Ceremony
=Oru Cantando : the second part of a bembe consisting of a series of songs sung for
each of the Orisha. The songs are accompanied by bata drums, and may employ many of the
same toques used during the Oru Seco portion. (Or entirely new toques may be played.)
=Wemelere : the last part of a bembe, the wemelere expands on the music played in the
prior sections and includes dancing and singing, in hopes that the Orisha will come down and
"visit" the participants.
Okonkolo : the smallest bata drum, the okonkolo produces the highest pitched tones
and is typically used to play a standard set of rhythms in support of the Iya and Itotele.
The Okonkolo is considered the metronome and time-keeper of the bata ensemble, hence
there is little improvisation (floreos) carried out on this bata drum, especially during the
Oru Seco. However the level of improvisation depends on the bata rhythm and the context
in which it is played. Some rhythms actually require the okonkolo player to be able to
improvise more freely to really swing the music.
Itotele : the middle bata drums, the Itotele produces the medium pitched tones and is
also used to play a standard set of rhythms in support of the Iya. As with the Okonkolo,
these rhythms are fairly universel with little variation from one form of bata to another. The
itotele, is expected to answer " and " converse with " the Iya. This usually allows the
player a little more improvisational freedom then with the okonkolo. But again, this
depends on the rhythm and the context in which it is being played. Itotele rhythms are
fairly stock and improvisation-free during the Oru Seco.
Iya : the largest of the bata drums, the Iya produces the lowest pitched tones. The iya
also has stock phrases found universally and played by all Iya players. These should be
leamed and mastered first. Once you have a good working knowledge of the iya, you may
notice iya players incorporating many variations in their parts, even in the most basic of
rhythms. Most of these variations will occur on the cha-cha side of the Iya and will require
a well-trained ear to distinguish. The iya " calls out " the changes and conversations for
the entire bata ensemble, and usually has the most improvisational freedom of all the bata
drums. Most but not all of this improvisational skill lies in the placement of strokes on the
larger of the two drumheads, the cha-cha…
====================================================
===
The Sacred Bata Drums (Aña)
In Africa, the bata drums belonged to the kings and were only played for them. Until the last few
decades in Cuba the drums were only played for the presentation of newly crowned priests
(Iyawos) to the community and to Aña (pronounced an-yá), the Orisha or deity whose secret
resides within the drum. Bembe drums or güiro (shekeres) were used for all other drumming
ceremonies. Today the bata drums are played more frequently and for a wider variety of reasons
(such as a priest’s Ocha birthday, or to give thanks to a specific Orisha or Santo as they are often
called in Cuba).
The bata are a set of three hourglass shaped drums that are played held across the lap. They are
carved from solid wood and their open ends are covered in goat skins. One end is larger than the
other, and both ends are percussive. The large end of the drum is called the “inu,” or mouth, and
the smaller end the “chacha.” The largest drum is called Iya (Mother) and is dedicated to Yemaya.
The middle drum is dedicated to Ochun and is called Itotele. And the smallest drum belongs to
Chango and is called the Okonkolo.
There are probably fewer than 100 sets of sacred bata drums in the world. Unconsecrated bata
drums are called abericulá.
At the beginning of a tambor or drumming celebration, the drums are played directly for the
Orishas, usually in front of the throne or canastiero (cabinet) where the Orishas live. This cycle of
rhythms is called the Oro Seco or “dry cycle” because no singing is involved (although in
Matanzas the Orisha being honored is sung to at the end of the Oro). When the Oro is played in
front of the Orishas, it is also called the Oro Igbodu.
Following the Oro Seco, another complete cycle of rhythms is played in an open area, but this
time with singing (the Oro Cantado). During this cycle, priests salute the drums by bowing their
foreheads to the floor and then to the drums. After the Oro Cantado, the party (or wemilere in
Lucumí) really begins. The akpón (lead singer) is now free to sing in any order and for any length
of time to the various Orishas, praising them and inviting them to join the celebration by
possessing one or more of their priests. Once Orishas are present, the Iya drummer in particular
must pay close attention to their movements, as it is the Orisha who calls for certain changes in
the rhythm.
The percussive relationship between the three drums is a conversation—with each other, with the
singer and chorus, with the Orishas, and with Olofi (God). For this reason, we speak of the
“language of the drums.”
====================================================
===
Bata Rhythm Transcriptions
Copyright ©2000 CongaPlace - All Rights Reserved
====================================================
===
Rumba Iyesa
GENERAL INFO
This "toque" is one of the five most common toques in their basic form.
