FOLKWAYS RECORDS Album No. FE 4441

© 1953 by Folkways Records Service Corp. 43 W 61st St. NYC USA 10023

DRUMS OF THE YORUB OF NIGERI

 

T h e s o c i a l o r g a n i z a t i o n is b a s e d upon the p a t r i l i n e a l
c l a n o r l i n e a g e . T h e lineage occupies a l a r g e r e c t a n g u 
~ a r dw.elling which m a y h o u s e a s m a n y a s 500 people,
m c l u d m g t h e m a l e r e l a t i v e s , t h e i r wives, a n d t h e i r
DRUMS OF T H E YORUBA O F NIGERIA
unmarried daughters. The ideal for all men except
C h r i s t i a n c o n v e r t s is to have s e v e r a l w i v e s . The h u s 
Introduction a n d N o t e s on the R e c o r d i n g s by
band pays bridewealth to his wife's family as a part
William B a s c o m
of the m a r r i a g e , a n d m a y a c q u i r e a s w i v e s t h e widows
of h i s m a l e r e l a t i v e s , f o r whom h e b e c o m e s e c o n o m i 
T h e Y o r u b a , one of the m o s t i m p o r t a nt peoples of
c a l l y r e s p o n s i b l e . The f i r s t wife h a s s p e c i a l p r i v i 
the W e s t A f r i c a n Guinea Coast, inhabit s o u t h w e s t e r n
l e g e s a n d authority, d i r e c t i n g the a c t i v i t i e s of h e r
Nigeria and portions of eastern Dahomey. They number
co-wives.
o v e r 3 , 5 0 0 , 0 0 0 a n d o c c u p y a n a r e a which is p r e d o m i 
n a n t l y f o r e s t n e a r the c o a s t and s a v a n n a h f a r t h e r i n 
Y o r u b a r e l i g i o n , like t h a t of t h e n e i g h b o r i n g D a h o m e 
l a n d t o w a r d the N i g e r R i v e r , a n d which is l a r g e r t h a n
a n s a n d Ewe to the West, r e p r e s e n t s a high point in
the s t a t e of Maine. The Y o r u b a a r e c o m p o s e d of a
A f r i c a n p o l y t h e i s t i c b e l i e f . A high god (Olorun o r
n u m b e r of c u l t u r a l and linguistic s u b - g r o u p s s u c h a s
O l o d u m a r e ) i s r e c o g n i z e d , but t h e r e a r e no s ri-
the Oyo, fe, J e s h a , Jebu, Ondo a n d E g b a , a n d of a
f i c e s , dances, songs, o r o t h e r a s p e c t s of w o r s h i p
n u m b e r of independent kingdoms of which Oyo, r u l e d
a s s o c i a t e d with h i m , e x c e p t f o r b r i e f p r a y e r s . n
b y the Alafin, w a s the l a r g e s t a n d m o s t powerful. T h e
c o n t r a s t , t h e r e a r e e l a b o r a t e r i t u a l s and o r g a n i z e d
d r u m m i n g r e p r o d u c e d h e r e was r e c o r d e d in 1951 a t
c u l t s a s s o c i a t e d with the s e v e r a l hundred d e i t i e s
the capitol of t h i s kingdom, known a l s o a s Oyo, a c i t y
( o r i s h a ) c r e a t e d b y Olorun.
of about 5 0 , 0 0 0 .

