Iβve decided to expand this blog from just the midi marimba to other DIY electronic percussion instruments Iβm making. The first instrument I started with was actually a an electronic version of Afro-Cuban BatΓ‘ drum, using electronic drum kit pads.
What are BatΓ‘ drums?
Iβm no expert by any means so Iβm going to use some parts from theΒ WikipediaΒ article:
βA BatΓ‘ drum is a double-headed drum shaped like an hourglass with one end larger than the other. The percussion instrument is used primarily for the use of religious or semi-religious purposes for and originates from the native culture land of the Yoruba and the Igbo, located in Nigeria, as well as, but not of origin, by worshippers of SanterΓa in Cuba, Puerto Rico, and in the United States. The BatΓ‘ drum's popular functions are entertainment and to convey messages. Its early function was as a drum of different gods, drum of royalty, drum of ancestors and drum of politicians. BatΓ‘ drum impacted on all spheres of life in Yoruba land.β
BatΓ‘ drums are made in sets of specific sizes.
                       Nigerian BatÑ set
BatΓ‘ drums were brought to Cuba by enslaved African people during the transatlantic slave trade βin which close to 300,000 Africans were brought to Cubaβ. Initially, they were only used for religious purposes in the religion that developed there, known as SanterΓa, Regla de Ocha, or LukumΓ.
βSanterΓa developed among Afro-Cuban communities amid the Atlantic slave trade of the 16th to 19th centuries. It formed through the blending of the traditional religions brought to Cuba by enslaved West Africans, the majority of them Yoruba, and the Roman Catholic teachings of the Spanish colonialists who controlled the island.β
Over time, BatΓ‘ begun to be used in a secular context, outside of the religion.
βThe BatΓ‘ slowly became inducted into the Cuban culture after a time, and began to take on more secular uses: they were first publicly performed in 1935 in a broadcast over Cuban radio for purposes of folklore music. Uses such as this have grown as knowledge of the instrument has spread; more and more musicians not currently practising LukumΓ have used versions of the drums in recordings or performances. These "non-sacred" BatΓ‘ drums are called aberΓnkulaβprofane BatΓ‘ (see Sacred-profane dichotomy). BatΓ‘ drums and rhythms have started to be used in other genres, most notably in Cuban timba, jazz and hip hop. In the 1970s, for instance, a mixture of BatΓ‘ drums and Big Band called Son-BatΓ‘ or BatΓ‘ Rock became popular, a genre highly influenced by Irakere.β
Afro-Cuban BatΓ‘ are made in sets of three - the βIyΓ‘, the largest, is referred to as "mother drum". ItΓ³tele, the middle one or βfatherβ, and OkΓ³nkolo, the smallest or βbabyβ. These drums are traditionally always played together in a βfamilyβ, by three separateΒ players. Sacred CubanΒ BatΓ‘, which are used for religious purposes, have been specially consecrated and can only be played by initiates of the religion. These canβt use a metal tuning system, like the modern tuning systems on conga drums pioneered by Patato, so theyβre made with a rope-style tuning to tension the skins.
Secular CubanΒ BatΓ‘ can be made the same way, or with metal lugs for tuning, but the important difference is that they havenβt been consecrated.
Overall these instruments are not very common, but are made by custom makers as well as by the major Latin percussion brands - Latin Percussion, Meinl, Toca, Pearl etc.Β
In secular music contexts, some players play all three drums at once on a stand, playing as many of the parts of the rhythms as they can.
What do they sound like?
Hereβs an example from Nigeria:Β
Hereβs an example from Cuba in a religious context:Β
And hereβs an example from Cuba in a secular context from the great band Irakere!
And a more recent one by (U)nity with Pedrito Martinez on BatΓ‘
My interest and introduction:
I remember the first time IΒ heard BatΓ‘ drums, I was on exchange at San FranciscoΒ State University, and I was lucky enough to play in the esteemed Afro-Cuban Jazz Ensemble, directed by John Calloway. One of the recordings he sent us to learn is a traditional religious song for the Orisha Elegua, from an album fusing Cuban, New Orleans and lots of other Afro-Latin styles.Β I was struck by the beautiful sound of the drums and singing but also the complexity and interplay of the rhythms. I had no idea what was going on and had no idea what drum could possibly be making these sounds! The rhythms are truly hypnotic. Here is that clip:Β
I travelled to Cuba in 2017, mainly to study congas, but I had a couple lessons on BatΓ‘ - playing them separately and as a set, and while we were there we saw a couple of ceremoniesΒ as well where the BatÑ are played.Β I also started learning more about the influence of theΒ BatΓ‘ in Cuban music, in conga playing, in rumba, and appreciating itβs role in the history and developmentΒ of all this music that I love.
