LEARNING AND ACQUISITION OF NIGERIA’S YORUBA BATA MUSIC AND DANCE:
A Symbiotic Relationship
Jeleel 0. Ojuade
INTRODUCTION
Dancing, which is one of the most dynamic and popular art forms in Nigeria
serves a vital function in human society in order to achieve social cohesion or togetherness,
causing them to feel a deep sense of communion with each other.
In Nigeria, dance is popular, widespread and may be practiced by all, regardless of
age/sex and social status. The social and cultural occasions at which these dances are
performed have to do with individual or group celebrations. For example, most rite of
passage dances deal with individuals who move from one status of life to another. It may be
accompanied by friends and relation. Also, at Naming ceremonies’ coronation, festivals, feasts,
communal purification and cleansing, title takings etc. Thus, Strine, Long and Hopkins
propounded that performances is a contested concept, "which indicates that its existence is
bound up in disagreement about what it is, and that disagreement over its essence is itself part
of the essence".1 In other words, performance has no precisely agreed upon definition. It is
conceived relating to Nigeria as a primary site for the production of knowledge, where
philosophy is enacted and a means by which people reflect on their current conditions, divine
or re-invent themselves and their social world. It will suffice then to say that the nature of
dance in Nigeria considering the ethnic configuration belongs largely to the category of ethnic
dance, which is popularly known as traditional dance (where Bata dance - the focus of our
study, belong).
Dance forms could also be classified and analyzed in varying categories -those that
survived and thrived within the communities (traditional) that are raw, those making waves in
the academic environment (modern oriented) and the prototype of the western world that is
in vogue now - which is the medley of both traditional and modern, as embraced by our
youth today. Considering the above, dance performance may be regarded as an artistic
expression predicated on movement; it has also been aptly described as a dramatic
phenomenon induced by a psychological state.2 However, it has been observed that the
Nigerian people, and other people of Africa, had hitherto been subjected to slavery and
colonialism by the so called superpowers of the Northern hemisphere before the new dawn of
independence. Thus, our general psychological state, especially as concerning aspects of our
culture has been distorted.
However, our various ethnic dances could be recognized functionally within a
homogenous society as religious ritual, as an expression of social organization, and as a recreative process. Religious or ritual, which is one of the major sources of dance in Nigeria,
regulates the relationship between the members of the society and the supernatural powers
in which there is strong believe that they are in control of human activities. Such could be
exemplified in the famous Osun Osogbo festival dance, Olojo festival dance in Ile-Ife, Sango
(god of thunder and lightning) worship, Obatala worship, Egungun (masquerade) festival dance
etc. It is a central element in a ceremony or festival which is an act of worship for the
members of a particular religious cult. The dance is usually performed by the initiates and may
include the leading members of the cult.
Social dances on the other hand change with time, based on the creative ability of the
various dance artists. In its function as an expression of social organization, dance safeguards
the traditionally established social and political hierarchy and equally emphasise the standard
of behaviour and instructs on moral within the society. Such examples are dances that are purely
restricted to the royal personalities, elder dances and age grade dances. It is often performed by
groups or teams of dancers, which clearly states their status in the enabling society. It may be a part
of a festival performance or simply for entertainment.
Moreover, re-creative process dance are informally a free for all affair to the members of a
particular community. It could be an expression of talent or display of expertise. The dance gives
room for improvisation, while such dancers are usually found at various relaxation centers and
social functions, or in their private homes and at times on disco floors of hotels in the urban
centers.
With Nigeria having over three hundred (300) ethnic groups, there are large varieties of
ethnic dances. This is because dance reflects the socio-political, religious, economic, philosophical
and art/aesthetic life/ways of a people. Traditional dance formed a major part of society's religious,
social, ancestral and existential reality.