It's relatively simple and it is used as dance rhythms for a couple of different orishas.
In this fonction it is called rumbita.
SHEET MUSIC
(for key notation click here)
AUDIO/VIDEO FILE : Dowload the song called SOKERE (mp3 - 2.18mg) performed by
Maiseboa, my group (Laurent Lamy) Copyright ©2000 CongaPlace - All Rights Reserved
====================================================
===
Cha Cha Lokpafun
GENERAL INFO
The most common "toque" bata, a rumbita for a couple of different orishas to dance and
party.
====================================================
===
Niongo
GENERAL INFO
This "toque" is one of the five most common toques in their basic form.
It's relatively simple and it is used as dance rhythms for a couple of different orishas
(see glossary). In this fonction it is called rumbita.
====================================================
===
Glossary
(Lu) Lucumi term
(Sp) Spanish term
Achere (Lu.)
A small rattle which is sometimes used to play the standard bell pattern in batà ensembles.
Agbé (Lu.)
A calabash gourd idiophone strung on the outside with beads. Sometimes called shekere.
Agogo (Lu.)
Metal bell used to play the standard bell pattern in bembé ensembles.
Afia (Lu.)
A sacred force believed to reside in the batà drums, considered an oricha by some Santeros.
Batalero (Lu./Sp.)
A batà drummer.
Bembé (Lu.)
A religions party held to honor an oricha.
Cabildo (Sp.)
Mutual aid societies established by slaves in Cuba.
Caminos (Sp.)
Roads. Diferent avatars of an oricha. Each " standard pattern " or toque signifies a différent
camino.
Chacha (Lu.)
The smaller head of the batà drum.
Chaworo (Lu.)
Bells wrapped around the shell of the iyà ilù.
Cierre (Sp.)
Closing. The ritual that closes a bembé.
Conversacion (Sp.)
A conversation that takes place between the iyà and itotele. Conversations used to render lexical
meaning but most of this knowledge has been lost.
Enù (Lu.)
The larger head of the batà drum.
Fardela (Sp.)
Also called the idà, it is a ring of clay molded to the iyà ilu'. It is used to dampen the drum's
overtones.
Güiro (Sp.)
Musical gourd. An idiophone, it is also known as agbé or shekere. It is covered with strung beads
and played by shaking and striking the bottom.
Ida (Lu.)
See Fardela.
Itotele (Lu.)
The middle drum of the batà set.
Iya (Lu.)
Mother.
Llame (Sp.)
The call used in batà drumming to begin a rhythm or initiate a conversation.
Lucumi
Name used to identify Yoruba slaves and their language in Cuba. Practitioners today sometimes
call their religion Lucumi.
Ocha (Lu.)
A saint/oricha. The religion of Santeria (Regla de Ocha).
Okonkolo (Lu.)
The smallest drum of the batà set. Also called omelé.
Olori (Lu.)
The strap used by the batalero to secure the drum during performance.
Omelé (Lu.)
Another name for okonkolo.
Omo (Lu.)
Child.
Ori (Lu.)
The physical head and inner person. The essence of personality.
Oricha (Lu.)
Sacred head. The nature divinities of traditional Yoruba religion and Santeria.
Oru (Lu.)
A liturgical sequence of songs or batà rhythms. (Sometimes mistakenly called oro.)
Orun (Lu.)
The heaven world of Yoruba religion.
Santeria (Sp.)
The Lucumi religion of Cuba.
Santo (Sp.)
Saint. The oricha.
Tambor (Sp.)
Drummer.
Tamabor (Sp.)
Drum. A liturgical fiesta for the orichas using the batà drums.
Toque (Sp.)
A bata rhythm. Another name for a liturgical fiesta using batà.
====================================================
===
Discography
CUBAN BATA DISCOGRAPHY
1) TRADITIONAL
********
Afromerica
Chants et rythmes afrocubains
Mercedes Lay Bravo
Marisela Trujilo
Florinda Sabido
june 1997
VDE-Gallo VDE CD 959
cd
Tracks Eleggua (3:11), Yemaya (3:40), Chango (2:50) and Obatala (3:15)
are songs with bata.
********
Amira, John
The music of Santeria. The Oru del Igbodu
John Amira (iya)
Orlando Fiol (ito)
Joe DeLeon (oko)
1993?
White Cliffs Media WCM 9346
cd
Oru del Igbodu in New York/Havana style, with alternate versions.
