Questions for All Bata Players - Bata Questions

[ralph]

That's right. I've heard that about the ekue drum too. However, unconsecrated ekue drums (if that's indeed the one with the feather) are also used in theatrical presentations.
-David

True Dave, this is evident in the dvd titled "Fiesta De Tambores" available through http://www.descarga.com...they show an Abakua procession, where they are holding showing i think two ekue drums, in front of a packed house...

by the way Dave, i read a post where you put a picture of yourself playing bata...and i wrote you but i think you may have missed it...i was guessing that the bata being played were made by Felipe Garcia Villamil...i say so because the way his drums are tuned are in a very similar patter, and those seem to be hand made drums, and since Felipe is on the west coast, i thought it would be a valid assumption, am i right or what? Those are some nice looking bata...i like the rich dark color...

if you go to
http://www.batadrums.com/background/abakua.htm, there is a picture of what i am talking about, presumably the mysterious ekue drum

Ralph



Edited By ralph on 1138382906

[davidpenalosa]

Hey Ralph,
Sorry I missed your post where you asked about the bata drums. They belong to my friend Howard, who's playing the itotele in the photo. I think you are right about who made them, but I'll verify that.
-David

[onile]

Alafia Abures!
May you all be in an abundance of wonderful blessings!

Several years ago I made a set of miniature bata by hand a presentarselo a mis guerreros, but one thing always puzzled me. With the method of tuning the type of bata that you are playing Abure David, do you have to tune them each time you play them? and if so, how is it done? Do you have to loosen "la soga" and pull them tight all over again? I don't own a set, much less know how to play them, I'm just curious mi pana!

Suave!
Onile!

[ralph]

Alafia Abures!
May you all be in an abundance of wonderful blessings!

Several years ago I made a set of miniature bata by hand a presentarselo a mis guerreros, but one thing always puzzled me. With the method of tuning the type of bata that you are playing Abure David, do you have to tune them each time you play them? and if so, how is it done? Do you have to loosen "la soga" and pull them tight all over again? I don't own a set, much less know how to play them, I'm just curious mi pana!

Suave!
Onile!

i have never played bata, but hopefully can offer some insight into this...i know that when the bata have cuero, or skin tuning, than the skin is wet tied around and tightened, depending on where you are you may have to do this once every couple of weeks...with the rope tuning i don't believe that have to be tightened everytime, obviously you loose tension and the sound is not the same, but then the process of tuning the bata are such that most do not have the time or manpower to do this everytime...for example my teacher showed me his set of fundamento, and he picked one up and hit the skin and he said something to the effect of "cono, its still tight!"...he told me that last time he played was like more than a week ago and they were still tight on the drum, so there you go...

Ralph

[onile]

Gracias Papa!
I've just always been curious, because the way that they look when using 'cuero' or 'rope' it seems complicated to tune them!

Suave!
Onile!

[ralph]

Gracias Papa!
I've just always been curious, because the way that they look when using 'cuero' or 'rope' it seems complicated to tune them!

no doubt, another thing is that usually it takes two to tune a drum...because otherwise it become a very difficult and frustrating task....

Ralph

[tamboricua]

Gracias Papa!
I've just always been curious, because the way that they look when using 'cuero' or 'rope' it seems complicated to tune them!

no doubt, another thing is that usually it takes two to tune a drum...because otherwise it become a very difficult and frustrating task....

Ralph

I understand whether they use "cuero" or "cañamo" to tune it all has to do with from which tradition the set comes from?

Havana=Skin

Matanzas=Cañamo

Saludos,

Jorge Ginorio

[ralph]

Gracias Papa!
I've just always been curious, because the way that they look when using 'cuero' or 'rope' it seems complicated to tune them!

no doubt, another thing is that usually it takes two to tune a drum...because otherwise it become a very difficult and frustrating task....

Ralph

I understand whether they use "cuero" or "cañamo" to tune it all has to do with from which tradition the set comes from?

Havana=Skin

Matanzas=Cañamo

Saludos,

Jorge Ginorio

Jorge, its been a while...

i was not aware, i assumef that both traditions used cuero, until rope was found to be a sufficient substitute...i know that the patterns of roping the bata are different in both traditions, but i thought that cuero was the standard, and rope was used as kind of a later invention, or innovation, if we could call it one...i do know that they used to use a chancleta or leather strap to hit the chacha in the matanzas tradition as opposed to using the hand, but this is not practiced as it once was, and leads me to believe that the tuning was also done with cuero...

Ralph

[tamboricua]

Jorge, its been a while...

i was not aware, i assumef that both traditions used cuero, until rope was found to be a sufficient substitute...i know that the patterns of roping the bata are different in both traditions, but i thought that cuero was the standard, and rope was used as kind of a later invention, or innovation, if we could call it one...i do know that they used to use a chancleta or leather strap to hit the chacha in the matanzas tradition as opposed to using the hand, but this is not practiced as it once was, and leads me to believe that the tuning was also done with cuero...

