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The art of playing 3 Batás (at once)
Tutorials on YouTube

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Here is the overall link to the YouTube-Channel of the OBAXE PERCUSSION SCHOOL:

https://www.youtube.com/@percussionschool

1) Please go to "playlists" and then to "Santería". There you will find all the tutorials.
2) Scroll down to chapter "The deities of Santería", there you find the specific links to the individual tutorial. 

 

The instruments of Santería music – the Batás

 

Batás are the double-skinned hourglass drums in the cult music of the Yoruba people of Nigeria and Benin, also used in the African-American Santería religion in the Caribbean. They were exported there through the slave trade from West Africa to the Caribbean and South America during the 19th century. 

There are 3 sizes:

- Okonkolo, the smallest Batá

- Itólele, the medium-sized Batá

- Iyá, the great Batá

 

The functions of the individual drums:

The okonkolo is the “base drum” in most rhythms. It has a metronomic function and, with a few exceptions, does not play any variations. The high tone of the Okonkolo often represents the beat / basic pulse of a rhythm.

 

The Itótele usually has both a melodic and a basic function. Together with the Iyá, it plays a variety of variations in a kind of question-answer game, specifically with the low tones (the bigger fur is called “Enu”). The high tones of the smaller head (“Chacha”), on the other hand, often complement the high tones of the Okonkolo and are thus part of the rhythmic “matrix” – the rhythmic network of small units (the “rhythmic flow”).

The Iyá is usually part of the overall melody of a rhythm, but at the same time it is primarily the solo element in Santería music. This is where the variations of a rhythm come from (with a few exceptions).

 

In the traditional context, the 3 Batás are played by 3 drummers. The drums that are played in a ritual context are consecrated and may only be touched by the drummers designated for them.

Batás are also used in non-religious contexts, for example sometimes in salsa bands. In this case, the batás are often played all together by one musician - using exactly the method we are talking about here.

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The deities of Santería - the Orichás

 

As in the original religion of the Yoruba, in Santería Olodumare stands at the center of the religion as the almighty God and all-encompassing creator. This deity in turn is divided into three aspects: Olodumare, Olorun and Olófi

. Olodumare is the basis of all existence, Olorun is the creator of the universe and Olófi is creation itself. The Santeros see Olodumare as the center and the governing power of the universe, but they do not address him directly, but rather to Olófi (syncretized with Jesus Christ ), who acts through the Orishás, ​​who, as his creation, have a messenger and mediator function. No offerings are made to Olodumare, and no priests consecrate themselves to him. (Kerstin Volkenandt: Memento from September 13, 2001 in the Internet Archive Chapter 6.1 of the essay “Olodumare and the Orishas”).

 

Here is a brief overview of the most important deities of Santería:

Elegguá

(Elegba, Echu, Candomblé: Exu, Vodoo: Papa Legba)

The lord of crossroads, paths, fate. He is the mediator between humans and the Orichas. That is why he is honored first in a ritual, because without Elegguá the connection does not work.

Colors: Red & Black

Tutorials for rhythms for Elegguá:

La Lubanchê for 3 Batás build up

La Lubanchê for 3 Batás

PDF La Lubanche traditional

PDF La Lubanche for 3 Batas

Latopa for 3 Batás build up

Latopa for 3 Batás

PDF Latopa traditional

PDF Latopa for 3 Batas

​Tutorials for "Toque de cierre para Eleggua"

Toque de cierre para Eleggua build up

Toque de cierre para Eleggua

PDF Toque de cierre traditional

PDF Toque de cierre for 3 Batas

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​ Ogún

(Oggúm, Candomblé: Ogum, Vodoo: Ogoun)

The deity of iron, metals, minerals, tools. The deity of weapons and war. Stands for decision, creativity, energy. Deity of blacksmiths and craftsmen.

Symbols: Tools, weapons, machete, knife, ax etc.