n i t s g e n e r a l outlines, Yoruba r e l i g i o n i s c o m p a r 
One of t h e d i s t i n c t i v e f e a t u r e s of the Yoruba i s t h e i r
a b l e t o t h a t of a n c i e n t G r e e c e a n d R o m e . An e x t e n s i v e
u r b a n c h a r a c t e r . A l m o s t a t h i r d of t h e i r population
m y t h o l o g y about t h e d e i t i e s t e l l s of t h e i r f a m i l y r e -
live in t e n c i t i e s l a r g e r t h a n 4 5 , 0 0 0 . One of t h e s e ,
l a t i o n s h i p s , f r i e n d s h i p s , love a f f a i r s , r i v a l r i e s , e 
Ibadan, i s the l a r g e s t c i t y in a l l of N e g r o A f r i c a , with
m i t i e s , and t h e i r eventual fate. Many of the d e i t i e s
a n e s t i m a t e d population of h a l f a m i l l i o n . Yoruba pOliti
t u r n e d into r i v e r s o r h i l l s o r r o c k s a f t e r having lived
c a l s t r u c t u r e i n c o r p o r a t e s both c i t y g c v e r n m e n t , in
o n e a r t h , but o t h e r s h a v e no c o m p a r a b l e c o u n t e r p a r t s
t e r m s of a chief and h i s council r e p r e s e n t i n g the " w a r d s "
in n a t u r e . E a c h d e i t y h a s i t s s p e c i a l p r a i s e n a m e s a s
nd   precm . c ts , a n d s t a t e g o v e r n m e n t , with a king
well a s p r o p e r n a m e , i t s s p e c i a l s a c r i f i c e s and taboos
and h i s a d m i n i s t r a t o r s f o r the v a r i o u s d i s t r i c t s a n d
i t s i n s i g n i a s u c h a s cloths o r b e a d s w o r n by i t s w o r -  
towns within the b o u n d a r i e s of t h e k i n g d o m . T h e c a p i 
s h i p p ~ r s and its special ritual paraphernalia, many
tol c i t i e s r u l e d by the k i n g and two councils, one
of WhICh a r e a l s o accounted f o r in the mythology.
r e p r e s e n t i n g the townspeople and one r e p r e s e n t i n g the
E a c h deity a l s o h a s i t s s p e c i a l s o n g s a n d i t s a p p r o 
r o y a l f a m i l y and p a l a c e o f f i c i a l s . Y o r u b a k i n g s have
pI"iate d r u m s and d i s t i n c t i v e d r u m r h y t h m s , s o m e of
the r i g h t t o w e a r b e a d e d c r o w n s a n d t o u s e o t h e r s t a t e
which a r e i l l u s t r a t e d h e r e .
p a r a p h e r n a l i a , and t h e y w e r e h o n o r e d b y s p e c i a l f o r m s
of d e f e r e n t i a l b e h a v i o r . The kings and t h e i r wives and
~ u h of Y o r u b a m u s i c , a n d p e r h a p s the m o s t exciting,
p a l a c e r e t i n u e w e r e s u p p o r t e d b y a s y s t e m of t a x e s
S a s s o c i a t e d with religion, but C h r i s t i a n i t y a n d I s l a m
and t r i b u t e , which today h a s b e e n r e p l a c e d by r e g u l a r
have m a d e s e r i o u s i n r o a d s into the t r a d i t i o n a l r e l i -
s a l a r i e s u n d e r the B r i t i s h . ~ o u s m u s i c . Yoruba s e c u l a r m u s i c h a s b e e n s t r o n g l y
mfluenced b y I s l a m , while a n o t h e r m o d e r n influence
The large cities are supported by farming, trading,
on s e c u l a r m u s i c is t h a t known b y t h e Y o r u b a a s " S p a n 
a n d h a n d i c r a f t . T h e e c o n o m y is b a s e d on hoe a g r i c u l  i s h m u s i c " , which i s in l a r g e p a r t A f r o - C u b a n and
t u r e , with m a i z e and y a m s a s the s t a p l e foods, a n d A f r o - B r a z i l i a n . D r u m s a r e the p r i n c i pa l m u s i c a l in 
cocoa a s the p r i n c i p a l c a s h c r o p . T h e Yoruba in the
s t r u m e n t , but t r u m p e t s , w h i s t l e s , violins, s e v e r a l
f o r e s t zone p r o d u c e the c o c o a which m a k e s N i g e r i a the types of gongs, and a v a r i e t y of g o u r d o r c a l a b a s h
world's third largest cocoa producer. Belts of farms r a t t l e s a r e used, a s well a s h a n d clapping. O f s o m e
t h i r t y o r m o r e m i l e s in d i a m e t e r s u r r o u nd the c i t i e s . t e n d i s t i n c t t y p e s of d r u m s u s e d by the Yoruba, t h i s
Women t r a d e r s , who d e a l in l o c a l f a r m p r o d u c e , i m 
r e c o r d i n g i l l u s t r a t e s t h r e e i m p o r t a n t s e t s , known a s
p o r t e d goods, and h a n d i c r a f t s , d o m i n a t e the huge m r -
igbin, dundun, and batao
k e t s , the m o s t p i c t u r e s q u e of which a r e held a f t e r
d a r k and lit b y t h e f l i c k e r i n g f l a m e s of h u n d r e d s of
s m a l l oil l a m p s . T h e p r o f i t s f r o m t r a d i n g a r e a woman's L a r g e n u m b e r s of Y o r u b a w e r e c a r r i e d to the New
World during the s l a v e t r a d e . T h e i r c u l t u r a l c o n t r i b u 
p r i v a t e p r o p e r t y o v e r which h e r h u s b a n d h a s no c o n t r o l
and s o m e w i v e s a r e f a r w e a l t h i e r than t h e i r husbands.
tions have been g r e a t e s t in B r a z i l and Cuba, w h e r e
Yoruba r e l i g i o u s c u l t s s t i l l f l o u r i s h . All of the d e i t i e s
whose r h y t h m s a r e r e c o r d e d h e r e , a s well a s m a n y
Y o r u b a c r a f t s m e n include blacks.miths, b r a s s c a s t e r s , o t h e r s , a r e w o r s h i p p e d today in Cuba and B r a z i l , while
p o t t e r s , d y e r s and w e a v e r s , l e a t h e r a n d bead w o r k  Shango is known in Trinidad, Haiti, and e l s e w h e r e .
e r s , w o o d c a r v e r s , c a l a b a s h c a r v e r s , and i v o r y r- Y o r u b a s o n g s and d r u m m i n g have been r e t a i n e d in the
vers. New World, along with m a n y o t h e r e l e m e n t s of the
cult r i t u a l . S i m i l a r i t i e s to j a z z and to r h u m b a m a y be
noted h e r e .
2
 

