This site requires Javascript to be turned on. Please enable Javascript and reload the page.

Song in the Sumatran Highlands

Text: Vulgar/ Telanjang

This page has paths:

Contents of this path:

This page is referenced by:

Rendition: "Upah Kasua" 07/31/2015 14 "Upah Kasua" performed at Bagurau Lapiak, Ngalau. plain 2021-09-02T00:27:13+00:00
Song: "Upah Kasua"
Performance: Ngalau, July 31, 2015
Context: Bagurau Lapiak
Style: Saluang Klasik
Type of Song: Satangah Tiang
People:
- Padendang:
  - Santi
  - Si Tel
  - Unknown
- Tukang Saluang: Unknown
- Janang: Unknown
Duration: 22.21

Structure: There were eleven pantun (two of which were just the first half) delivered in this song. The interaction with the audience was extremely lively in this rendition. There were many interjections from the janang, conveying the requests and commentary from pagurau. After the first two pantun, the janang jumped in after each subsequent pantun, and often after a short saluang interlude. The text delivered by the padendang--in this case ten out of eleven pantun were delivered by Santi--were in response to pagurau comments, illustrating quick wit and verbal nimbleness and dexterity required.

Interactions: At least eight different individuals, including myself, and one group were named by the janang. Three of them were more involved, making four to six comments ore requests.

Comments: This song was the longest and most interactive of any song I heard in 2015-2016, in part because songs are simply not as long when no janang is present and most of the other performances I attended did not have janang. There were other songs as long in duration that I heard in 2003-2004, but again janang were present.
Lyrics:
Pantun 1: Santi
Batang
Minangkabau:
Oi bakandak latiah mangasua
Dek Lumuik Simpang danga malam ko

English:
In the cage, I’m tired so I need to be paid
Those of Lumuik Simpang listen this evening
Isi
Minangkabau:
Lah talonsong badan ka sumua
Kalau indak mandi cuci muko sajo

English:
Take your body to the well [a.k.a. the bathroom]
If you don’t shower, just wash your face.
Interpretation of Pantun 1
Batang: The batang is a generic one referring to the performance context. It's possible the reference to being paid is a literal reference to needing to raise funds for the performer's takings for the evening. If so, it would be a pretty direct reference to a matter that is usually treated obliquely. The name of the group can easily be exchanged.
Isi: This isi is metaphoric. A man goes to his wife's room, but only gets to hold her. Rather than washing the whole body, he only gets to wash his face. Rather than having sex, he gets to touch her. The oblique reference to intercourse makes this a pantun porno.

Pantun 2: Santi
Batang
Minangkabau:
Oi nan diagiek ka "Upah Kasua"
Bagurau kito samalam ko

English:
Those who make the request for song “Upah Kasua”
We are doing the bagurau this evening
Isi
Minangkabau:
Sulik bacinto jo urang jauah
Badan lah sarik ka basuo.

English:
It is difficult to be in love with someone far away
It is difficult to meet with them.
Interpretation of Pantun 2
Batang: The batang is generic: we've been given the task of this song and here we are engaging in a bagurau this evening.
Isi: This isi is relatively unremarkable, almost a pantun nasehat.
Janang Interjection#1
Content: There was a request to extend the song from two named individuals and a group. Commentary is conveyed to Santi: "Santi makan kueh rayo surang- surang sajo …." Kueh rayo are the cakes and sweets laid out following major holidays, in this case during Lebaran. The pagurau is concerned that she is eating cakes alone and might, therefore, be lonely, prodding the padendang to respond to these comments and taking the song in a less innocent direction. "Eating cake" might be interpreted by some to mean "engaging in sexual activity."
Pantun 3: Santi
Batang
Minangkabau:
Ka Tanjuang Aro sajo makan kue
Iyo dek alah kueh den asiangkan

English:
Come to Tanjuang Aro to eat cake
The cakes are ready to serve.
Isi
Minangkabau:
Elok lah kanduang bajaleh-jaleh
Oi jaan dak diek dimabuak angan-angan.

