Bata Drumming & the Lucumi Santeria Bembe Ceremony Overview of Basic Structure of a Bembe Ceremony ==================================================== === =Oru Seco : the first part of a bembe and a series of bata salutes called toques played for each of the Orisha. The term seco actually means "dry" in Spanish and, in this case, refers to the absence of singing. =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. Learning to Play the Bata ==================================================== === When learning bata music, the first step is to master the salutes played in the Oru Seco. Introduction to the Bata Drums ==================================================== === The three bata drums and their roles in a the bata ensemble: 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
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
Bata Drumming & the Lucumi Santeria Bembe Ceremony
Overview of Basic Structure of a Bembe Ceremony=======================================================
=Oru Seco : the first part of a bembe and a series of bata salutes called toques played for each of the Orisha. The term seco actually means "dry" in Spanish and, in this case, refers to the absence of singing.
=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.
Learning to Play the Bata =======================================================
When learning bata music, the first step is to master the salutes played in the Oru Seco.
Introduction to the Bata Drums=======================================================
The three bata drums and their roles in a the bata ensemble:
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.”
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.
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.
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.
Iya Ilu (Lu.)Mother drum. The lead drum in the batà ensemble.
Llame (Sp.) The call used in batà drumming to begin a rhythm or initiate a conversation.
LucumiName 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.
Olù Bata (Lu.)A batalero initiated into Ana.
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.)
Oru del Igbodu (Lu.)" Oru in front of the throne " played on the batà drums without song. Also called oru seco.
Orun (Lu.)The heaven world of Yoruba religion.
Santeria (Sp.)The Lucumi religion of Cuba.
Santero, Santera (Sp.)Male and female initiates or priests of Santeria.
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.
Yesa (Iyesa) (Lu.)Single headed drum type found in Cuba. Name of generic rhythms played in " drum and güiro " ensembles. In batà ensembles this rhythm is called rumba yesa.
********AfromericaChants et rythmes afrocubainsMercedes Lay BravoMarisela TrujiloFlorinda Sabidojune 1997VDE-Gallo VDE CD 959cdTracks Eleggua (3:11), Yemaya (3:40), Chango (2:50) and Obatala (3:15)are songs with bata.
********Amira, JohnThe music of Santeria. The Oru del IgboduJohn Amira (iya)Orlando Fiol (ito)Joe DeLeon (oko)1993?White Cliffs Media WCM 9346cdOru del Igbodu in New York/Havana style, with alternate versions.
********Conjunto Folklorico Nacional de CubaMusica Yoruba
Carlos Aldama (iya)Mario Jauregui (ito)Ramiro Hernandez (oko)1970sBembe 2010-2cdSongs : Eleggua, Obatala, Yemaya, Chango, Oya (a capella), Orula, Oddudua,Babalu Aye, Eleggua; Reissue of an earlier EGREM record.Vocalists : Lazaro Ros and Felipe Alfonso.
********Grupo Oba-IluSanteria. Songs for the orishas
Mario Jauregui Francis (iya)Pedro Pablo Martinez Campos (ito)Maximo Duquesnes Martinez (oko)Rocardo Gomez Rivero (oko)december 1995Soul Jazz SJR CD38cdTracks Eleggua, Ogun, Ochosi, Obbatala, Shango, Oya, Oshun, Yemaya voice with batas. + beginnings (6:00) of Oru del Igbodu
********Munequitos de MatanzasCantar maravilloso
Jesus AlfonsoGregorio DiazAgustin DiazGlobestyle Records CDORB 053cdIya mi le (madre mira mi casa) (7:53) (not on lp) with batas; Arague (6:15)with batas & conga.
********Valdes, MerceditasAcheLos tambores bata de Jesus PerezArtex cd - 010cdContains tracks Elegua, Oggun, Chango, Ochun, Obatala with voice & batas.
********Valdes, MerceditasAche IV
Grupo Yoruba Andabo1995?Egrem cd 0160cdElegua, Obatala-Baba Fururu, Yemaya, Ochun, Ibeyi.
********Valdes, Merceditasy los tambores bata de Jesus PerezJesus PerezASPIC X 55512cd
Reissue of original EGREM recordings. Contains tracks Ellegua, Oggun, Obata-la, Yemaya, Ochun, Chango, Osain, Ellegua, Chango.
********variousAfro-Cuba, a musical anthologyRounder CD 1088cdSong for Ododua (2:04), Bata drums for Chango (3:05), Esto no lleva bata(performed by Los Papines) (3:39)
********variousAntologia de la Musica Afrocubana Vol IIOru de IgboduRecorded in Matanzas (casa de Ricardo Suarez) 1977Egrem LD 3995 (Areito)lpToques a Elebwa, Oggun, Ochosi, San Lazaro, Orunla, Aggayu, Chango,Obba, Oya, Yemaya, Obatala, Ochun, Yegua, Idbeyi. Ayacuta (para Chango).Cantos a Chango, Oggun.
********variousCuba : Les danses des dieuxLucumies Community of Regla/Havana1985-88Ocora C 559051cdContains Songs to Ellegua from the Oru del Eya Aranla (6:49)
********variousSacred rhythms of Cuban SanteriaConjunto de tambores bata de Amado Diaz Alfonso20. november 1984Smithsonian/Folkways SF 40419cdOru de Igbodu para Yemaya (25:35) in Matanzas style.
********variousThe Yoruba/Dahomean Collection (Orishas across the ocean)before 1950; 1957Library of congress series/Endangered music project. Ryko RCD 10405cdSong 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 Cabrerain 1957, performed by Candido Martinez with an ensemble led by MiguelSanta Cruz and Juan Gonzalez.