In African societies, dance serve as a major aspect of their modes of expression. Dance
was used to highlight the kinetic logic, as well as to portray the cultural interpretations of the
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history and reality of the people from which it came. Dance in this case was used as a ritual tool for
communicating with the ancestral spirits. It was central to man's existence, in which dance
found expressions and meaning to the conflict between the psychological state of mind and the
physical environment.
Bata Music and Dance: An Analysis
Anthony King believes that variety of dialects among the Yoruba is a factor for
versions of traditional music and songs in use. He stated that it is impossible to give an 3exact
history of the development of the different Yoruba drum families, while so many and varied are
the legends thereon. One of the legends states that "Koso drums were introduced into Yoruba
music at the time of the founding of Ife, having been imported from the North". He reiterates that
Bata drum are said to have been introduced by Sango, and may have been devised for either one or
both of two possible reasons below, which are;
(a)
To increase Sango's prestige during his reign at old Oyo (Oyo ile), and
(b)
To terrify his opponents during his reign.
On his own part, Ojuade explained that Sango in his life time, was a warrior, and any time he
wanted to go to war, he liked dancing to rigorous music in preparation for war. It was as if the
Bata rhythms put him in tune for war. He revealed that Sango used to call for a drum (music) that
could stimulate him and suit his purpose. At the initial Stage, Gangan (hour-glass drum) was
brought for him to dance to, but he rejected it, for it was too slow. Also, Dundun was brought,
but failed the test too. It was only Bata that satisfied his demand in the end, with Omele ako
playing the lead role. He was highly moved and danced to his satisfaction. That was how he
accepted Bata as his accompaniment to date, for it suited with his fiery and tempestuous nature.4
Lamidi Ayankunle in his own version reiterate the fact that the early practitioners of
Bata drumming started with 'Bata Igba', that is Bata koto. It has only one face covered with
animal skin, and it is played with hands. Though he emphasized that it was 'Yangede' that
Sango first danced to. Sango equally danced to other drums before Bata. Sango's
acquaintance with Bata came into being with the demise of Yangede.5
He however claimed that based on the history handed over to him, it was from Agalu
that drums emerged from. For instance, his own family lineage is traceable to drumming
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profession, while others lineage takes to Ifa worship. This belief is common among the Yoruba
culture, where the arrival of a baby ignites 'finding out' from the divine one - ifa. This is called
or known as 'Ise n t'aye'. It is possible for a person not to be from 'Ayan' lineage, but Ifa
might turn such person to be one based on his destiny. If such a person gives birth to a child, he
might christened the child... Ayanwumi, Ayanwale and so on with the prefix Ayan.
According to Ayankunle Ayanlade, Bata was fabricated by a woman, whose name
was Ayan. Unfortunately for this woman, she was not blessed with children. Despite her longer
period of existence in life, it was only drums that she could lay claims of or regarded as her
children. He adjudged her to be a very good singer and an expert drummer.6
The woman’s expertise came through a sheer luck! She started drumming on her
discovery of pawpaw tree, which she cuts at both end and tied the ends with a piece of
clothes and attached a string to it for easy placement on her neck. That was what she started
drumming around the community. It became a trade mark, and anywhere she goes drumming,
people do reward her in return with money and drinks (alcohol). Atimes, she will put the drum
down at one end and sleeps off at the other end. Occasionally he claimed, she would leave the
drum on the floor and she would stroll away. When some passer-by see it, they would
remark that "this is omo Ayan on the floor". This actually was an acronym "Omo Ayan"
associated with her.
Due to insatiable nature of man, she went one day to meet Eshu (Devil) to further
enlighten her on what actually to do. This was because; she was not satisfied with her act of
stroll-drumming around the community. In furtherance of her quest, she met with an artist,
who would carve images out of wood to help her in making a drum to her own specifications
(of how the previous pawpaw tree looked like). It was carved with leather used in covering
both faces as opposed to the earlier one covered with clothes. Thus, she continued her usual
practice of stroll drumming around the community leaving the drum on the floor each time
she was drunk. It gives people clue that "Ayan is round the neighborhood that the drum is
found". That was how the appellation of 'Ayan' and 'Omo Ayan' got ascribed to both the woman
and the drum.