English:
Don’t think about someone else.
Don’t get drunk with those thoughts.
Interpretation of Pantun 3
Batang: The batang is explicit and topical, responsive to the comments of the pagurau. The padendang is inviting the pagurau to Tanjuang Aro, where she lives, to eat cakes with her. Such an invitation is considered to be too direct by some people. And while she extends such an invitation in song text, it is not a literal invitation. It is more about the wordplay.
Isi: This isi is more direct: in urging the paguruau to not think about someone else, she is encouraging them to think about her instead.

There are some saluang practitioners and connoisseurs who would consider this pantun a pantun telanjang.
Janang Interjection#2
Content: There was another request to extend the song. This time from Umbuik St Mudo (an individual) along with the group, Lumuik Simpang. 10,000rp is offered. They request Santi to sing again, sharing the following commentary:  "If there are cakes ready in Tanjuang Aro, we of Lumuik have the opportunity to stop by and have cake." The pagurau, then, picked up on and were responding to the now running joke about eating cake.
Pantun 4: Santi
Batang
Minangkabau:
Oi Lumuik Simpang amauh datang
Saboto gadang lah den asiangkan

English:
Those from Limuik Simpang who want to come
A big bottle [of cake] will be ready for you
Isi:
There was no isi delivered. It is unclear why. It seems likely Santi got distracted and forgot where she was in the pantun.
Interpretation of Pantun 4
Batang: The batang is direct and topical. Santi responded to the pagurau commentary about stopping by for cake. She invites the specific group to come over and specifies the kind of cake.
Janang Interjection#3
Content: Lumbuik Simpang respond with a request to extend the song again. They deliver the following comment: “If the cake is from a big bottle, that’s lots. We just need a slice.” Putra Pasena (an individual) also submitted comments: “If a cake is to be separated out, don’t do a whole bottle, just do a kueh bulo (round cake) instead, with lots of chocolate sprinkles” and then “If it’s a kueh bulo, don’t cut it small, give me a really big slice.” One has to apply imaginative thinking to engage in the metaphorical extensions of eating different kinds of cake.
Pantun 5: Santi
Batang
Minangkabau:
Kalau sasaik indak kasadang
Sagaluang gadang ka den hidangkan

English:
If only one slice is not enough,
I’ll give you the whole cake.
Isi
Minangkabau:
Hilang gumilang paneh patang
Takana ranah pamulangan

English:
If you are in the middle of fighting with your boyfriend,
Remember the good times.
Interpretation of Pantun 5
Batang: The batang extends the metaphor of eating cake.
Isi: This isi is a straightforward pantun nasehat.
Janang Interjection#4
Content: Following the last verse, there was more engaged commentary from the pagurau.
Putra Pasena said “If it’s not small, then give it all out.” Lumuik Simpang said “If the cake is that big, how many eggs are used? Please clarify, Santi.” And Putra Panampuang, the most direct comment of all: “I am looking at your shirt, Santi, there is a brand. What is the brand? It’s not evident to us.” This was commentary to encourage her to lean over closer to the pagurau.

After a saluang interlude, the janang comes back with another comment, this one made partially on my behalf by Mak Datuak (or Pak Ketua). “If Santi makes a cake, how delicious is it? Because her triceps are strong to mix it. The cake will be finished in a minute with the shaking of her upper arms.”
Pantun 6: Santi
Batang
Minangkabau:
Jiko taluanyo tak bara bana
Namun kacau nan paralu

English:
Even if the eggs are not that many
Mixing, however, is needed
Isi
There was no isi delivered. It is unclear why. It seems likely Santi got distracted and forgot where she was in the pantun, maybe cracking up at her own joke.
Interpretation of Pantun 6
Batang: The batang was again direct and topical, responding to commentary. One interpretation was that at the moment of making a cake, the padendang is like a big mixer.

Janang Interjection#5
Content: Bujang (a word interchangeable with Putra) Pasena comments: “Santi, if there aren’t that make any eggs to put into the mix, but the [egg] whites are necessary, add margarine and sugar.”
Pantun 7: Santi
Batang
Minangkabau:
Biaso buek kueh di Lubuak Bangku
Iyo putiah jo nan balabiahkan

English:
Usually to make a cake in Lubuak Bangku
The [egg] whites are used more [in making a cake]/
Isi
Minangkabau:
Oi kalau itu kami lah tahu
Indak paralu kanduang kato kan

English:
If that’s the case, we already know,
You don’t need to talk about it.