NOTES ON THE RECORDINGS

SIDE 1 IGBIN DRUMS.

Igbin a r e upright open-ended log d r u m s with s i n g l e
l e a t h e r h e a d s f a s t e n e d and tuned by wooden p e g s . T h e y
a r e known a l s o as agba and a p e s i . The Yoruba have
s e v e r a l o t h e r d r u m s of t h i s type, known b y d i f f e r e n t
n a m e s , u s e d f o r d i f f e r e n t deities, and with s o m e w h a t
different s h a p e s and p r o p o r t i o n s . The igbin d r u m s a r e
g e n e r a l l y t h i c k and squat, and s t a n d on three l e g s
roughly c a r v e d out of the bottom of the d r u m . They a r e
s o m e t i m e s roughly hewn, and s o m e t i m e s c a r e f u l l y
c a r v e d with d e c o r a t i v e f i g u r e s and designs in b s re -
lief on the s i d e s ; s o m e t i m e s the entire shape of the
d r u m is adapted to that of the h u m a n f i g u r e . T h r e e
d r u m s of d i f f e r e n t size played by t h r e e d r u m m e r s m a k e
Igbin d r u m set.
a s e t . T h e l a r g e s t is c a l l e d iya igbin, the second jagba,
and the s m a l l e s t e p e l e . The two s m a l l e r d r u m s a r e
played with two unfashioned s t i c k s , while t h e l a r g e r
m a y be played with a single s t i c k and t h e p a l m , fist, o r
f i n g e r s of the left h a n d . B y v a r y i n g the f i n g e r i n g and
the u s e of the l e f t hand, a v a r i e t y of e f f e c t s m a y b e
achieved.