Colors: Green & Black

Syncretism: St. Peter, St. George

Tutorials for Ogún rhythms:

 

Ogún version Muñequitos build up

Ogún version Muñequitos

Ogúndere version Milton Cardona Groove 1 build up

Ogúndere version Milton Cardona Groove 1

Ogúndere version Milton Cardona Groove 2 build up

Ogúndere version Milton Cardona Groove 2

PDF Ogún version Muñequitos  traditional

PDF Ogún version Muñequitos for 3 Batas

PDF Ogún version Milton Cardona  traditional

PDF Ogún version Milton Cardona for 3 Batas

PDF Ogún version Milton Cardona Groove 2  traditional

PDF Ogún version Milton Cardona Groove 2 for 3 Batas

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​Ochosi

(Candomblé: Oxossi)

The deity of hunting, often depicted with a bow and arrow. The Lord of the Forest/Wilderness, the Boy Scout. Closely linked to Elegguá and Ogún.

Stands for purposefulness, endurance, concentration, focus, justice, balance.

Symbols: Bow & arrow, spear, hunting weapons

Colors: Blue & Yellow

Syncretism: St. Sebastian, St. George

Tutorials for Imbaloke (a rhythm for Ochosi):

Imbaloke for 3 Batas build up

Imbaloke for 3 Batas

PDF Imbaloke traditional

PDF Imbaloke for 3 Batas

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Obatalá

(Orixanlá, Candomblé: Oxala)

The creator deity in Santería (together with Oddudua). Obatala created man from clay. He stands for purity, wisdom, grace, peace, high ethical sentiments, justice, mercy. The eldest Oricha, the “Lord of Heaven”.

Obatalá’s dance movements are hunched over as he carries the weight of the world on his shoulders. This deity has both male and female aspects.

The most famous story about Obatalá is this: When he created humans, he drank too much palm wine and thus created people with disabilities, albinos and freaks. His brother Odduduwa then took over the further creation of the world.

Symbols: White dove (peace), staff with a bird on it

Colors: White

Syncretism: Madonna of the Protective Cloak, Jesus of Nazareth

Tutorials for rhythms for Obatalá:

Rumba de Obatalá build up

Rumba de Obatalá build up with Son-Clave

Rumba de Obatalá

Rumba de Obatalá with Son-Clave

 

PDF Rumba de Obatalá traditional

PDF Rumba de Obatalá for 3 Batas

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Yemayá

(Yemanyá, Yemoya, Candomblé: Iemanjá)

The deity of the sea (the meaning of her name is “mother of fish”). The mother principle in Santería, the archetype of femininity in the aspect of motherhood. One of the two water goddesses (Yemayá = salt water, Ochún = fresh water). Yemayá is the mother of many orichas and mother of all humanity.

Yemayá carries both aspects of female power within her - the nurturing, protective and the absorbing. It gives life and also takes it away (the sea can be calm and creative, but also wild and destructive). She is closely associated with Olokun, the deity of the deep sea.

She stands for compassion, protective spirit, generosity, strength, fertility, creation.

Symbols: Fish, moon, silver fan

Colors: Blue, white, pearl

Syncretism: Mary as Mother of God (who also wears a blue cloak in the depictions)

Tutorials for Yemayá rhythms:

Yakota para Yemayá build up

Yakota para Yemayá

Yakota para Yemayá with 12/8-bell build up

Yakota para Yemayá with 12/8-bell

PDF Yakota traditional

PDF Yakota for 3 Batas

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Ochùn

(Oshún, Candomblé: Oxum)

Ochùn is the goddess of beauty, wealth, happiness. The goddess of love, the erotic-sensual aspect of femininity (in addition to Yemayá as the maternal aspect).

She lives in rivers and lakes (freshwater). In one of her dance moves, she stands in water and pours it over her body while holding a playing gel in her hand.

It stands for sensuality, fertility, love, beauty, wealth, success, recognition, happiness. She is responsible for a happy love life, which is why people often call on her for help with these issues.

Symbols: River, water, mirror, gold

Colors: Yellow, white

Syncretism: Virgin Mary, Our Lady of Mercy​

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Oyá

(Candomblé: Iansã)

Oyá is the aspect of autonomous, strong, wild, warrior femininity in Santería. It stands for change, transformation, transition. Oyá's element is the wind/storm. She is the guardian of the cemeteries. She was married to Changó (the god of fire) and is his equal.

