Percussions.org

[Daniel Genton]

Bata drums are the sacred drums of Santeria, which is a striking example of syncretism between the dominant, Catholic religion and animistic beliefs from Africa. In Santeria, each god or spirit is represented by a Christian saint; and each saint is invoked by a characteristic Bata rhythm.

The Bata drums are themselves thought of as belonging to the spirits; they use the drums' voices and rhythms to communicate with men and women.

There are three Bata drums: the Iya (the mother drum, and the largest), which directs the rhythm; it supples the rhythmic line around which the medium-sized Itotele weaves its variations; the smallest drum, Okonkolo, keeps the pulse, providing as it were an outline sketch of the whole rhythm.

The three drums are hourglass-shaped, and covered at both ends with goat skin. The two ends of the drums are different sizes and produce different sounds; the smaller, called the Cha Cha, gives a sharp sound like a slap; the larger, called Boca, gives a "rounder" sound and allows the player to vary the pitch by applying pressure to the skin. The drums are played lying flat across the drummer's knees, the left hand playing the slaps on the Cha Cha and the right playing the Boca. The drummers play sitting side by side.

Usually the different patterns are all known by the drummers, but it's the most experienced who plays the Iya, sitting in the middle to direct the music. The inexhaustible supply of Bata rhythms is a fantastic source of inspiration for Cuban percussionists.

Daniel Genton