Igbin d r u m s a r e s a c r e d to the d e i t y O r i s h a n l a (lithe

great deity") who is a l s o known as O b a t a l a (liking of
the white cloth"), and who m a y be d e s c r i b e d a s the
deity of w h i t e n e s s . H i s w o r s h i p p e r s a r e distinguished
by the u s e of opaque white beads and white cloths, and
m a n y of the things a s s o c i a t e d with h i s r i t u a l a r e w h i t e .
He is b e l i e v e d t o fashion c h i l d r e n within the m o t h e r ' s
womb by opening the e y e s , mouth, nose and e a r s , and
by s e p a r a t i n g the a r m s , legs, toes and f i n g e r s m u c h
a s a w o o d c a r v e r does when making a f i g u r i n e . He i s
a l s o c r e d i t e d with fashioning the f i r s t humans, m a l e
and f e m a l e , in a s i m i l a r fashion. Albinos, hunchbacks,
c r i p p e s , and c h i l d r e n with s i x t o e s o r six f i n g e r s a r e Gudugudu d r u m s , showing top and bottom, and
sacre< to O r i s h a n l a and w o r s h i p h i m . the a t t a c h e d twisted l e a t h e r thongs with which
they a r e beaten.
T h i s entire s i d e w a s r e c o r d e d d u r i n g the annual festi
val of O r i s h a n l a in h i s p r i n c i p a l t e m p l e a t the h o u s e
of Chief Ashipa of Oyo. D u r i n g th e  r · ~ o r d i n g of B a n d 1,
s e v e r a l d r u m s t i c k s w e r e broken, and b e t t e r d r u m m e r s
continued to r e p l a c e those who h a d o r i g i n a l l y b e e n
playing. Igbin d r u m s a r e played by cult m e m b e r s r -
t h e r t h a n by p r o f e s s i o n a l d r u m m e r s , and a r e u s e d only
for r e l i g i o u s m u s i c . The two s m a l l e r d r u m s keep up
a driving, interlocking, and a l m o s t i n s e p e r a b l e r h y t h m .

Against t h i s background the deep tone of the large d r u m

e s t a b l i s h e s i n t e r m i t t e n t r h y t h m i c p h r a s e s which a r e
dropped a l m o s t as soon as t h e y b e c o m e c l e a r l y e s t a b 
l i s h e d in the l i s t e n e r ' s mind, leaving h i m s u s p e n d e d
in the m i d d l e of the p h r a s e . The intricate interrel a t i o n 
ships of the two s m a l l e r d r u m s r e q u i r e e x t r e m e p r e 
cision and a c c u r a c y , but the timing, subtle v a r i a t i o n s
and choice of the s i m p l e r p h r a s e s of t h e l a r g e d r u m
a r e regarded a s involving g r e a t e r a r t i s t r y . Bata drum set.