However, she got a boy as an apprentice who was living with her in order to console
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her and learn the art of drumming. Unfortunately not too long, Ayan died and wherever or
whenever people sees the young man, or anybody with the drum left behind by Ayan, they
would greet him as follows;
Nle o omo Ayan
Meaning:
How are you, Ayan's son
Importantly, this oral evidence tries to necessarily put on record that it wasn't Ayan
(the woman) that gave birth to the young man, but he was just an apprentice to her. Ayan has
no child during her life-time. He affirmed that "that was how we come about the title 'Ayan'
as it is being called today by all. The drums are not being referred to as 'Ayan', but the
woman who is the originator or improvises or the pioneer of the drum that is referred to as
'Ayan'”.
Meanwhile, Ayankojo placed Bata origin within the historical perspectives which dated
several years back. Comparing the history 'that connects the Greek tradition and the drums that
they make use of in theatrical performances, with those of'Arabs especially the one relating
to Lamurudu on the origin of the Yorubas as earlier on narrated, we will discover that
the channel of communication (drumming) in the middle East is similar to Bata. Therefore,
Bata has been in existence from the time immemorial. In other words, for an adequate
historical origin of Bata, there is no gain saying that Bata need be placed within the history
of the Yoruba origin but with various modifications due to modern technology/civilization.
However, he emphasized the fact that those who have conducted research or embarked
on a study on Bata did not go into details. Such efforts have been on the surface or peripheral
levels. Bata he claimed, has been since the formation of the Yoruba bloc but had witnessed
series of modifications, alterations in usage, adaptation in technique, in order to suit the
situation of which Bata found itself in application. It was the advent of the Europeans and
foreigners that brought 'changes' into Bata applications. For instance, the Eyo festival and
others in that category are the outcome of the 'changes'. Then, it was purely Egungun or Sango
festival. It is a known fact that there is nobody that can praise, thrill or stimulate Sango or
Olukoso than through the medium of Bata. Though Dundun ensemble tried or made an effort,
but couldn't succeed. It was only Bata that passed the acid test, and that is why Sango dances to
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it. It simply exhibit the character of Sango through its harsh, shrill and staccato nature resulting
in force during interpretations.
Bata Drum Ensemble
Bata music culture is one of the popular music/dance in Nigeria that may be performed
on any occasion, feasts, festivals social, religious, political, ceremonies and rites. In its
application, the actual music that may be performed in Bata ensemble depends on the social
event and those involved in it. Thus, it is appropriate to organize the music/dance in relation to
the different phases of community life or in terms of the needs of special situations.
Bata drums, which the Yoruba call Ilu Bata, belongs to the membranophone
group. Bata belongs to the class of drums that assembles people together. In fact, placing
Bata side-by-side with other drums like the Yoruba Dundun (the hour-glass drum) in
performance, it is Bata that will attract or pull the larger number of crowd together. This is
simply because of its sound (shrill and sometimes harsh). It therefore belongs to the elderly
category in the grouping of drums among the Yorubas.
The Bata drums were originally employed for entertainments, but exclusively in
the worship of Sango. However, owing to its secularization and patronage by the people, it now
features in other contexts such as political campaigns and rallies, house warming, birth
and naming ceremonies, installations, coronations, death, funeral and burial of kings, chiefs or
any other persons of rank. Bata is equally applicable in the worship of other Yoruba deities such
as Oya, Ogun, Osun (as illustrated under chapter two of this study) and so on. Its music
permeates every level of traditional life be it social, religious or ceremonial, showing that
Bata is an integral and functional aspect of celebrations. In other to further clarify Bata
music ensemble, it is necessary to itemize and discuss the Bata drum ensemble.