********
Cardona, Milton
Bembe
Hector Flaco Hernandez (iya)
Steve Berrios (ito)
Jose Fernandez (oko)
Milton Cardona (iya)
august 1985
American Clave AMCL 1004 2
Cd Tracks : Salute to Yemaya, Elegua, Ogun, Ochosi, Babalu Aye,
Obatala, Chango, Yemaya, Ochun, Ododua, Elegua, with voice & batas
********
Conjunto Folklorico Nacional de Cuba
Musica Yoruba
********
Grupo Oba-Ilu
Santeria. Songs for the orishas
Mario Jauregui Francis (iya)
Pedro Pablo Martinez Campos (ito)
Maximo Duquesnes Martinez (oko)
Rocardo Gomez Rivero (oko)
december 1995
Soul Jazz SJR CD38
cd
Tracks Eleggua, Ogun, Ochosi, Obbatala, Shango, Oya, Oshun, Yemaya voice with batas. +
beginnings (6:00) of Oru del Igbodu
********
Munequitos de Matanzas
Cantar maravilloso
Jesus Alfonso
Gregorio Diaz
Agustin Diaz
Globestyle Records CDORB 053
cd
Iya mi le (madre mira mi casa) (7:53) (not on lp) with batas; Arague (6:15)
with batas & conga.
********
Munequitos de Matanzas
Ito Iban Echu
Qbadisc
QB 9022
cd
Ogun arere; Obatala;Babalu Aye;Ochun;Yeye Ochun;Yemaya;Yemaya Olordo;Agay- u;
Chango Eyeleo; Dada; Oya; Eleggua.
********
Valdes, Merceditas
Ache
Los tambores bata de Jesus Perez
Artex cd - 010
cd
Contains tracks Elegua, Oggun, Chango, Ochun, Obatala with voice & batas.
********
Valdes, Merceditas
Ache IV
********
Valdes, Merceditas
y los tambores bata de Jesus Perez
Jesus Perez
ASPIC X 55512
cd
Reissue of original EGREM recordings. Contains tracks Ellegua, Oggun, Obata-
la, Yemaya, Ochun, Chango, Osain, Ellegua, Chango.
********
various
Afro-Cuba, a musical anthology
Rounder CD 1088
cd
Song for Ododua (2:04), Bata drums for Chango (3:05), Esto no lleva bata
(performed by Los Papines) (3:39)
********
various
Antologia de la Musica Afrocubana Vol II
Oru de Igbodu
Recorded in Matanzas (casa de Ricardo Suarez) 1977
Egrem LD 3995 (Areito)
lp
Toques a Elebwa, Oggun, Ochosi, San Lazaro, Orunla, Aggayu, Chango,
Obba, Oya, Yemaya, Obatala, Ochun, Yegua, Idbeyi. Ayacuta (para Chango).
Cantos a Chango, Oggun.
********
various
Cuba : Les danses des dieux
Lucumies Community of Regla/Havana
1985-88
Ocora C 559051
cd
Contains Songs to Ellegua from the Oru del Eya Aranla (6:49)
********
various
Sacred rhythms of Cuban Santeria
Conjunto de tambores bata de Amado Diaz Alfonso
20. november 1984
Smithsonian/Folkways SF 40419
cd
Oru de Igbodu para Yemaya (25:35) in Matanzas style.
********
various
The Yoruba/Dahomean Collection (Orishas across the ocean)
before 1950; 1957
Library of congress series/Endangered music project. Ryko RCD 10405
cd
Song for Elegua (3:22) recorded by Jean Liscano in Venezuela before 1950,
performed by Conjunto El Nino, led by Guillermo Rigueiro.
Song for Yemaya (3:05), Song for Chango (3:05) recorded by Lydia Cabrera
in 1957, performed by Candido Martinez with an ensemble led by Miguel
Santa Cruz and Juan Gonzalez.
********
various
Vida y muerte del santero
Egrem cd 0191
cd
Has batas on 10 of the 12 tracks. Contains ritual music seldom heard (esp.
the ceremony for Eggun).
Conjunto Folklorico Nacional de Cuba
Areito LDA 3156
lp
********
Conjunto de percusion de Danza Nacional de Cuba
Jesus Perez : In memoriam/Homenaje.
