The batá drums

 

The batá drums are the main Santería ritual instruments. They consist of a body in the shape of an asymmetrical hour-glass, narrowing at about two thirds of their length, with openings of different diameters covered by two skins: the large one is called enú and the small one chachá.

 

The batá drums are played in an ensemble (conjuntos) of three different sized instruments. The smallest is called an okónkolo, the middle one an itótele and the largest an iyá. Two strips of fabric or leather are attached near the skins of the iyá, onto which dozens of small bells are sewn. These ring when the membranes are struck with a certain force, or when the instrument is deliberately shaken, as in the rhythms devoted to the sea divinity, Yemayá, in which the bells evoke the sound of waves.

Both membranes of the drums are bordered with vegetable fibre rings and held by a tensioning system made up of tiras, cadeneta and fajas. The tiras are tension rods arranged in a ‘W’ that cross the body of the instrument longitudinally. The cadeneta extends from the chachá to the enú following a spiral path that increases the tension of the tiras. The fajas, often made of leather, enfold both the tiras and the cadeneta, making them adhere to the narrowest part of the body. During ceremonies, the drums may be coated with skins or fabrics decorated with images referring to different orichas.

 

The batá drums used for ritual purposes must have bodies made from a single tree trunk and tension rods in leather or rope. These instruments are made by a restricted number of highly specialised craftsmen, who must not only have technical skills in working wood and leather but also respect strict religious rules. The various stages in the construction of a conjunto of batá by Lazaro Leiva Martínez, a Havana craftsman specialising in the production of ceremonial instruments, can be seen in the video. The ways in which the technical expertise in working the materials is interwoven with the beliefs and ritual procedures emerge during his explanation, clearly showing the sacred nature of these instruments.

 

Only batá drums made in strict compliance with the religious requirements can be consecrated. The consecration ceremony is a secret ritual during which, according to the practitioners’ beliefs, the instruments receive the oricha Aña. From that moment on, the instruments cannot be touched by women or homosexuals. Their use is restricted to male musicians who, through an equally secret ritual, consecrate themselves to the drum divinity to become members of the priestly caste known as Omo Aña, the sons of Aña.

Several obligations must also be respected and strict taboos observed in order to play the sacred drums during the Toque de Santo ritual. The drums of a single conjunto cannot be separated, must never touch the ground and must be kept in the home of the dueño del tambor (the owner) or a person he trusts. The tamboreros must refrain from sexual relations before playing for a ritual. Like the other orichas, Aña is a divinity who requires special attention, with prayers, ritual cleansing with coconut water and periodic animal sacrifices.

 

Several years training are required to become a professional batá drummer. Learning is still mainly by oral tradition, by taking part in ceremonies and listening to other musicians, or relying on the guidance of an expert teacher. The course usually begins with the smallest drum, the okónkolo, before moving on to the medium and large drums.

The drummer plays the batá seated, resting the instrument on his legs and beating the larger skin with his right hand and the smaller one with his left. To ensure that the drum does not fall, a band fixed to the ends of the instrument is passed under the musician’s thighs. The larger skin of the iyá and the itótele may be struck with two different beats (golpes). In the golpe abierto (open beat) the hand is raised immediately after it has hit the skin, letting this resonate, while in the golpe tapado (blocked beat) the fingers are left resting on the membrane, dulling its vibration.