The Bata drum ensemble consist of four, and sometimes five, drums. Functionally,
each of the drums is constructed with its own structure and particular tone.
The drums are;
(i)
The lya ilu- the lead drum,
(ii)
OmeleAbo- Female drum;
(iii)
Omele meji- twin drums, which is again sub-divided into two namely;
(a)
Omele Ako- male twin drum, and
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(b)
(iv)
Kudi- Female twin drum, and
' Ijin - an accompaniment to the lead drum (lya Ilu). All the drums in this ensemble are
directed by the lya-Ilu, which is the lead drum, in performance.
IYA ILU
The IYA ILU, translated
literary into English language
means 'mother drum'. As the
lead drum, the lya Ilu dictates
the pace which the other drums
follow. It is conical in shape and
double membrained. lya Ilu with
two sides produces two different
tones. The wider end produces a
bass sound, while the smaller end gives a very harsh and sharper sound. It'is a melodic as well
as a rhythmic instrument.
IYA ILU OF BATA DRUM FAMILY
The lya ilu of the Bata orchestra is a talking drum, and this is achieved by the drummer
varying and alternating the sequence of beats on both sides of the drum. The two membranes
are played simultaneously to produce a tone, the wider membrane is played with the palm of
the hand, and a leather strap referred to as Bilala is used with the left hand in playing the
smaller membrane. The Bata is a prattler during performances. The lya Ilu improvises against
the background of repeated patterns in an ensemble. It keeps on rattling and the Omele Abo
keeps on repeating what it says. While reciting Oriki (praise poetry) or other Yoruba texts,
the middle and high tones of lya Ilu are reinforced by Omele Abo. lya Ilu sometimes makes
uncompleted statements, which Omele Abo picks up, repeats and concludes.
The lya Ilu being the lead drum in the Bata ensemble, introduces each piece before
it is joined by the Omele (the secondary instruments).
OMELE ABO
The Omele Abo has a double membrane, one on each side with animal skin. The
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membrane is either that of a pig, Antelope or a Goat depending on which one is available at
the time of manufacture.
However, Antelope skin is considered to be the best. The skin which is about 22cm
in circumference is sewn to the rim on both sides and kept in position by leather straps
which are used to wrap the wooden body. The Omele Abo is about 84cm in length. The other
end of the drum which is smaller is about 19cm in circumference.
OMELE ABO OF BATA DRUM FAMILY
The Omele Abo resembles the lya Ilu, but is smaller in size. It has a very heavy weight
which makes it rather difficult to carry. It is carved from either Omo, Iroko or Apa. The
best of these trees is Omo, because it is more resistant to harsh weather such as excess sun or
rainfall. Drums made from this tree are therefore considered good and able to 'talk' or sound
very well. In order to produce varied pitches, such as high and low, a black glue-like substance
known as Ida, is pasted on the middle of the surface of the bigger membrane. The Ida is
about 4cm in diameter. To get high pitch, the surface of the membrane is struck and when
the area on which the glue is pasted is struck, a low tone is produced.
The other smaller end of the drum does not have a glue on it, but it is struck with a
piece of membrane called Bilala bata. The end with paste on it is struck by the open palm.
8
Omele Abo is held suspended around the neck of the drummer with strap (agbeko).
Omelet Abo plays the role of bass drum to the Omele Ako and Kudi. It is usually the last
to enter in a performance in which it is involved because it has to give the bass effect to their
sound. It also completes the sound structures played by Omele Ako, because it cannot play
very low pitches. Omelet Ako's pitch is high which the Omele Abo is capable of playing.
In a performance, the sound resembles a discussion by three people, one is a rattler,
the second a stammerer, while the third one takes his time to complete the statements of
the stammerer. Omele Abo and lya Ilu are complimentary, with lya Ilu starting a statement
which Omele Abo completes. For example:
lya Ilu:
"Ko s'eniti Olorun o se fun
Omele Abo: "O se fun onile, o se f'alejo"
OMELE AKO
The drum shares common features with Omele Abo. They are both constructed from
the same materials, using the same procedure of construction and having the same shape. The
Omele Ako is however smaller in size than the Omele Abo.
