Batá Percussion – Music
The batá drums are a set of three double-headed hourglass-shaped drums central to Yoruba religious tradition and Afro-Cuban sacred music (Lucumí / Santería).
- 1. Elegua
- 2. Oggun
- 3. Ochosi
- 4. Ibbaloke
- 5. Inle
- 6. Babalu Aye
- 7. Osain
- 8. Osun
- 9. Obatala
- 10. Dada
- 11. Oggue
- 12. Agayu
- 13. Orula
- 14. Orisha oko
- 15. Los Ibeyis
- 16. Chango
- 17. Yewa
- 18. Oya
- 19. Yemaya
- 20. Oshun
- 21. Obba
- 22. Oddua
The Three Drums
Each drum has two heads of different sizes, producing different pitches on each side. They are played horizontally across the lap or standing up.
| Drum | Role |
|---|---|
| Iyá (mother) | Largest drum, the lead voice — improvises and calls |
| Itótele (middle) | Mid-range drum — responds to the Iyá |
| Okónkolo (small) | Smallest drum — keeps steady, foundational patterns |
According to EcuRed, the iyá announces the toque with a llame (call) and then brings in the other two; after that it improvises, within set models for each orisha. Itótele and okónkolo play more stable, repetitive patterns. When there is singing, the singer (akpwon) starts, often with an acheré (rattle) in hand, but the iyá keeps leading the ensemble.
Sacred Origins
Batá drums originate with the Yoruba people of West Africa (present-day Nigeria and Benin) and were brought to Cuba through the slave trade. In Cuba, they became central to Lucumí religious practice (known popularly as Santería or La Regla de Ocha).
Each toque (rhythmic pattern) on the batá is dedicated to a specific Orisha (deity) and is used to invoke, honor, or communicate with that Orisha during religious ceremonies. See the batá toques for an overview per toque.
Sacred vs. Secular
- Añá batá drums: Consecrated drums that have been ritually initiated. Playing them requires religious training and authorization.
- Aberíkula batá drums: Non-consecrated drums used for concerts, teaching, and secular performance.
Influence on Cuban Popular Music
According to Wikipedia, the batá were first heard publicly in 1935, on Cuban radio. Non-consecrated batá are now also used in timba, jazz and hip hop. In the 1970s there was son-batá or batá rock, strongly influenced by Irakere.