Egrem LD 4246
lp
********
Grupo Folklorico de Justi Barreto
Santeria (Toques y Cantos)
Gema records corp. LPG 1193
********
Grupo Ilu Ana
Sacred rhythms
Fundamento productions
Cd
Ros, Lazaro
Olorun
Xenophile
GLCD 4022
cd
********
Ros, Lazaro
Olorun
Egrem
cd
********
Ros, Lazaro y Olorun
Songs for Elegua
Ashe by Rounder Recs.
cd
********
Santos, John & the coro folklorico Kindembo
Hacia del amor
Xenophile
cd
********
Toques y cantos de santos (2 vols)
Cubilandia C-CD 511
********
Iluyenkori
Percussions Cubaines
Playasound PS 65084
cd
********
Guines, Tata
Aniversario
Maximino Duquesne (iya)
Marco Herminio Diaz (ito)
Grupo Folklorico de Justi Barreto
Santeria (Toques y Cantos)
Gema records corp. LPG 1193
2) NON TRADITIONAL
********
Coleman, Steve
The sign and the seal
(with Afrocuba de Matanzas)
1996
BMG
cd
little Coati Mundi
The former 12 year old genius
Hector Hernandez
1983
Virgin
lp
Track Pharaoh
********
Eno, Brian and David Byrne
My life in the bush of ghosts
Mingo Lewis
1981
E.G. EGCD 48
cd
Tracks The Jezebel spirit and The Carrier
********
Estefan, Gloria
Abriendo puertas
Luis Enrique
1995
Sony 480992 2
cd
Track 7 (La parranda)
********
Feliciano, Cheo
Estampas
1979
Vaya JMVS 86
lp
Contains batas at the end of the track Estampa Marina (5:26)
********
Gonzalez, Jerry
Obatala
Milton Cardona
Hector Flaco Hernandez
Steve Berrios
6. november 1988
Enja 5059 2
cd
Intro has some bata drumming (2:27)
********
Grupo Folklorico y Experimental Nuevayorquino
Concepts in Unity
at least Milton Cardona
april 1975
Salsoul 20-6001-2
cd
Canto Asoyin (4:26)
********
Irakere
Seleccion de exitos (1973-1978) vol. 1
1973-78
Dom (licenced by egrem) CD 1201
cd
Has bata drums on track Iya (5:50).
********
Irakere
Babalu Aye
Alexander Martinez
Rogelio Ruiz
Jose Pablo Hernandez
Bembe 2020-2
Cantata a Babalu Aye (14:01) by Lazaro Ros, his group and Irakere.
********
Lotz of music
Le coq rouge
Javier Martinez Campos (iya)
Jos de Haas (ito)
Frank van Dok (oko);Stefan Kruger (oko)
Sjahin During (ito,oko)
1996
VIA 9920122
cd
********
Lotz of music
Lotz of music in Havana. Blues for Yemaya
Javier Martinez Campos, Jorge Nunez Menocal (iya)
Jose Pilar Suarez (ito)
Sjahin During (oko)
1998
VIA 9920592
cd
********
Nueva Manteca
Bluesongo
Martin Verdonk (iya,oko)
Lucas van Merwijk (ito)
1994
Lucho 7706-2
cd
********
Santamaria, Mongo
Up from the roots
Julito Collazo (ito)
1972?
Atlantic SD 1621
lp
********
Santamaria, Mongo
Red hot
Mongo Santamaria
Steve Berrios
Hector Hernandez
Julio Collazo
1979?
CBS/Tappan-Zee 83340
lp
Afro-Cuban Fantasy (7:36) contains bata drums.
********
Spiro, Michael and Mark Lamson
Bata Ketu
Michael Spiro
Mark Lamson
Kelvin Delgado (oko)
1990s
Bembe 2011-2
cd
********
Afrocuba de Matanzas
Rituales Afrocubanos
Egrem CD 0058
cd
********
Aguabella, Francisco
Santeria Oro Cantado (3 vols)
Francisco Aguabella
Go productions 10032
cassette
********
Anderson, Laurie
Home of the brave
Daniel Ponce (?) (iya, oko)
Bata on Sharky's day.
********
Anderson, Laurie
Mister heartbreak
Daniel Ponce (iya, oko)
1983
Warner Bros.
Batas are used on Sharky's day
********
Batacumbele
(just about anything)
********
Beasley, John
Cauldron
Bill Summers
Munyungo Jackson ?
********
Bunnett, Jane ?
Chamalongo
Pancho Quinto ?