The bigger end of the membrane of Omele Ako measures about 19cm in circumference.
The drum is about 68cm in length, with the smaller end measuring about 15cm in
circumference.
9
OMELE AKO AND KUDI DRUMS TIED TOGETHER
Its playing technique is different from that of Omele Abo. The pitch which is higher is
varied with the use of the palm. To get a high pitch, the fingers are used in stricking the surface
of the membrane, while the palm is used when a low pitch is required. Omele Ako usually
enters immediately after Kudi in a performance of bata ensemble.
KUDI
Kudi is the smallest of the Bata drum set. It is made up of two or three small drums
which are tied together and beaten in turns in order to get a polyrhythmic effect.
The construction technique, as well as materials are the same as those of Omele Abo and
Omele Ako. Like other drums, it is suspended from the neck by agbeko (the cloth strap). It is
beaten together alternately.
The drums are of the same size; each of them measuring about 30cm in height, while
the big and small membrane ends measure 9.5cm and 6.5cm in circumference respectively.
Kudi played only on the bigger end of the drum. The drum is suspended with the small size
facing downwards while its bigger end faces up and it is struck with Bilala.
Kudi usually starts the performance by playing a steady rhythm before the others enter at
separate points. In most cases, two of its kind are used in which case, one is made so wet so
that they pitch would be lower than the other. This is actually responsible for the sound of
Kudi, which are softer than that of Omeie Ako, which are louder.
As earlier mentioned at the beginning that Bata drum ensemble consists of four or
five drums. Interestingly, there can be additions and variations during performances. For
instance, the fifth one here that can be introduced, thereby increasing the number of drums. It
is called Ijin. It acts as an accompaniment, and not a lead drum, as there cannot be two lead
drummers at a time in an ensemble. Ijin is another I/a Ilu, but echoes lya Ilu when
introduced. At times, another Kudidmm is added to Omele mejibringing it to Omele meta.
This is very common with Yoruba popular musicians such as Kollington Ayinla,
Ayinde Barrister, Lagbaja and some other Juju musicians. This actually helps in using
Omele drums to communicate with ease without having to go through the process of
carrying lya Ilu around.
Bata Dance: An Approach to its Teaching
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The mastery of the Bata dance needs serious attention. It can be equated to the learning
a new language, there has to be a familiarity of the alphabets. Couple with continuous exercise,
he/she then masters the art of the language. Therefore, the teaching of Bata dance definitely will
aid the would-be performer, through training, watching, rehearsing, listening attentively to
instructions.
Importantly there are various ways of teaching Bata dance. Just like the acrobatic Bata
dancers teach their apprentice through imitation or mimicry; that is the teacher demonstrates
and the student repeats what the teacher did. Some bystandes do watch the dancers while they
are being taught and quickly grasp the dance.
Meanwhile, apart from the above mentioned methods, Bata dance is acquired by
some people without being taught. It is inborn in such naturally talented people, without
necessarily being from Oje or Ayan lineage. The surest way of teaching Bata dance is first and
foremost introduce the Bata drum set to the learner of the dance.
First of all, the teacher/choreographer starts with drum and explains in detail all that
should be known about the drum and its function. After the mastery of Kudl, he proceeds
to Omele Ako, then the Omele Abo, the interpreter of the 'mother drum' - lya Ilu. After Omele
Abo comes Ijin. The work of this drum is to assist the lead drum, lya Ilu. Lastly, he moves
on to the 'mother drum' lya Ilu.