A legend about Oyá tells that she stole and drank Changó's magic potion, which gave him his strength. When he noticed this he became very angry and chased her. But he can't reach her because she's faster than him. This is why the storm (Oyá) comes before lightning and thunder (Changó).

Symbols: Machete, horsehair whip

Colors: Wine red / dark red

Syncretism: St. Barbara, Virgin of Candelaria (the patroness of Cuba)

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Changó

(Shangó, Candomblé: Xangó)

Changó is undoubtedly one of the most popular orichás. He is the god of fire and the lord of lightning and thunder. He stands for masculinity (but also has feminine aspects), fire, justice, loyalty, leadership, protection. Changó is also the orichá of drums. He is proud, courageous, just, a great warrior.

He had 3 wives: Obba (to whom he was married), Oyá and Ochún. This shows that he is a charmer and Casanova and also a passionate lover.

Colors: Red & White

Symbol: Double axe

Syncretism: St. Barbara

Tutorials for Changó rhythms:

Wemilere para Changó build up

Wemilere para Changó with 12/8-bell build up

Wemilere para Changó

Wemilere para Changó with 12/8-bell

​Changó Oru Seco build up

​Changó Oru Seco

PDF Wemilere para Changó traditional

PDF Wemilere para Changó for 3 Batas

PDF ​Changó Oru Seco traditional

PDF ​Changó Oru Seco for 3 Batas

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Babalú Ayé

(Obalúayé, Candomblé: Omolú)

The orichá of the earth, of plagues and diseases (and healing). His face is full of pockmarks, so he always covers them up when he dances. Babalú Ayé is the protector of the outcast, the sick, the suffering. He stands for illness and healing, for the earth, for justice, for death and resurrection.

Colors: Purple

Syncretism: St. Lazarus

Tutorials for Babalú Ayé rhythms:

Babalú Ayé for 3 Batás build up

Babalú Ayé for 3 Batás

PDF ​Babalú Ayé traditional

PDF Babalú Ayé for 3 Batas

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Oduduwá

(Oduá)

Oduduwá was a great Yoruba king and was deified after his death. He is considered the “ancestor” of the Yoruba. Oduduwa stands for the earth (just as Obatalá stands for the sky. Obatalá is the male, Oduduwá the female aspect of the creator deity). According to legend, she came to help when Obatalá fell asleep drunk while creating the world. That is why she is called the "orichá of the earth".

Tutorials for Oduduwá rhythms:

Oduduwá for 3 Batás build up

Oduduwá for 3 Batás

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PDF ​Oduduwá traditional

PDF ​Oduduwá for 3 Batas

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Chachálokpafúñ

Chachálokpafúñ is a generic rhythm in Santería. That means it is not for one specific orichá but for different orichás (for example Changó or Ogún or others). It often happens that a different rhythm suddenly "falls into Chachálokpafúñ ". Changes in rhythm are very common in Santería music.

​​​​​​​Tutorials for Chachálokpafúñ:

Chachálokpafúñ 4/4 basic rhythm build up

Chachálokpafúñ 4/4 variation rhythm build up

Chachálokpafúñ 4/4  basic rhythm

Chachálokpafúñ 4/4  variation rhythm

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PDF ​Chachálokpafúñ 4/4 basic rhythm traditional

PDF ​Chachálokpafúñ 4/4 basic rhythm for 3 Batas

PDF ​Chachálokpafúñ 4/4 variation traditional

PDF ​Chachálokpafúñ 4/4 variation for 3 Batas

Chachálokpafúñ 12/8 basic rhythm build up

Chachálokpafúñ 12/8 basic rhythm

PDF ​Chachálokpafúñ 12/8 traditional

PDF ​Chachálokpafúñ 12/8 for 3 Batas

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Ñongo

Ñongo is a generic rhythm for many different orichás: Elegguá, Oggún, Ochosi, Inle, Babalú Ayé, Osain, Obatalá, Ibedyi, Oyá, Ochún, Yemayá. There are a lot of songs accompanied by Ñongo.