********
Conjunto Cespedes
Vivito y coleando
Jesus Diaz (oko)
John Santos (ito)
Tobaji Stewart (iya)
1995
Xenophile
Bata on Que viva chango
********
Conjunto Cespedes
Flores
Mike Spiro (iya)
Jesus Diaz (ito)
Michael Lennan (oko)
1998
Xenophile
Bata used on El tambor tiene su magia
********
Conjunto Cespedes
Una sola casa
Mike Spiro (iya)
Jesus Diaz (ito)
1993
Green Linnet
Bata on Virgen de la Caridad
********
Estefan, Gloria
Destiny
********
Lazaro Rizo (oko)
Egrem CD 0156
cd
Has batas on the track Con tres tambores bata,
a bata rumba by Ernesto Gatel.
********
Hancock, Herbie
Dis is da drum
Bill Summers
Munyungo Jackson ?
********
Herwig, Conrad
The latin side of John Coltrane
Astor place records
********
Mezcla
(any title)
********
Palmieri, Eddie
Llego la india
Acid jazz
cd
********
Pastorius, Jaco
Jaco Pastorius
Don Alias (oko, iya)
1976
Epic
Bata used on Okonkolo y trompa
********
Pedroso, Cesar
Lo mejor de Cesar Pedroso - Hits of Los Van Van
Qbadisc
Has batas in the track El buena gente.
********
Quinto, Pancho
En el solar la cueva del humo
********
Quinto, Pancho
latest recording
********
Rodriguez, Alfredo
Cuba Linda
Mario Jauregui Aspirina
Justo Pelladito
Amado J. Dedeu
1996
Hannibal
Bata used on Mercedita ya me voy and Drume negrita.
********
Santamaria, Mongo
Our man in Havana (a.k.a. Mongo in Havana ?)
Fantasy 3311
********
Santeria religion afrocubana
OLM Records 10037
********
Sintesis Orishas
********
Sintesis
(other titles)
********
Terry, Los
From Africa to Camaguey
********
Tipica 73
Tipica 73 en Cuba
********
Tipica 73
La candela
********
Tipica 73
Encendida
********
Valdes, Merceditas
Panart LD 3096
********
Valdez, Merceditas
vol. 2
Egrem
cd
Abbilona
Afroamérica
Francisco Aguabella
Amura
Papo Angarica
Frisner Augustin
Ayanagalu
Oro
Milton Cardona
Despojo-Santero /Tambores
Lucumi Records LR-711, 1986
Africanos
Andrés Chacón
Emikeke, Vol. I
Emikeke, Vol. II
Jerry González
The River is Deep (LP) ENJA 4040
Divine Utterances
(w/Alberto Villareal Peñalver,
Smithsonian (2002)
Francisco Aguabella, Lazaro
Galarraga)
Ilú Añá
Ilúyenkorí
Iré Otonoguá
Iroko
Ishenbaiye
Regino Jiménez
Antologia de la música
Egrem LD-3747, 1981
afrocubana, Vol. III: Música Iyesá
LeGip
Marassa
Santeria! Música de raíz - Palo Platano 5124, 2001
Gina Martin
Grupo Oba-Ilu
Antologia de la música
Egrem LD-3996, 1981
afrocubana, Vol. IV: Música Arará
Grupo Folklórico Olufina Baba Mi, feat. Elliot Scott Downing, Teddy Holliday
Conjunto de tambores batá "Omo Irago" de Amado Díaz Alfonso; Agrupación de Güíros "El Niño de Atocha";
Grupo de Bembé "Ará Okó":
Carlinhos D'Oxum
Canticos a os Orixas de
1997
Candomblé
Daniel Ponce
Emy de Pradines
Tito Puente
Giraldo Rodriguez
Lázaro Ros
Santa Barbara
Mongo Santamaria
Mongo in Havana Fantasy 3311 (LP)
Santero #1
Santero #2
Sintesis
Ancestros II Color CD
Orishas 1997
Ricardo Suarez
Antologia de la música
Egrem LD-3995, 1981
afrocubana, Vol. II: Oru de igbodu
Bill Summers
TiRoRo
Dudu Tucci
WeltWunder-Records WW 106-2,
Orishás
1994
Obatimale
Merceditas Valdés
("Various Artists")
("Various Artists")
("Various Artists")
("Various Artists")
("Various Artists")
("Various Artists")
("Various Artists")
("Various Artists")
("Various Artists")
("Various Artists")
("Various Artists")
Antologia de la música
afrocubana, Vol.1: Viejos cantos (LP) Egrem LD-3325
afrocubanos
("Various Artists")
("Various Artists")
("Various Artists")
("Various Artists")
("Various Artists")
("Various Artists")
("Various Artists")
("Various Artists")