuang"
5. Song: "Lubuak Sao"
6. Song: "Bayang Salido"
7. Song: "Kabau Punco"
8. Song:"Baburu Babi"
9. Song: "Sungai Pua Manurun"
10. Song: "Bujang Marantau"
11. Song: "Ratok Pasaman"
12. Song: "Indang Parik Rantang"
13. Song: "Koto Tuo Caruak"
14. Song: "Parambahan"
15. Song: "Pariaman Panjang"
16. Item: Talingkin, Song: "Simarantang"
17. Item: Talingkin, Song:"Lintau Buo"
18. Item: Talingkin, Song: "Dayang Daini"
19. Item: "Imbauan Singgalang"
20. Song: "Singgalang Cancang"
21. Song: "Tigo Sapilin"
22. Song: "Sirompak Taeh"
23. Song: "Kambang Aia Aji"
24. Song: "Sijobang"
25. Song: "Tanah Jambi"
26. Song: "Bayua Larai"
27. Song: "Tangkerang"
28. Song: "Biduak Ketek"
29. Song: "Suntiang Patah Batikam"
30. Song: "Lawang Ambun Pagi"
31. Song: "Sariak Mangayam"
32. Song: "Koto Tuo Tabek Sarojo"
33. Song: "Ratok Sari Aji"
34. Song: "Kamang Bakayu"
35. Song: "Solok Manuai"
36. Song: "Tigo Balai"
37. Song: "Bungo Larangan"
38. Song: "Salawat Dulang"
39. Song: "Gadih Tajun Ngarai"
40. Song: "Guguak Maniitik Ameh"
41. Item: Jalu-Jalu
Introduction to Songs Songs--called "dendang" in Minangkabau and "lagu" in Indonesian--are at the heart of saluang. But just what is a song in the context of saluang and how do people talk about them, how do they know and approach them as things in the world? This page provides a basic introduction to help orient you, the user, to the local ways of knowing and thinking about these songs.
What is a song?
What constitutes a song--that is what makes up the DNA of any given song--might be different than your definition. Very few of these songs have identified composers. These songs are identified by title and tune, not by their lyrics. That is because the textual content is not fixed. That content may--and usually does--change from one performance to the next, with padendang drawing on their stock of memorized verses or creating them anew in response to the performance context and interactions with the audience members. Make sure to read song texts for more information. People identify songs largely by their structure, including melodic and rhythmic content. But they also categorize individual songs and group them together based on similarities in a variety of different ways.
Classification of songs
Practitioners and devotees of saluang alike provide a number of categories for classifying songs. These categories provide local ways of knowing the repertoire, ways of interpreting, understanding, learning, appreciating, requesting and otherwise interacting with the songs. The most important ways of knowing and classifying the songs are through type of song and their place affiliations. In presenting individual songs in this site, we engage and use these local systems of knowledge to organize them. It is also important to note that different people might have divergent knowledge about a song's associations, based on their positionality and individualized experiences. The associations presented in this site reflect an identification provided by an individual to me. That doesn't make it necessarily it the "right" interpretation. I think the moments of multiple identifications are more fascinating than the clear cut cases, revealing the way knowledge is differently structured and experienced by individuals.
Classification by type of song
Most practitioners and devotees classify the songs according to one of three song types: ratok (sad songs, literally from the word "lament"), gembira (happy songs) and those in between, satangah tiang (literally "half mast"), which are sometimes described as "half happy" and sometimes as "half sad," depending on who is talking. There are also a large collection of songs from the region called Singgalang. Some people refer to these songs--a very distinctive collection--as a fourth category and others refer to them as a subcategory of ratok.
Classification by function
There are a few songs that are classified according to their function: talingkin (songs sung without saluang in the middle of a performance) and jalu-jalu (the songs used to close a performance).
Classification by place affiliation
Most songs are affiliated with places, identified by performers and devotees as affiliated with either the darek or the rantau, a specific luak or kabupaten, a region (an area that doesn't map neatly onto any one administrative unit), a nagari, or a specific landmark.
Classification by pokok
Tukang saluang (flute players) also classify the songs according to pokok (a system that references how many finger holes are open or closed). This is a more specialized level of knowledge, so we've opted to exclude it for now.