Tutorials for Ñongo:

Ñongo for 3 Batas build up

Ñongo for 3 Batas build up with 12/8-bell

Ñongo for 3 Batas

Ñongo for 3 Batas with 12/8-bell

PDF Ñongo traditional

PDF Ñongo 3 Batas

Iyesa

Iyesá is a generic rhythm for some particular orichás:

Elegguá, Obatalá, Changó, Oyá, Ochún, Yemayá.

In its structure it is very similar to the brazilian rhythm 

"Ijexâ“, which is also a generic and very popular rhythm.

Tutorilas for Iyesa:

Iyesa for 3 Batas build up

Iyesa for 3 Batas

PDF ​Iyesa traditional

PDF ​Iyesa for 3 Batas

How do you transfer a Batá toque to the system of 3 Batás at the same time?

In this PDF I made a guide how to transcipt a traditional Batá rhythm for the system used here:

Are we allowed to play the Santeria rhythms as non-initiated persons?

 

This is an important and very legitimate question. Especially in the spiritual layer which Santería is (like every religion), and which is often put together with other cults under the umbrella term “Voodoo”. 

To explain it in a few words: “Voodoo” refers to a religious cult in Benin in West Africa, which was exported to Haiti through the slave trade and where this religion therefore also exists. The Voodoo cult is said to work a lot with black magic and is therefore dangerous. It is certainly true that they also work with magical practices that involve power, influence and manipulation. However, upon closer inspection, this is not something that is specific to voodoo - it occurs in many faiths, religions, sects, and cults (including Christianity). However, I think that if you are not deeply integrated into a religious/cultic energy field, the energetic influence/impact of such a field on you is limited - so you are not automatically "at the mercy of a dark force". That's my opinion, in the end you have to decide for yourself how you deal with this topic.

 

Now to the actual question. I think it's important that when we play rhythms which are dedicated to Orichás, we are aware of this. That we are also aware that Santería is a very central part of the lives of many people - it is their religion, their world view, their ethic, their belief system. And for that reason alone, this culture/religion should be viewed just as respectfully as our own or any other. If you are dealing with the music of Santería and reading this, then I assume that you do it with respect - otherwise you would not have come to this point.

 

Ritual music is ALWAYS something very special. It usually has a special power that can hardly be explained, but which can captivate you in some way. This is what happened to me with the Santería rhythms around 1987. A friend gave me a music cassette on which she had recorded music for me. On side 1 was “Guem et Zaka” – in that time a god in percussion world, who later became a dear friend for me. On the other side was “Bembé” by Milton Cardona. This is one of the most beautiful recordings of Santeria music to date. I didn't know what kind of music it was (I thought it was African, which is true in origin), where it exactly came from, I had never heard a drum sound like that. This sound was so different than anything else I had heard up to that point. This sound, in combination with the rhythmic energy that is so typical of the Santería toques, had an absolutely magical power in my mind (that's exactly how I felt when I first got to know the rhythms of Candomblé in a workshop of  the brazilian percussionist Dudu Tucci). In the following years I went looking for this music, I got all the recordings I could get (at that time there was almost nothing about this topic). I then meticulously transcribed these recordings and by this way I learned how the Batá system works.  So I dealt intensively with the matter and continued to feel and explore the energy of these rhythms. I got hold of batás (which was also quite challenging in Central Europe) and we worked out the rhythms (and still play them).

 

For several years I accompanied a Candomblé dance course (with Adão Cesar de Lima/BRA, and later with Roxana Jaffé/BRA).

I have a high regard and great respect for Santería and Candomblé. At the same time, I feel the power that lies in their rhythms as something higher (a sort of meta-layer) - something that I, as a Central European, can maybe feel just as much as someone from Salvador de Bahia. The cultures of the world are connected by archetypes, by natural elements, etc. These play a central role in Santería and Candomblé (e.g. Oyá is the goddess of the wind, Changó of fire, Odudúwá of the earth, etc.). I perceive the energy that arises when I play ritual rhythms as something sacred – for me it is a ritual, a prayer. In this respect, it differs fundamentally from other music styles such as Salsa music (that is not a judgment! I love Salsa!). And I try, when I play this music, to do so with a very grateful, serving and humble attitude - aware of where it comes from and aware of the power it has.

In this respect, I have decided for myself that it is okay if I play and teach these rhythms (and thus pass on this experience to other people).

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