Interpretation of Pantun 7
Batang: The batang once again extends the metaphor of making a cake, in this case making a specific reference to place that is meaningful to Putra Pasena, who's ex-girlfriend is from Lubuak Bangku.
Isi: This isi seems like straightforward narrative, mention to the fact that the performers and the audience members are aware of the connection to Lubuak Bangku.
Janang Interjection#6
Content: Putra Pasena responds to her reference. “When in Lubuak Bangku, one uses two eggs. When in Tanjuang Aro, there are lots of eggs. Just one egg container is not enough, you need a sacabek (a container that holds hundreds of eggs), because Santi your upper arms are big. In Lubuak Bangku, the upper arms are small.”

Interpretation: In this case, Putra Pasena is making a comparison between his past girlfriend (from Lubuak Bangku) and his present one, Santi the padendang, from Tanjuang Aro. His previous girlfriend was skinny and had small upper arms, but now he likes Santi’s big upper arms, their super power. Everyone is aware of this dating history.
Pantun 8: Santi
Batang
Minangkabau:
Di Lubuak Bangku putiahnyo sajo
Baa nyo kueh namuahnyo kambang

English:
In Lubuak Bangku, if you just use the egg whites
How will the eggs do their job?

Isi
Minangkabau:
Di sabuik apolah ka gunonyo
Kok masiak bana nan kanduang sayang

English:
You don’t need to tell us the use
[…] that which is loved.
Interpretation of Pantun 8
Batang: The batang extends the cake and egg metaphor, suggesting the egg whites are not up to the job, in this case the ex-girlfriend was not up to the job.
Isi: This isi is straightforward.

Janang Interjection#7
Content: The janang jumps in with a comment from Pak Datuk Parampuang, “If it’s really difficult, just put them all in a bucket and stir. If not, put them in a blender or a cement mixer.”
Pantun 9: Santi
Batang
Minangkabau:
Sabuik lah lagu malam kini
Oi namun si Eli nan takana

English:
[…] the song this evening
However, Si Eli is affected.
Isi
Minangkabau:
Lain salero dajang kini
Diagia gajebo bakandak tunjang

English:
Different tastes this dajang [young bachelor]
Given fatty meat
Interpretation of Pantun 9
Batang: The batang is direct and topical, making reference to Si Eli, who was Putra Pasena's previous girl. The specific mention of someone by name, not even metaphor, makes this a pantun telanjang or pantun vulgar.
Isi: This isi is also very direct, another comment explicitly on people and their sexual and romantic taste. Before Putra Pasena liked this skinny woman in Lubuak Bangku, Eli, but
now he likes Santi, who is “meatier.” In this pantun, Santi is making a self-reference to the fact she is larger bodied and that “fatter” women are beautiful.
Janang Interjection #8
Content: More pagurau start interacting, including someone called Mak Tib and an older man. Group Lumuik Simpang comment, “If the strength of the big upper arms
is known, how is the strength of the small upper arms?” This is an oblique way for them to say, we've heard Santi sing a lot. What about Si Tel, her younger sister, who has skinny upper arms? Another comment is deliver from the oldest man in the audience, Inyiak Ngalau, who comments "Who is the one singing with thatbvoice? I am really affected by it." It's possible to interpret the affect in a sexual way.
Pantun 10: Si Tel
Note that the oblique request for Si Tel to take a turn does indeed encourage her to sing a verse, though with generic texts.
Batang
Minangkabau:
Dangalah gurau sampai salasai
Biarlah kami yo madendangkan

English:
To listen to the gurau until it is done
Let us sing.
Isi
Minangkabau:
Oi kok mangacau den ndak pandai
Oi nan dek Uda tolong tunjuakan