********variousVida y muerte del santeroEgrem cd 0191
cdHas batas on 10 of the 12 tracks. Contains ritual music seldom heard (esp.the ceremony for Eggun).Conjunto Folklorico Nacional de CubaAreito LDA 3156lp
********Conjunto de percusion de Danza Nacional de CubaJesus Perez : In memoriam/Homenaje.Egrem LD 4246lp
********Grupo Folklorico de Justi BarretoSanteria (Toques y Cantos)Gema records corp. LPG 1193
********Grupo Ilu AnaSacred rhythmsFundamento productionsCd
Ros, LazaroOlorunXenophileGLCD 4022cd
********Ros, LazaroOlorunEgremcd
********Ros, Lazaro y OlorunSongs for EleguaAshe by Rounder Recs.cd
********Santos, John & the coro folklorico KindemboHacia del amorXenophilecd
********Toques y cantos de santos (2 vols)Cubilandia C-CD 511
********Guines, TataAniversarioMaximino Duquesne (iya)Marco Herminio Diaz (ito)Grupo Folklorico de Justi BarretoSanteria (Toques y Cantos)Gema records corp. LPG 1193
2) NON TRADITIONAL
********Coleman, SteveThe sign and the seal(with Afrocuba de Matanzas)1996BMGcdlittle Coati MundiThe former 12 year old geniusHector Hernandez1983VirginlpTrack Pharaoh
********Eno, Brian and David ByrneMy life in the bush of ghostsMingo Lewis1981E.G. EGCD 48cdTracks The Jezebel spirit and The Carrier
********Estefan, GloriaAbriendo puertasLuis Enrique1995Sony 480992 2cdTrack 7 (La parranda)
********Feliciano, CheoEstampas1979Vaya JMVS 86lpContains batas at the end of the track Estampa Marina (5:26)
********Gonzalez, JerryObatalaMilton CardonaHector Flaco HernandezSteve Berrios6. november 1988Enja 5059 2cdIntro has some bata drumming (2:27)
********Grupo Folklorico y Experimental NuevayorquinoConcepts in Unityat least Milton Cardonaapril 1975Salsoul 20-6001-2cdCanto Asoyin (4:26)
********IrakereSeleccion de exitos (1973-1978) vol. 11973-78Dom (licenced by egrem) CD 1201cdHas bata drums on track Iya (5:50).
********IrakereBabalu AyeAlexander MartinezRogelio RuizJose Pablo HernandezBembe 2020-2Cantata a Babalu Aye (14:01) by Lazaro Ros, his group and Irakere.
********Lotz of musicLe coq rougeJavier Martinez Campos (iya)Jos de Haas (ito)Frank van Dok (oko);Stefan Kruger (oko)Sjahin During (ito,oko)1996VIA 9920122cd
********Lotz of musicLotz of music in Havana. Blues for YemayaJavier Martinez Campos, Jorge Nunez Menocal (iya)Jose Pilar Suarez (ito)Sjahin During (oko)1998
VIA 9920592cd
********Nueva MantecaBluesongoMartin Verdonk (iya,oko)Lucas van Merwijk (ito)1994Lucho 7706-2cd
********Santamaria, MongoUp from the rootsJulito Collazo (ito)1972?Atlantic SD 1621lp
********Santamaria, MongoRed hotMongo SantamariaSteve BerriosHector HernandezJulio Collazo1979?CBS/Tappan-Zee 83340lpAfro-Cuban Fantasy (7:36) contains bata drums.
********Spiro, Michael and Mark LamsonBata KetuMichael SpiroMark LamsonKelvin Delgado (oko)1990sBembe 2011-2cd
********Afrocuba de MatanzasRituales AfrocubanosEgrem CD 0058cd
********Aguabella, FranciscoSanteria Oro Cantado (3 vols)Francisco AguabellaGo productions 10032cassette
********
Anderson, LaurieHome of the braveDaniel Ponce (?) (iya, oko)Bata on Sharky's day.
********Anderson, LaurieMister heartbreakDaniel Ponce (iya, oko)1983Warner Bros.Batas are used on Sharky's day
********Batacumbele(just about anything)
********Beasley, JohnCauldronBill SummersMunyungo Jackson ?
********Bunnett, Jane ?ChamalongoPancho Quinto ?
********Conjunto CespedesVivito y coleandoJesus Diaz (oko)John Santos (ito)Tobaji Stewart (iya)1995XenophileBata on Que viva chango
********Conjunto CespedesFloresMike Spiro (iya)Jesus Diaz (ito)Michael Lennan (oko)1998XenophileBata used on El tambor tiene su magia
********Conjunto CespedesUna sola casaMike Spiro (iya)Jesus Diaz (ito)1993Green LinnetBata on Virgen de la Caridad
********Estefan, GloriaDestiny
********Lazaro Rizo (oko)Egrem CD 0156cdHas batas on the track Con tres tambores bata,a bata rumba by Ernesto Gatel.
********Hancock, HerbieDis is da drumBill SummersMunyungo Jackson ?
********Herwig, ConradThe latin side of John ColtraneAstor place records
********Mezcla(any title)
********Palmieri, EddieLlego la indiaAcid jazzcd
********Pastorius, JacoJaco PastoriusDon Alias (oko, iya)1976EpicBata used on Okonkolo y trompa
********Pedroso, CesarLo mejor de Cesar Pedroso - Hits of Los Van VanQbadiscHas batas in the track El buena gente.
********Quinto, PanchoEn el solar la cueva del humo
********Quinto, Pancholatest recording
********
Rodriguez, AlfredoCuba LindaMario Jauregui AspirinaJusto PelladitoAmado J. Dedeu1996HannibalBata used on Mercedita ya me voy and Drume negrita.
********Santamaria, MongoOur man in Havana (a.k.a. Mongo in Havana ?)Fantasy 3311
********Santeria religion afrocubanaOLM Records 10037