3

SIDE II, Bands 1, 2, 3. DUNDUN DRUMS.
Dundun, o r gangan a s t h e y a r e a l s o known, a r e the
type of px;-essure d r u m u s e d w i d e l y in W e s t A f r i c a ,
and p r o b a b l y the m o s t i m p o r t a n t Y o r u b a d r u m today.
T h e y a r e p l a y e d b y p r o f e s s i o n a l d r u m m e r s and u s e d
both f o r s e c u l a r and f o r r e l i g i o u s m u s i c . t i s the p r o p 
e r d r u m f o r s o m e d e i t i e s , and c a n b e u s e d f o r m a n y
o t h e r s which have s p e c i a l d r u m s of t h e i r own. F o u r of
the d r u m s in the five d r u m s e t have h o u r - g l a s s - s h a p e d
wooden b o d i e s c a r v e d b y w o o d c a r v e r s , with a l e a t h e r
h e a d a t e a c h end. S m a l l b r a s s b e l l s c a s t by the l o s t WID..
p r o c e s s m a y b e a t t a c h e d to the d r u m . The two h e a d s
a r e f a s t e n e d t o g e t h e r b y l e a t h e r thongs l a c e d b a c k a n d
f o r t h between t h e m . By applying p r e s s u r e on t h e s e
connecting thongs with the elbow, the t e n s i o n on the
h e a d s c a n b e i n c r e a s e d , and thus the tone o r p i t c h c a n
be r a i s e d . t i s p o s s i b l e to p l a y a m e l o d y o n a s i n g l e
d r u m by v a r y i n g the p r e s s u r e , within a r a n g e of a l m o s t
an o c t a v e . T h e W e s t A f r i c a n p r e s s u r e d r u m i s b e -
, lieved to be drum designed for instantaneous
tuning, which m a k e s i t e s p e c i a l l y s u i t e d f o r the West
A f r i c a n d r u m language.
A f r i c a n languag es, like Chinese, a r e t o n a l . T o n e o r
pitch i s u s e d to d i s t i n g u is h w o r d s w h ~ h in o t h e r r e -
s p e c t s a r e p h o n e t i c a l l y i d e n t i c a l . E a c h s e n t e n c e , and
each h a s a " m e l o d y " which
blown on a t r u m p e t , o r p l a y e d on d r u m s which p r o d u c e
the r e q u i s i t e n u m b e r of t o n e s . The t a l k i n g d r u m s of
W e s t A f r i c a a r e not c o m p a r a b l e to t e l e g r a p h y s i n c e
t h e y a r e not b a s e d upon a code. M e s s a g e s a r e not
s p e l l e d out, u s i n g s y m b o l s f o r l e t t e r s . Instead, t h e r e
i s a t r u e d r u m language and the d r u m s a c t u a l l y " t a l k " ,
r e p r o d u c i n g the m e l o d y and the r h y t h m of the s e n t e n c e ,
and a p p r o x i m a t i n g t h e q u a l i t y of c o n s o n a n t s and vowels
b y f i n g e r i n g the h e a d with   the left hand.
A v a r i e t y of t a l k i n g d r u m s a r e u s e d in W e s t A f r i c a . A
s e t of t h r e e d r u m s of d i f f e r e n t t o n e s ( s u c h a s the igbin)
c a n b e u s e d f o r a t h r e e - t o n e d language. t is p o s s i b l e
a l s o to v a r y the tone of a s i n g l e d r u m by applying
p r e s s u r e to the edge of the d r u m with one hand. But
the p r e s s u r e d r u m , with i t s v a r i a b l e pitch, is e s p e c i a l 
ly adapted t o d r u m language, and s i n c e i t i s c a r r i e d by
a s t r a p which f i t s o v e r t h e s h o u l d e r , it is m o b i l e . A
single d r u m m e r c a n walk about town d r u m m i n g out
g r e e t i n g s to the people he m e e t s . G r o u p s of p r o f e s s i o n 
al p r e s s u r e d r u m m e r s a m o n g t h e Y o r u b a s p e n d a g r e a t
d e a l of t i m e doing j u s t t h i s , d r u m m i n g out the p r a i s e s
and p r a i s e n a m e s of i m p o r t a n t people in town in r e t u r n
for which t h e y r e c e i v e " d a s h e s " o r t i p s .
SIDE II, Band 1, i l l u s t r a t e s t h i s kind of p r a i s e , b e a t e n
out on a p r e s s u r e d r u m i n the d r u m language, and t h e n
t r a n s l a t e d into the Yoruba language by a n o t h e r d r u m m e r .
It i n c l u d e s g r e e t i n g s f o r the d i f f e r e n t t i m e s of day s u c h
a s "Good afternoon" ( E k a s a n ) and "White man, did you
wake w e l l ? " (Oyinbo, 0 ji r e b i ? ) , the p r a i s e n a m e s of
i m p o r t a n t l o c a l p e r s o n a g e s , and o t h e r g r e e t i n g s a n d
f o r m s of p r a i s e .
SIDE II, B a n d 2, i l l u s t r a t e s the p a r t s p l a y e d by the
d r u m s in a five d r u m s e t . i r s t t h e r e i s the l a r g e s t
d r u m , the dundun i t s e l f , which s e r v e s h e r e a s the
ilu ( " m o t h e r of the d r u m s " ) . Second i s the s m a l l e s t of
the p r e s s u r e d r u m s , known a s kanango. T h i r d i s the
gangan d r u m , t h e s e c o n d s m a l l e s t . F o u r t h t h e r e i s the
k e r i k e r i , the s e c o n d l a r g e s t , which t h e Y o r u b a s a y i s
added to make the m u s i c " s w e e t e r " . The fifth d r u m i n
the s e t i s the gudugudu, which i s not a p r e s s u r e d r u m ,
but of a c o m p l e t e l y d i f f e r e n t s h a p e . t i s a s h a l l o w h e m i 
s p h e r i c a l d r u m with a s i n g l e fixed head, which is w o r n
on the c h e s t with s t r a p a r o u n d t h e n e c k and b e a t e n
with l e a t h e r s t r a p s h e l d in e a c h hand. The f o u r pre ';
s u r e d r u m s , which a r e p l a y e d only on one head, a r e
w o r n u n d e r the left a r m with a s t r a p o v e r the s h o u l d e r ,
with the left elbow applying the p r e s s u r e and the left
h a n d f i n g e r i n g th e d r u m h e a d . The f o r w a r d h e a d i s
b e a t e n with the r i g h t hand, u s i n g a s p e c i a l wooden d r u m
s t i c k which c u r v e s t h r o u g h n i n e t y d e g r e e s and e n d s i n
a button - h e a d . A s e t of d r u m s m u s t include a t l e a s t
two p r e s s u r e d r u m s s e r v i n g a s iya ilu and o m e l e
( e i t h e r dundun a n d gangan, dundun and kanango, d u n -
dun and k e r i k e r i , o r gangan and kanango) and a
~
SIDE II, Band 3, i s a s o n g f o r s o c i a l dancing played by
p r e s s u r e d r u m s , with v o i c e and with s h e k e r e r a t t l e s .
The s h e k e r e i s a l a r g e c a l a b a s h , up to two feet in
d i a m e t e r , which is c o v e r e d with a s t r i n g net t o which
c o w r y s h e l l s a r e f a s t e n e d . t i s a v e r s a t i l e and s p e c t a c 
u l a r i n s t r u m e n t . When s h a k e n , i t s e r v e s as a r a t t l e ; it
c a n a l s o b e b e a t e n like a d r u m , and t h r o w n into the
a i r and caught in e x a c t r h y t h m . H e r e i t s e r v e s only a s
a r a t t l e . The s o n g i t s e l f i l l u s t r a t e s the M o s l e m influ
e n c e on Y o r u b a s e c u l a r m u s i c .
 