Origin of songs
Most of the songs in the repertoire are considered "klasik," meaning they have been part and parcel of the genre for a very long time. The genre, however, incorporates new material from other genres, both regional Minangkabau practices, such as indang or sijobang, and popular genres, such as regional and national dangdut tunes. It is not clear how long this incorporation of "outside" material has been occurring, but it has been occurring at least since I started tracking songs in 2003-2004. See Songs Imported from Other Genres.
Attribution of Songs
Most of the songs in the repertoire are not attributed to any specific composer. Most of these songs could be considered part of the "klasik" repertoire, composed before the practice of making connections between content and individual ownership. There are some songs, however, that we present here that do have attributed composers, most of whom are well-known padendang (see composers). Practitioners and connoisseurs alike sometimes offer attribution in discussing the songs, but there is not always agreement in that attribution. I expect that is for a number of reasons: not documented in writing, people offering covers and variations, people familiar with the first person to have popular or commercial success with a tune, even if they didn't initially compose the tune. It is sometimes difficult to parse these stories to get to the truth, whatever that may be; instead it is best to consider each claim telling a different kind of truth.
Structure of Songs
Most songs are strophic in form, meaning the melody stays consistent for each verse. There are a handful of songs, for example, "Pariaman Panjang" and "Kambang Aia Aji," that have multiple parts, with each part having a distinct melody. These parts are know as induak (mother) and anak (child). While there is an ideal progression of order through these multi-part songs (say induak, anak, anak), my recordings suggest that order is not always followed. See Songs with Interesting Features.
Repertoire: Radio Republik Indonesia Bukittinggi, February 6, 2004 9 List of repertoire at Malam Suntuak plain 2021-06-17T19:32:42+00:00
1. Musical Item: Imbauan Saluang
2. Musical Item: Imbauan Singgalang
3. Song: "Singgalang Alai [New]": the tune was identified in my notes as "Singgalang Alai." I listened to the recording and worked on lyrics with Martis, who identified the tune in this way.
4. Song: "Arau Lamo"
5. Song: "Pariaman Lamo"
6. Song: "Cancang Kambiang"
7. Song: "Kabau Punco"
8. Song: "Suayan Maik Ka Turun"
9. Song: "Balam jo Rantiang"
10. Song: "Bujang Marando"
11. Song: "Tabek Sarojo"
12. Song: "Sorak Gaduik"
13. Song: "Oyak Ambacang"
14. Song: "Ratok Bonjo"
15. Song: "Antaran Dama"
16. Song: "Suntiang Patah Batikam"; Rendition: "Suntiang Patah Batikam"
17. Song: "Buaian Anak"
18. Song: "Tanjuang Baliak"
19. Musical Item: Imbauan Saluang
20. Song: "Mudiak Suak"
21. Song: "Singgalang Parak Kina"
22. Song: "Parambahan"
23. Song: "Balam jo Rantiang"
24. Song: "Suayan Balenggek"
25. Song: "Ense Garendeh"
26. Song: "Baburu Babi"
27. Song: "Barabah Mandi"
28. Song: "Pariaman Laweh"
29. Song: "Bungo Larangan"
30. Song: "Padang Magek"
31. Song: "Pariaman Lamo"
32. Musical Item: Imbauan Saluang
33. Musical Item: Imbauan Singgalang
34. Song: "Singgalang Lagundi"
35. Song: "Saba Mananti"
36. Song: "Sawah Rawang"
37. Song: "Ampaian Santo"
38. Song: "Pitaruah Ayah"
39. Item: Jalu-Jalu
Song: "Manjalang Subuah" Translation of Title: The title of this song translates as "to approach subuh (dawn)." Saluang performances end before subuh, in time for the morning prayer.
Explanation: According Mak Lenggang, "Manjalang Subuah" is one of the songs, like "Bacarai Kasiah," that is sung immediately prior to "Jalu-Jalu," the songs used at the end of a performance. Once this song is performed, the audience knows that the end is coming and they no longer make specific song requests. If they do make requests, it’s clear they don't know the etiquette of a saluang performance. (Informal interview, July 27, 2015).
Composer: Unknown.