English:
If those stirring are not good,
Please you should point out to us how to do it.
Interpretation of Pantun 10
Batang: The batang is very generic, the kind of batang a novice padendang would deliver.
Isi: This isi is also very generic, asking for forgiveness for her mistakes.
Janang Interjection #9
Content: Si Tel's participation generates a reaction and commentary from the pagurau. Pak Datuk Parampuang asks “How come the arms of Si Tel are so small?” while Bujang Pasena asks “I am asking Si Tel, If you are not capable stirring eggs, how come you are capable opening the stove?” Effectively this question is saying, if you are not strong enough to beat the eggs, how can you be strong enough to open the stove (in order to bake the cake?) I'll leave the possible metaphors here to your imagination.
Pantun 11: Santi
Batang
Minangkabau:
Elok lah duduak di nan arek
Oi dek dajang danga malam ko

English:
Already you are sitting there properly
Oh dajang listen up this evening.
Isi
Minangkabau:
Usahlah cameh pangkalangan ketek
Agak lain pulo kosaiknyo.

English:
You don’t need to be hesitant about her thin arms
Although her arms are thin, she has other talents.
Interpretation of Pantun 11
Batang: The batang is very generic.
Isi: This isi is a little direct, talking about Si Tel's body and her thin arms.

After this last pantun--a return to more generic fare, the performers and the pagurau move on to a new song, in this case "Mudiak Suak," a ratok.
Text: Pantun Porno When references in song texts are made through allusion to sexual organs, sexual acts, or particular people engaging in such activities, they are identified locally as "porno," a term clearly borrowed from the English term "pornography." When those references are explicit they are considered "vulgar," another word borrowed from English, or "telanjang," a word that translates as "naked," suitable for things that are made explicit.

A well-known example of a textual theme that is considered porno is "sawah liek,” literally “dry rice field,” a metaphor for a widow or divorcee who needs to be plowed with a strong hoe, just like a dry rice field.

Not all performers and audience members are comfortable with porno and vulgar song texts: the topic of sex is illicit and taboo in everyday contexts. Mak Sawir was very vocal in speaking against their presence in saluang (interview 2010 and 2016). He vehemently refused to sing during songs that had any such associations, including "Oyak Ambacang" at the RRI Performance in 2004. Te E complies with audience requests for these song titles, like "Oyak Ambacang," by delivering their melodic content but she refuses to sing lyrics that would be classified as either porno or vulgar.

There are also pagurau who are uncomfortable with porno texts and their increasing presence. I have talked to people, often with a strong sense of Islamic piety, who have shied away from saluang performances in recent years for this reason.

Song titles that are considered porno (see Song Titles with Porno Associations) are likely to have porno lyrics, but they can appear in all types of songs, even ratok!
Examples of Porno Pantun
In putting these together, I had to be careful of selecting texts things that might be explicit enough to move from porno to texts that are considered telanjang/naked. Such a determination is obviously culturally sensitive and personally subjective.
Example #1
Isi from Induak #2, Rendition: "Kambang Aia Aji" 07/17/2016
Minangkabau
Bakato insan dalam dado
Rancak mamauik burung pipik
Pado manguruang buruang nuri
Buruang nuri pamaliang paham
Sangka nyo sangko palabuahan
Ka tampek singgah samantaro
Indonesian
Berbicara dalam hati
Bagus mengikat burung pipit
Daripada mengikat burung nuri
Burung nuri suka menipu
Sangkarnya sangkar pelabuhan
Untuk tempat singgahan sementara.
English
To speak with feeling
It is good to bond with a sharp-tailed munia (a kind of small bird)
Rather than bond with a parrot
Parrots like to deceive/ steal
The birdcage is a place of safe harbor
A place to stop by momentarily.
Interpretation
Pak Ketua told me that on one level this pantun operates as a pantun nasehat: it's better to be an orang kecil (one of the masses) with good character than a rich or handsome character with bad morals, who steal like the parrots. But at another level it is also porno as the birdcage, the place for safe harbor, is a woman's sexual organs, more specifically the vagina. He suggested, however, that most listeners would not get this reference.
Example #2

Isi#7 from Rendition: "Lego Puyuah" 12/02/2003
Minangkabau
Mancaliak urang maadu puyuah
Balam disangkak maangguak pulo
English
Look at the people fighting like quails
Your desire increases.
Interpretation
Fighting like quails is a metaphor for sexual intercourse. The second porno reference makes a metaphor reference to sexual arousal in a man as "balam" is a metaphor for a penis.