SIDE II, B a n d s 4 5 6 7 8 9 . BATA DRUMS.

Bata a r e a s p e c i a l type o f t w o - t o n e d d r u m s , b e l i e v e d
to be found only a m o n g the Y o r u b a , and u s e d only f o r
r e l i g i o u s m u s i c . T h e b a t a d r u m h a s a wooden body in
the shape of a t r u n c a t e d cone, giving two h e a d s of
different s i z e a n d tone. The h e a d s a r e f a s t e n e d t o 
g e t h e r with l e a t h e r s t r i p s which a r e w r a p p e d t i g h t l y
a g a i n s t t h e b o d y of the d r u m with o t h e r l e a t h e r s t r i p s ,
t u n i n g t h e m t i g h t l y a n d giving a fixed tone which h a s a
metallic, bell-like quality. Small cast b r a s s bells may
a l s o b e a t t a c h e d t o batao T h r e e d r u m s m a k e up t h e s e t
r e c o r d e d h e r e . The l a r g e s t d r u m , known a s i y a ilu
( m o t h e r of t h e d r u m s ) , a n d t h e m e d i u m s i z e d d r u m ,
known a s orne Ie a r e h e l d h o r i z o n t a l l y in f r o n t of t h e
d r u m m e r , who b e a t s t h e s m a l l e r head with a l e a t h e r
thong a n d t h e l a r g e r head with h i s h a n d . T h e s m a l l e s t
d r u m , known a s k u d i , is held with the l a r g e r head up
and is b e a t e n with two l e a t h e r t h o n g s . T h u s t h e r e a r e
a t o t a l o f five t o n e s f o r a s e t of t h r e e d r u m s . M o r e S e t o f s i x b a t a d r u m m e r s playing f o r S h a n g o .
d r u m s c a n be added, in which c a s e t h o s e o f t h e s a m e
type a r e distinguished a s fern a l e and m a l e e. g. orne Ie
abo and o m e l e ako) depending u p o n t h e i r s i z e , and t h e
gudugudu d e s c r i b e d above m a y b e added. B a t a d r u m s
a r e still played in Cuba, w h e r e r e c o r d i n g s of b a t a
d r u m m i n g w e r e m a d e in 1948.

B a t a d r u m s a r e p l a y e d only by p r o f e s s i o n a l d r u m m e r s
and a r e c o n s i d e r e d one of the m o s t difficult t y p e s to
l e a r n . A notable r h y t h m i c f e a t u r e o f t h e s e r e c o r d i n g s
is the u s e of c o n t r a s t i n g t e m p o s , b y t h e d e l i b e r a t e
speeding up, a n d s l o w i n g down, of t h e t e m p o . M a r k e d
phases of acceleration and deceleration a r e used a l t e r -
natingly in Bands 6 , 7 , a n d 9 while Band 8 m a i n t a i n s
a f a s t t e m p o , while building in intenSity. n j a z z a c 
c e l e r a t i o n i s u s e d t o b u i l d to a c l i m a x , but h e r e the
opposite i s a l s o u s e d f o r effect, a n d B a n d s 7 and 9 e n d
in a slow d r a g .

