The bàtá drum is a double-headed hourglass drum with one end larger than the other. This percussion instrument continues to be used for its original purpose because it is one of the most important drums among the Yoruba people of western Nigeria. It is used in traditional and religious activities. The batá drum has been used in the religion called Santería in Cuba since the 1800s, and in Puerto Rico and the United States since the 1950s. Today, it is also used for semi-religious musical performances in Nigeria and in secular, popular music. Originally, the batá drum was used to represent different gods, royalty, ancestors, and politicians, and it influenced many areas of life in Yoruba society.
Batá drums are made by attaching goat skin to a hollowed wood body using wires. The wood used comes from the oma tree. The drum's shells are carved by hand and assembled in a traditional way. The drums are made without any metal parts. The playing surfaces are made of goat skin, and the tension straps are made from strong cowhide.
History
Several types of batá drums have been found around the world. The Yorùbá people used them in religious ceremonies, and they became important in Cuban culture after being brought there in the 1820s. The drums are about 500 years old and were introduced to Cuba by a Yoruba king named Shangó el rey del tambor. Awareness of the instrument grew during the 1800s slave trade, when nearly 300,000 Africans were brought to Cuba. The Yorùbá religion and beliefs became the basis for a religion called Lukumí, also known as Santería in Cuba. This religion led to the creation of the first "sacred" batá drums in Cuba around 1830 by a Yoruba slave named Añabi.
Over time, batá drums became part of Cuban culture and took on more secular uses. They were first played publicly in a 1935 radio broadcast as part of folk music. As people learned more about the drums, their use expanded beyond religious ceremonies. In Cuba, "non-sacred" batá drums, called aberínkula, are used in music genres like timba, jazz, and hip hop. In Nigeria, batá drums are used in popular music, including fusions with Fújì music that became popular in the 1990s, as noted in a book titled Yorùbá Bàtá Goes Global (2007) by Debbie Klein. In the 1970s, a style called Son-Batá or batá rock, influenced by the group Irakere, became popular. Musicians like Julito Collazo helped spread the use of batá drums in Latin music throughout the 20th century.
The Lukumí and the batá
The Lukumí religion, also known as Santería, is closely connected to the batá drums. These drums are played together, often with a rattle or "atchere," to create complex rhythms called "toques" during Santería ceremonies. A ceremony featuring batá drums is usually called a "toque," "tambor de santo," or "bembé." These ceremonies may also include performances with shaken gourd-rattle "chékere" (called "shekere" in English) and tumbadora drums, also known as conga drums.
There are at least 140 different "toques" used to honor the spirits (called "santos" or saints) and their various forms. Two important sets of rhythms use the sacred batá drums. The first is called "Oru del Igbodu" or "Oru Seco," a sequence of rhythms without vocal parts, often played at the start of a "tambor de santo" ceremony. This set includes 23 standard rhythms for all the orishas. The second set includes vocal parts performed by a singer called an "akpwon." The singer interacts with the audience in a call-and-response style, similar to African traditions. During this part of the ceremony, an "initiate" (a person who has completed a special ritual called "receiving Añá") plays a new batá drum set and is then introduced to an older set. This process is believed to transfer the spirit or "Añá" of the older drums into the new ones.
Strict rules and rituals guide the making, handling, and playing of batá drums. Traditionally, only the hides of non-castrated male deer or goats were used. Female goats, as well as hides from bulls, cows, and sheep, were not allowed. Only an initiate was considered qualified to touch or play the batá, as they had completed the full ritual of "receiving Añá," which gives them the spiritual ability to play the drums. Before a ceremony, drummers would wash in "omiero," a special cleansing water, pray, and avoid sexual activity for a time.
In Cuba, batá drums are rarely played after sunset in Havana, but in Matanzas, ceremonies often begin at night. This difference is one of many that exist among followers of Lukumí and others interested in African music, religion, and culture. The Cuban style of playing batá drums is similar to other traditions, but different rhythms may be used in certain musical settings.
In recent decades, the popularity of batá drums has grown worldwide. They are now made in larger numbers by Western drum companies and by African artisans using materials like fiberglass. Some builders prefer cowhide or synthetic membranes, while others prefer traditional methods. These differing views remain a topic of discussion, much like the evolution of the Indian tabla. Both batá and tabla are used in many musical settings far from their origins, though batá has a stronger connection to Lukumí religious practices than tabla has to Hinduism.
Followers of Lukumí believe that certain rhythms played on batá drums carry spiritual energy needed to summon Orishas. These spirits are thought to control natural and life-related forces. The main purpose of the batá is to honor Changó, also called "The Great Spirit" or "thunder and lightning." Ceremonies and rituals using batá drums are often held to celebrate important life events, such as weddings, moving homes, or passing into the afterlife.
Gender and sexuality
According to Kenneth George Schweitzer, an associate professor at Washington College, any heterosexual male may join the Cuban Añá fraternity, which is responsible for owning, playing, and preserving the sacred batá drums. Women are not allowed to play the batá drum during religious ceremonies. Katherine Hagedorn, an American expert in music and culture, explains that there is a belief that women’s reproductive abilities and menstrual blood may weaken the power of the drum. Añá, the deity associated with the drum, is said to have a female energy, and men are required to play the consecrated drums to maintain balance. When Hagedorn wrote her important book on the batá drum, only a few women who played the drum were foreigners.
Vicky Jassey explains that religious beliefs about menstruation are central to the rule that prevents women from touching sacred batá drums. However, Jassey notes that there is no clear religious reason for continuing to prohibit menopausal women from participating. Most drummers who are officially sworn to the ritual believe that both women and the Añá deity inside the drum could be harmed if they come into contact. Men are also required to avoid having sex with a woman the night before a ceremony because this "contamination" is thought to harm the sacred drums. Gay men are not allowed to touch the drum, though the reason is unclear and does not seem to come from religious beliefs.
Recently, more women have started to play the drums, including the group Obiní Batá. In another book, Hagedorn describes that religious leaders were upset when the group formed in the early 1990s because they broke traditional rules. Eva Despaigne, the founder of the group, and her members explain that they do not want to challenge men or disrespect religious traditions. Instead, they aim to highlight the importance of women in the African culture that created the tradition. They play non-sacred drums, called abericula, which is the custom for performances outside of religious ceremonies. The group has performed internationally in Europe and Africa.
Parts of the batá
In Cuba, the batá is a set of three drums shaped like cones and of different sizes. The largest drum is called Iyá, and it is known as the "mother drum." The middle drum is called Itótele, and the smallest is called Okónkolo. These are referred to as the "father" and "baby" drums, respectively. In Nigeria, there are five sizes of batá drums, which can be played by hand or with a leather strap. In Matanzas, older batá drum groups often use one hand and the bottom of a shoe or another type of strap to play the drums. In Cuba, it is common to see the drums decorated with small bells and chimes. These decorations are called Saworoide or "Saworo" in Yorubaland and Chaworoide or "Chaworó" in Cuba. The bells are attached to one or two "igbaju" leather straps, which are used to mount them on the Iyá drum. The larger drum surface is called the "enu," and the smaller surface is called the "chacha."
In Yoruba land, batá drums have different parts, which are: