An examination of one of the most sophisticated, intriguing, and elusive of the world's drumming traditions An iconic symbol and sound of the Lucum/Santera religion, AfroCuban bat 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, bat drummers facilitate the communal praising of orisha in a music ritual known as a toque de santo. In The Artistry of Afro-Cuban Bat 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 the orisha, by far the most dramatic expressions of Lucum faith, bat drummers are also entrusted with controlling the overall ebb and flow of the fourto six-hour toque de santo. During these events, bat 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 the orisha, and supporting the playful song competitions that erupt between singers, bat drummers are equally dedicated to nurturing their own drumming community by creating a variety of opportunities for the musicians to grow artistically and creatively.
An examination of one of the most sophisticated, intriguing, and elusive of the world's drumming traditions An iconic symbol and sound of the Lucum/Santera religion, AfroCuban bat 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, bat drummers facilitate the communal praising of orisha in a music ritual known as a toque de santo. In The Artistry of Afro-Cuban Bat 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 the orisha, by far the most dramatic expressions of Lucum faith, bat drummers are also entrusted with controlling the overall ebb and flow of the fourto six-hour toque de santo. During these events, bat 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 the orisha, and supporting the playful song competitions that erupt between singers, bat drummers are equally dedicated to nurturing their own drumming community by creating a variety of opportunities for the musicians to grow artistically and creatively.