B a t a d r u m s a r e r e g a r d e d a s s a c r e d to the deity Shango  

B a t a d r u m m e r s with i y a Uu, o m e l e , kudi.
and to h i s wife, Oya; but o t h e r d r u m s m a y b e u s e d f o r
t h e s e d e i t i e s , and b a t a m a y b e played f o r s o m e o t h e r
deities. The bata recordings here illustrate the differ
e n t r h y t h m s a p p r o p r i a t e f o r the d e i t i e s Shango, Oya,
Egungun, S h a p a n a ( a l l fo u r of whom a r e r e l a t e d to
one a n o t h e r i n Y o r u b a mythology), O r i s h a n l a , and
Eshu.

SIDE II, B a n d 4: Shango i s the Y o r u b a t h u n d e r gOd

who c o n t r o l s lightning. t i s b e l i e v e d t h a t he t h r o w s
thunderbolts (neolithic c e l t s , known a s edun a r a ) f r o m
the s k y when he c a u s e s lightning to s t r i k e , and c a n
kill people who s t e a l o r who m a k e b a d m a g i c , o r s e t
t h e i r h o u s e s o n fire. He i s s a i d to have b e e n one of
the e a r l y Kings of Oyo who h a d m a n y m a g i c a l p o w e r s
and b r e a t h e d f i r e f r o m h i s m o u t h w h e n h e spoke; a f t e r
he c o m m i t t e d s u i c i d e b y h a n g i n g h i m s e l f , he w e n t t o
live in a b r a s s p a l a c e in the s k y . H i s w o r s h i p p e r s a r e
d i s t i n g u i s h e d b y s t r i n g s of a l t e r n a t e r e d and white
b e a d s . Those who can be p o s s e s s e d b y Shango when
he r e t u r n s to e a r t h and e n t e r s into t h e i r b o d i e s w e a r

Pressure d r u m m e r s of the King of Oyo, i n t h e p a l a c e .

Gangan, dundun, gudugudu.

5
 

c o l o r f u l c o s t u m e s including cotton s h i r t s and t r o u s e r s SIDE II, B a n d 8: O r i s h a n l a is the deity of w h i t e n e s s ,

dyed r e d with camwood and d e c o r a t e d with c o w r y
s h e l l s , and p a n e l s of appliqued cloth and l e a t h e r t i e d
around the w a i s t s o t h a t t h e y s p i n out when dancing.
U n d e r p o s s e s s i o n , h i s w o r s h i p p e r s c a r r y pots of f i r e
on t h e i r h e a d s , and m a y e v e n e a t b u r n i n g b a l l s of
cotton s o a k e d in p a l m o i l .
SIDE II, B a n d 5: i s the p r i n c i p a l wife of Shango.
Although Shango h a d m a n y w i v e s , s t a y e d with h i m
a f t e r h e h a d b e e n d e s e r t e d by a l l the o t h e r s . She i s
identified both a s the Niger R i v e r and a s the v e r y
h e a v y wind which p r e c e d e s a t h u n d e r s t o r m . When
Shango goes out t o fight humans who have offended
h i m , Oya p r e c e d e s him, blowing down h o u s e s and
t r e e s . T h u n d e r s t o n e s a r e kept in h e r s h r i n e s , a s in
the s h r i n e s of Shango, and u n d e r p o s s e s s i o n h e r w o r 
s h i p p e r s c a n a l s o e a t b u r n i n g o i l - s o a k e d cotton b a l l s .
H e r w o r s h i p p e r s a r e d i s t i n g u i s h e d b y s t r i n g s o f long,
cylindrical maroon beads.
d i s c u s s e d above. Although the igbin d r u m s a r e s a -
c r e d t o O r i s h a n l a and a r e u s e d f o r r i t u a l s within the
t e m p l e , t h e y a r e s t a t i o n a r y and cannot be u s e d to a c 
company dancing t h r o u g h the town. F o r t h i s purpose
b a t a o r dundun d r u m s a r e u s e d .
S II, Band 9: E s h u ( a l s o as E l e g b a o r
E l e g b a r a ) i s the m e s s e n g e r of t h e o t h e r gods, and
the t r i c k s t e r deity. f a p e r s o n i s killed by a falliY).g
w a l l o r t r e e , shot accidtmtally b y a h u n t e r , o r ' d l l e d
in an automobile accident, i t i s t h e w o r k of E s h u ,
who m a y have b e e n s e n t by a n o t h e r d e i t y to p u n i s h a
w o r s h i p p e r who h a s d i s p l e a s e d h i m . E s h u i s the o w n 
e r of cowry s h e l l s and of the c r o s s r o a d s , w h e r e he
m a k e s h i s h o m e . His w o r s h i p p e r s w e a r s m a l l m a r o o n
colored beads. Any d r u m m a y be u s e d for Eshu, but
bata are most important.

