Talking Drum.
A Means of
Communication in
Yoruba Land.
Written By



Ayodapo Ayansiji Oyelana
May 2010 (c) Copyright Reserved
5 or 7 Continents of the world?

There are 5 to 7 continents
depending on how you count them
Continents of the World
5 Continents
 Africa
 America
 Asia
 Australia
 Europe
7 continents of the world







Africa
Antarctica
Asia
Europe
North America
South America
Oceania
Africa has always been a continent

Some people think Africa is a nation or
country.

No, Africa is a continent with several
countries in her.
.
For example, Nigeria is a country in Africa
Nigeria

With a population of more than 113
million, Nigeria is easily the most
populated country in Africa and the
10th most populous country in the
world.
Nigeria
There are three main tribes:



Hausa
Ibo
Yoruba
Ethnic Groups
There are more than 250 minor
languages and ethnic groups under the
three main ones
Yoruba Tribe
The Yorubas occupy the western part of
Nigeria, the people in the west.
The Yorubas are very rich in cultural values
and heritage
They have unique music, dance steps and
drums like the other 2 main tribes.
Yoruba Language

Yoruba is a toner language

There are three main tones in Yoruba
language

They are
d
r
Do
m
Re
Mi
Three Main Tones

Do, Re, Mi
 Form
the basis of speech and names in
Yoruba land
 Talking
drumming also imitates after these
three main tones.
Although there are more tones in talking drum but
these three main tones are showcased for this
presentation.
Talking Drum


Talking drums are part of a family of
hourglass shaped pressure drums.
In the Yoruba language of west Africa, these
include gangan, iya-ilu,kanango,omele (all
known as dundun)
The drummer showcases the talking drum types
Gangan

These are commonly played by the
upper Yorubas of Igbominna, Ilorin and
so on. They are showcased as
“dadakúàdà”
Playing Talking Drum

The drum heads at either end of the
drum's wooden body are made from
hide, goat –skin (soft goat skin) or other
membranes which are wrapped around
a wooden hoop.
Playing Talking Drum

Leather cords or thongs (ọsán) made
from the deer skin run the length of the
drum's body and are wrapped around
both hoops; when you squeeze these
cords, the drum heads tighten,
changing the instrument's pitch
The Anatomy of a Talking Drum
Talking Drum and Spoken Language



Talking drum mimics the rhythms and
intonations of spoken language.
They can reproduce the sounds of proverbs
or praise songs.
Talking drum’s dialogue can be easily
understood by a knowledgeable Yoruba
audience.
Talking Drum Patterns and Rhythms


Talking drums can be played in various
patterns and rhythms for different cultural
activities i.e for spiritual ceremonies, rituals
and praise chanting for the Yoruba traditional
gods like Ògún, Ṣàngó, Ọ̀Ṣun etc.
There are different rhythms played for these
Yoruba deities.
Talking Drum Patterns and Rhythms

There are different patterns for
celebrations, war, naming ceremony,
burial, chieftaincy inaugurations, games
and sports, rites of passage, healing,
storytelling and initiation.
Talking Drum Family (Ensemble)

Generally the talking drum family can be
categorized into two:

Iya ilu (the mother drums/ lead drums)
Omele (the followers /back ups or
accompaniments

The Iya Ilu - The Mother Drum / Leader

This is the “commanding officer” of the
talking drum ensemble; it leads the
whole ensemble, as it talks, dictates the
pace, determines the song and gives
cues and prompts with its deep audible
sound.
The Iya Ilu - The Mother Drum / Leader

It is easily distinguishable with
“Ṣaworo” (brass rings) at both ends of
the two faces of drum forming a semicircle, jingling while the iya-ilu is being
played. Ṣaworo adds percussioning
effects to the tune of iya ilu.
The Iya Ilu - The Mother Drum / Leader

Iya ilu is typically and skillfully played
by a master talking drummer who is
highly experienced and very seasoned.
The master talking drummer must be
versatile in other accompaniments to
be able to skillfully lead a talking drum
ensemble.
Omele ( Followers / Accompaniment )
The Omele sub-group comprises of
1.
ÌṢaájú
2. Àtẹ̀lé
.
.
ÌṢaájú

Isaju (fixed high pitched dundun) Its
pitch is fixed to a high tone by tying the
tension strings. This is always smaller

The isaju literarily means "the one that
leads” (in front)
Àtẹ̀lẹ́

Atele (fixed low pitched dundun) By tying its
tension strings, its pitch is fixed to a lower
tone than the isaju.

The Atẹle means "the one that follows the
lead"

The Àtẹ̀lé is lower than the Isaju
The “Isaju” and “Atele”
 The
more you tight, the higher
the pitch
Isaju and Atele Patterns

These are same patterns played in different
time, alternatingly i.e.





Mi – mi
Re- re
Mi – mi
Re- re
-high pitch
(low pitch)
(high pitch)
(low pitch)
Mi-mi / re-re /mi - mi / re-re
Gúdúgúdú/Ọmọle

Depending on the size of the talking drum
ensemble in Yoruba land, gudugudu or
ọmọle is one of the main members of the
ensemble. Ọmọle is a little kettle drum that
combines the rhythms of both isaju and
atẹle. It brings a melodious harmony to the
dundun ensemble.
Gudugudu/Ọmọle Player
A
skillful ọmọle player can
substitute for both atele and isaju
players.
Big Ensemble

There could be more than one set of each
instrument described depending on the
elaborate nature of the function or
performance being used for. An example of
such a big ensemble will be the type in a
king’s palace or ceremonial occasion
Big Ensemble

There can be 5 iya ilu drummers
–
–
–
–
–
(one of them will be the main lead)
There will be just only 1 isaaju
There could be many atele
1 kẹríkẹrì
Many gúdúgúdú(s)
Sekere and Aro
These are other members of the
big ensemble family of Yoruba
talking drum
Ṣẹ̀kẹ̀rẹ̀
The Ṣẹkẹrẹ players are known as
the song leaders. They echo the
songs or chants of a lead talking
drummer.
Aro
Aro are a pair of metal gongs
that rub against each other.
Prompting/Cautionary Measure
 Talking
drummers use talking drum
to converse, instruct and caution
themselves especially during
performances.
Question Time
Can anyone play this instrument?
Answer



Yes.
As long as you are familiar with the basic
rhythmic patterns
You have a drum, and ready to take lessons,
you can play talking drum.
Let’s Play
Let’s play
The end
Thank you.
References

www.africaguide.com

Ayodapo Ayansiji Oyelana, Lead Talking Drummer,
April 2010

Chernoff, John. African Rhythm and African
Sensibilitiy: Aesthetics and Social Action in African
Musical Idioms. Chicago: University of Chicago
Press, 1979
References

Gbeminiyi Akintunde, Music Department, Obafemi
Awolwowo University, April, 2010

Jonathan Ayanwale Murray, Multicultural
Percussionist/Drummer, FunDrum Rhythm Circles,
USA

http://Kanyinsola.com

www.lagbaja.com
References Cont.:

Locke, David. Drum Damba: Talking Drum Lessons.
Crown Point, Ind: White Cliffs Media, 1990.

http://www.si.umich.edu/chico/instrument/pages/tlkdr
um_gnrl.html

Waterman, Christopher A. Juju: A Social History and
Ethnography of an African Music. Chicago:
University of Chicago Press, 1990.