Type of song: Satangah Tiang.
Genre of origin: Qasidah.
Place affiliations: Unknown.
Source: Martis.
Song: "Lubuak Aluang" 6 This song is named after the place, the nagari Lubuak Aluang. It is also one of songs that is part of "Jalu-Jalu" and can be used to close a saluang performance. plain 2021-06-26T23:22:46+00:00
Alternative Title: This is probably the same song that Mardjani lists as "Indang Lubuak Aluang."
Translation of Title: This song is about the place, the nagari, Lubuak Aluang.
Explanation: This is one of the songs used as a Jalu-Jalu, the closing sequence of a saluang performance.
Composer: Syamsimar.
Type of song: Gembira.
Genre of origin: New creation.
Place affiliations:
- Nagari: Lubuak Aluang.
- Kecamatan: Lubuak Aluang.
- Kabupaten: Padang Pariaman.
- Darek or Rantau: Rantau.
Source: Te E's List of Songs, Mardjani's List of Songs.
Description: The texts are pantun muda or about love.
Song: "Satampang Baniah" 5 One of songs that is part of "Jalu-Jalu" and can be used to close a saluang performance. plain 2020-11-05T01:24:43+00:00
Translation of Title: "A Source of Seeds."
Explanation: One of songs that is part of "Jalu-Jalu" and can be used to close a saluang performance.
Composer: Unknown.
Type of song: Satangah Tiang (Mardjani noted this as ratok.)
Place affiliations: The song is affiliated with the place, Solok, which is a town and a kabupaten.
- Kabupaten: Solok.
- Darek or Rantau: Rantau.
Source: Te E's List of Songs, Mardjani's List of Songs.
Genre: Randai 5 Randai is a Minangkabau theater form image_header 2021-06-29T19:34:10+00:00
Randai is a Minangkabau theater form that involves theater, martial arts, dendang, and percussive playing of pants. The stories for randai performances are kaba. Typically a randai troupe specializes in one specific story. Saluang is used for the opening and interludes between scenes. The style of singing, however, is unlike the malam bagurau performances. It involves solo delivery of lines of text and the chorus--the players in the circle--joining at the end of pantun. This is the style that gets incorporated in malam bagurau during Talingkin and Jalu-jalu sequences.

Related Resources
- Pauka, Kirstin, Ivana Askovic and Barbara Polk. 2003. "Umbuik Mudo and the Magic Flute: A Randai Dance-Drama" Asian Theatre Journal 20 (2):113-146.
  - This publication provides a script for an entire randai play translated into English, along with lyrics for the songs included.
Song: "Siti Johari" 5 One of songs that is part of "Jalu-Jalu" and can be used to close a saluang performance. plain 2021-06-29T23:19:04+00:00
Alternative Title: "Siti Jawari"
Translation of Title: The phrase, "Siti Johari," is a term of respect used towards Bundo Kanduang (female leaders) in classic Minangkabau kaba.
Explanation: This is one of the songs used as a Jalu-Jalu, the closing sequence of a saluang performance.
Composer: Unknown.
Type of song:Satangah Tiang.
Genre of origin: Randai.
Place affiliations:
- City: Batusangkar.
- Luak: Tanah Data.
- Darek or Rantau: Darek.
Source: Te E's List of Songs.
Song: "Bacarai Kasiah" Translation of Title: "Broken Love."
Composer: Unknown.
Explanation:According to Halim, a.k.a. Mak Lenggang, "Bacarai Kasiah," like "Manjalang Subuah," is one of the songs sung immediately prior to "Jalu-Jalu," the songs used to indicate the end of a performance. Once this song is performed, the audience knows that the end is coming and they no longer make specific song requests. If they do make requests, it’s clear they don't know the etiquette of a saluang performance. (Informal interview, July 27, 2015).
Type of song: None.
Place affiliations: Unknown.
Source: Pak Ketua.
Song: "Sonsong" Translation of Title: "Sonsong" means "to go forward to meet someone," a title metaphorical perhaps for meeting the end of the night.
Explanation: This is one of the songs used as a Jalu-Jalu, the closing sequence of a saluang performance.
Composer: Unknown.
Type of song:None.
Place affiliations: Unknown.

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