SIDE II, Band 6: Egungun is the younger b r o t h e r of

Shango. A v a r i e t y of c o s t u m e s a r e u s e d in connection
with h i s worship: s o m e with c a r v e d wooden m a s k s
w o r n on top of the head, s o m e with long p a n e l s of a p 
pliqued cloth and l e a t h e r s i m i l a r to those u s e d f o r
Shango, and o t h e r s of different t y p e s . All t h e s e c o s 
t u m e s c o m p l e t e l y c o v e r the body, head, hands and
feet, and the m a l e w o r s h i p p e r s who w e a r them change
t h e i r v o i c e s s o t h a t t h e y cannot be r e c o g n i z e d . A l 
though any m a n m a y know the i d e n t i t y of the p e r s o n
i n s i d e t h e c o s t u m e , r e v e a l i n g t h i s s e c r e t to any woman
i s s t r i c t l y p r o h i b i t e d and was f o r m e r l y punished by a
heavy fine o r even death. Egungun w o r s h i p p e r s have
no beads o r s i m i l a r i n s i g n i a by which t h e y a r e i d e n t i 
fied. B a t a o r dundun d r u m s a r e u s u a l l y played f o r
Egungun.

SIDE II, Band 7: Shapana i s the Yoruba god of s m a l l

pox, and the e l d e r b r o t h e r of Shango. One of h i s
c o m m o n p r a i s e n a m e s i s Obaluaiye ( King of the
world ), and in Cuba he i s known by a v a r i a n t of t h i s ,
Babaluaiye ( f a t h e r of the w o r l d ) . The well-known
A f r o - C u b a n song, Babalu o r Babaluaiye, i s b a s e d
upon t h e w o r s h i p of Shapana in Cuba, w h e r e h e in
identified with Saint L a z a r u s ; i t i s not, however, r e
1ated m u s i c a l l y with the cult m u s i c , a s c a n be s e e n
with the d r u m r h y t h m r e c o r d e d h e r e . Shapana o r
Obaluaiye a p p e a r s in the f o r m of a whirlwind, e s -
p e c i a l l y during the d r y s e a s o n when s m a l l pox e p i 
d e m i c s a r e likely to o c c u r . He i s fond of d r u m s of a l l
kinds, not only b a t a which a r e commonly u s e d f o r him,
R e s t r i n g i n g s m a l l p r e s s u r e d r u m kanango ). Note
and d r u m m i n g i s s o m e t i m e s b a n n e d during o u t b r e a k s
the h o u r - g l a s s - s h a p e of t h e wooden body and the
of s m a l l pox s o t h a t he will not be a t t r a c t e d into the
l e a t h e r thongs which will f a s t e n the two heads of
town. His p r i e s t s a r e r e s p o n s i b l e f o r p r e c a u t i o n s to
the d r u m t o g e t h e r .
p r e v e n t s m a l l pox, and f o r the c a r e of those who b e 
c o m e ill. B e c a u s e o f allegations t h a t t h e y a c t u a l l y
s p r e a d t h e d i s e a s e , the cult h a s been legally banned
in N i g e r i a f o r m a n y y e a r s . His w o r s h i p p e r s w e r e
distinguished by s t r i n g s of black b e a d s . CREDITS;
Photographs by William Bascom
Edited by Harold Courlander
P r o d u c t i o n D i r e c t o r , Moses Asch

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  ndividual photographs of the s i x b a t a d r u m m e r s

7
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For Add t on a I In f rm t ion bo ut

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