The bàtá drum is a two-headed drum shaped like an hourglass, with one end larger than the other. This musical instrument is still used for its original purpose because it is one of the most important drums in Yoruba land. It is used for traditional and religious activities among the Yoruba people of western Nigeria. Batá drums have been used in the religion called Santería in Cuba since the 1800s and in Puerto Rico and the United States since the 1950s. Today, they are also used for semi-religious musical performances in Nigeria and in non-religious, popular music. The early purpose of the batá drum was to represent different gods, royalty, ancestors, and politicians, playing a role in all areas of life in Yoruba land.
Batá drums are made by covering goat skin with wires on a wooden body that is hollowed out. The drums are made from a solid log of the oma tree. The drum shells are carved by hand and put together in traditional ways. The drums do not have any metal parts. The playing surfaces are made of goat skin, and the tension straps are made of strong cowhide.
History
Batá drums have been used in many cultures around the world. The Yorùbá people, among others, used them in religious ceremonies. After being brought to Cuba in the 1820s, batá drums became an important part of the culture of the southwestern Nigerian people.
The drum has a history of about 500 years. It is believed that a Yoruba king named Shangó el rey del tambor introduced it. However, people outside of Yorùbá communities learned about the instrument only during the 1800s, when many Africans were brought to Cuba through the slave trade. The Yorùbá religion and beliefs became the foundation for a faith called Lukumí, which is known as Santería in Cuba. Around 1830, a Yorùbá slave named Añabi created the first "sacred" batá drum in Cuba.
Over time, batá drums became part of Cuban culture and were used in more non-religious ways. They were first played publicly on Cuban radio in 1935 as part of folk music. As more people learned about the instrument, its use expanded. In addition to religious purposes, musicians now use batá drums in recordings and performances. These non-religious drums are called aberínkula, which means "profane batá." Batá rhythms and drums have been used in many music genres, including Cuban timba, jazz, and hip hop. In Nigeria, Bàtá drums are used in popular music. Fusions with Fújì music became popular in the 1990s, as shown in Yorùbá Bàtá Goes Global (2007) by Debbie Klein. In the 1970s, a mix of batá drums and big band music called Son-Batá or batá rock became popular, influenced by the group Irakere. Skilled musicians like Julito Collazo performed in the United States during the twentieth century, helping spread the use of batá drums in Latin music.
The Lukumí and the batá
The Lukumí religion, also known as Santería, is closely connected to the batá drums. These drums are played together with a rattle or "atchere" to create complex rhythms called "toques" during Santería ceremonies. A ceremony featuring batá drums is often called a "toque," "tambor de santo," or "bembé." These ceremonies may also include performances by "chékere" (shekere) ensembles, which use shaken gourds and tumbadora drums (also called conga drums).
There are at least 140 different toques, each associated with specific spirits (called "santos" or saints) and their unique forms. Two important rhythm sets use the sacred batá drums. The first is called "Oru del Igbodu" or "Oru Seco," which includes 23 standard rhythms for all the orishas (spirits). This set is usually played at the beginning of a "tambor de santo." The second set includes vocal parts performed by a singer called an "akpwon." During this part, the singer interacts with the audience in a call-and-response style. A special ritual occurs when an "initiate" (someone who has completed a spiritual training called "receiving Añá") plays a new batá drum set and then introduces it to an older set. This process is believed to transfer the spiritual energy of the older drums to the new ones.
Strict rules and rituals guide the making, handling, and playing of batá drums. Traditionally, only the hides of male deer or goats (not females or other animals) were used. Only initiates, who have completed the ritual of "receiving Añá," are allowed to touch or play the drums. Before a ceremony, drummers wash themselves 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 and culture. The Cuban style of playing the drums is similar to other traditions, but some rhythms may vary depending on the musical context.
In recent decades, batá drums have become more popular worldwide. They are now made by large drum companies and individual artisans in Africa using materials like fiberglass. Some builders use cowhide or synthetic membranes, while others prefer traditional methods. These differing views create debate among traditionalists and modern musicians. Similar debates exist with the Indian tabla, another percussion instrument with diverse uses far from its cultural roots. However, batá drums are more closely tied to the Lukumí religion than the tabla is to Hinduism.
Followers of Lukumí believe that certain rhythms played on the batá drums hold spiritual power strong enough to summon Orishas. These spirits are thought to control natural and life-related forces. The primary purpose of the batá drums is to honor Changó, a deity also called "The Great Spirit" or "thunder and lightning." Ceremonies and rituals using batá drums are often held to mark important life events, such as weddings, moving homes, or celebrations related to death and the afterlife.
Gender and sexuality
According to Kenneth George Schweitzer, an associate professor at Washington College, any heterosexual man may join the Cuban Añá fraternity, which owns and plays the sacred batá drums and preserves the drumming tradition. Women, however, 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 is considered to have a female energy, and to keep balance, men are required to play the sacred drums. When Hagedorn wrote her important book on the batá drum, very 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 why menopausal women are still not allowed to participate. Most drummers who perform religious rituals believe that both women and the Añá deity inside the drum could be harmed if they come into contact. Additionally, men are 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 also not allowed to touch the drum, but the reason is unclear and does not seem to come from religious beliefs.
Recently, more women have started to play the drum, including the group Obiní Batá. In another book, Hagedorn describes that many religious leaders were upset when the group formed in the early 1990s. Eva Despaigne, the founder of the group, and other members say they do not want to compete with men or disrespect traditions. Instead, they aim to show the importance of women in the African culture that created the tradition. They play non-sacred drums, called abericula, as is customary for performances outside of religious rituals. 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, which 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. These can be played either by hand or with a leather strap. In Matanzas, older batá traditions use one hand and the bottom of a shoe or another type of strap to play the drums. In Cuba, the drums are often decorated with small bells and chimes. These are called Saworoide or "Saworo" in Yorubaland and Chaworoide or "Chaworó" in Cuba. The bells are attached to one or two "igbaju" leather straps that 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: