An iconic symbol and sound of the Lucum'/Santer'a religion, Afro-Cuban batá are talking drums that express the epic mythological narratives of the West African Yoruba deities known as orisha. By imitating aspects of speech and song, and by metaphorically referencing salient attributes of the deities, batá drummers facilitate the communal praising of orisha in a music ritual known as a toque de santo.
InThe Artistry of Afro-Cuban Batá Drumming, Kenneth Schweitzer blends musical transcription, musical analysis, interviews, ethnographic descriptions, and observations from his own experience as a ritual drummer to highlight the complex variables at work during a live Lucum' performance.
Integral in enabling trance possessions by theorisha, by far the most dramatic expressions of Lucum' faith, batá drummers are also entrusted with controlling the overall ebb and flow of the four- to six-hourtoque de santo. During these events, batá drummers combine their knowledge of ritual with an extensive repertoire of rhythms and songs. Musicians focus on the many thematic acts that unfold both concurrently and in quick succession. In addition to creating an emotionally charged environment, playing salute rhythms for theorisha, and supporting the playful song competitions that erupt between singers, batá drummers are equally dedicated to nurturing their own drumming community by creating a variety of opportunities for the musicians to grow artistically and creatively.
Subjects: Music, History
Table of Contents
You are viewing the table of contents
You do not have access to this
on JSTOR. Try logging in through your institution for access.