Ralph

Hola Ralph,

Yes, its been a while! Enjoying the copy of Los Pleneros de la 21 you mailed me, thanks a lot!

I recall Michael Spiro commenting about this differences in the tuning systems.

Saludos,

Jorge Ginorio

[Facundo]

Just the son of SHango and Ozain cant play BATA!!...the rest PROFANADORES!!!

Sorry Cimmaron,

That is absolutely wrong. A man can be a son of any Orisha and be sworn to Anya which is the Orisha that lives inside consecreated bata drums.

Facundo

[Facundo]

Just the son of SHango and Ozain cant play BATA!!...the rest PROFANADORES!!!

Cimaron,

Sorry, that comment is absoluetly wrong. The male son of any Orisha can be sworn to Anya, which is the Orisha that lives inside consecreated bata drums.

Facundo

[Juzzi]

Hi guys! It has been a while since I have posted anything. To get back to the first question:

1.) I don't practise Santeria. I play the bata only for the musical reasons.

2.) I play the bata regularly in performances and recording sessions etc.

3.) I guess only a few drummers here in Finland know what is bata:) But I have to mention that a great Batalero called Tomas Jimeno lives here.

4.) Some Cubans might think that it is against the right way for others than real Bataleros to play the bata. But some of them actually don't give a shit.

-J

Attachment: http://mycongaplace.com/forum/eng/uploa ... 05_003.jpg

[Facundo]

Dear Bataleros,
In the past few decades I have noticed a rather remarkable culture
change in the attitudes and perceptions of bata drummers and their
communities in the U.S. It is my hope that some of the bataleros
posting on this site will feel comfortable enough to answer some
simple questions for social scientific purposes. My anthropological
inquiries here are of a relativistic nature, so let me assure all that
the sensitive questions which I'm posting here are asked in a
completely non-judgemental manner.
1.) How many of you bataleros do NOT practice Santeria or other Orisha
veneration? That is, do you play the drum purely for musical resaons
rather than spiritual ones?
2.) How many of you bataleros play regularly in local Santeria or
other Orisha veneration ceremonies? In what U.S. cities/towns do they
take place?
3.) What are the various opinions in your community regarding bata
drums? Do people in your community generally differentiate between
tambores de fundamento and drums without Ana?
4.) Finally, for ALL bataleros, what resistance, if any, have you
experienced in playing bata drums outside of the spiritual context? If
there have been any objections, what exactly are they?
In closing, please let me thank all those who choose to participate in
advance.


Saludos,


Berimbau

Berimbau,
I assume the culture changes you have noticed relate to the growing secularization of the bata and its' usage in non religious musical applications. This is indeed a growing trend not just in the US but in Cuba as well. It should first be noted that the term batalero is a secular term in and of its' self which would include anyone who plays bata in any vinue. Bata drummers in the true religious sence are "Omo Anya", one who is learning is called "Yamboki", one who is a master in an "Olubata".
Another distinction should also be noted regarding the drums. There are consecreated bata which are loosely called Anya or Tambor Fundamention. These are the true bata drums that have the secret of Anya installed in them. Their usage and who can play them is governed by very strict rules. Then there are what is called in religious terms "Aberikula" drums. These are bata drums that are not consecrated. They can be made to look exactly like real bata or have metal tuning keys. While these drums can be used in religous vinues they are not treated with the same reverence as the sacred drums and and can not be used for the same type ceremonies. They are considered as musical acompanyment only and are the equivalent of playing guiro for the Orisha.

Now, to directly answer your questions:
1. Most of the bata drummers that I know are initiated to one of the levels of Anya. They do play Aberikula in secular vinues with no problem but they do know and observe the distinction between religious and secular. This is passed on to those who study with them as well.
2. I am located in Philadelphia PA but have close associations with bata drummers all along the east cost. All of the drummers that I know adhere to all of the conduct previously noted.
3. Yes, the community does know the differece between sacred and profane drums and their usage.
4. Again, the drummers know the distinction between the types of drums and how they can be used, played and by whom. They have no conflict playing them in musical experiments. In fact here in Philly several of the Anya players work with a group called Spoken Hand. Spoken Hand involves bata (aberikola of course), several tabla players, Brazilian drummers and a bit of gimbe in their all drum compositions. The resulting musical product has received excellent response. They also do workshops to teach their instrament specialities. Hope this answers your questions.

Best regards,
Facundo

[JohnnyConga]

Facundo...do u know "Peachy" Jarmin??...he is an old friend of mine fromt he late 70's when he was touring with Mongo...."JC" Johnny Conga...

[JohnnyConga]

Facundo...do u know "Peachy" Jarmin??...he is an old friend of mine from the late 70's when he was touring with Mongo...."JC" Johnny Conga...