In this Book

The Artistry of Afro-Cuban Batá Drumming
summary

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.


In The 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 the orisha, 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-hour toque 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 the orisha, 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.

Table of Contents

  1. Cover
  2. pp. 1-1
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  1. TItle Page, Copyright, Dedication
  2. pp. 2-7
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  1. Contents
  2. pp. vii-viii
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  1. Acknowledgments
  2. pp. ix-xii
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  1. A Note on Typography and Word Usage
  2. pp. xiii-xiv
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  1. Introduction
  2. pp. 3-20
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  1. 1. The Lucumí Religion and Its Music
  2. pp. 21-49
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  1. 2. Omo Añá: The Fraternity of Batá Drummers
  2. pp. 50-65
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  1. 3. Overview of the Batá Repertoire
  2. pp. 66-96
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  1. 4. Learning the Basics: Experiential Learning
  2. pp. 97-116
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  1. 5. Pancho Quinto: Rumbero and Batalero
  2. pp. 117-142
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  1. 6. Traditional Ñongo: Musical Analysis
  2. pp. 143-166
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  1. 7. Modern Ñongo: The Evolution of a Toque
  2. pp. 167-192
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  1. Appendix 1: Transcriptions of Ñongo Excerpts
  2. pp. 193-206
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  1. Appendix 2: Musical Examples Available on Website
  2. pp. 207-208
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  1. Glossary
  2. pp. 209-212
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  1. Notes
  2. pp. 213-226
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  1. References
  2. pp. 227-236
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  1. Index
  2. pp. 237-242
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