The student/learner would listen attentively to the sound of each drum and would
know the significance/part played by each drum in the ensemble. Meanwhile, the next stage of
the exercise is the combination of all the drum, and the ability of the student to make sense
out of the combination without being baffled/confused. It is essential at this stage, to explain
the qualities that a Bata dance trainee must possess. The person must be:
1.
able to hear very clearly
2.
have nimble and flexible body
3.
able to synchronize the rhythm of his dance with that of the drums
4.
patient and steadfast as a learner to enable him to master the syllabus
5.
able to interpret whatever the lead drummer says on the lya Ilu.
At the same time the learner will be taught how to express himself with the gesture
of the head, eyes, chest, shoulders, hands, legs, toes etc. when dancing to Bata. The dancer
will only be taught the commonest form of Bata known as Gbamu, but all other various Bata
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dance styles will be introduced to him.
After
this
introductory
stage,
the
teaching
will
then
proceed
into
demonstration/rehearsal. The drummer would first introduce Bata drum texts followed by the
demonstration of the teacher, followed by the repetition of the movement by the trainee. A lot
of time is consumed in it. The Bata drumbeats can be introduced to the dancers/trainees in
these drum texts:
(i)
Ara bi n ti n ko (6 times)
N ba fa pa jo, fa pa jo, fa pa jo
N ba fese jo fese jo fese jo
N ba fi gbogbo ara gbon tititititi
Pan pan titi pan pan titi pa pa pa
Da da bura, pan.
(ii)
Peji pa pepe ji pa (3 times)
Puran peji peji peji pa (3 times)
Papa jijiji papa jijiji, pa pa pa
Dada bura, pa
(iii)
Ija-fafa-ti-fafa
Fila fila te jala fila te jala
Tata gbura firururunu (spinning round)
Wo (landing beat)
(iv)
Pan pan di di pan pan di di
Pan pan di di pan pan didi (faster)
Pan pan pan n pan n pan
Furu pa.
The above Bata drum texts expression are the rudimentary ones that can be used to
teach a learner of the dance in order to really farmiliarise him/her with Bata dance.
Item 1: Ara-bi-n-ti-n-ko - The dance is the first sequence which a trainee must master
before he can move on to the second stage. It is important to note that these verses are codes
specially composed to impart the essence of the movement to the trainee. Some of the words
have no clear meaning, but are what music scholars have termed 'nonsense syllables" - intended
to facilitate the trainees comprehension of what he/she is being taught at that stage. Thus, Ara12
bi-n-ti-nko can be likened to item 1 of the Bata dance syllabus. The words are also
onomatopaeic - imitating as closely as possible the various drum beats to be
mastered at each stage.
Item 2: The next item in the syllabus is called Ija-fafa-ti-fafa. It is performed by
youth or younger dancers. It is acrobatic and athletic in nature. It can be
performed at social gatherings, or various festivals.
Item 3: Peji pa, is the third of the syllabus. It is provided for the mastery of leg
and foot movements in Bata dance by the trainee. This step enables the trainee
to adjust to fast rhythms of Bata dance because it usually starts off slow then
gathers momentum (speed) as it proceeds until it changes to a much faster
rhythm which ends with a kick or a stamp.
Conclusion/ Recommendation
In-Bata dance, the use of arms are of great importance in the expression o f the
dance. In fact, it is the totality of the human frame that is subjected to test in the
interpretation of Bata music in dance. But especially the shoulders plays a lead role in such
function. For instance, the reaction of a Bata dancer to 'eja' (break), which is played on the
'mother drum' lya Ilu with typical command of sharp, angular, jerky movement can
clearly be decoded with the use of shoulders. The other body parts such as feet and head
can also be used to accentuate Bata drum command. This drum command is present in all the
music of Bata and usually tests the dancer's understanding of the complex music of Bata.
It is our suggestion therefore that scholars and researchers, dance instructors/teachers,
theatre practitioners should undertake more studies of this viable dance form and come up with
further contributions to its knowledge. It is our believe that studies such as this will help to
produce fuller and more useful knowledge and perspective on Bata as a traditional dance form.
Equally, this study revealed the importance of apprenticeship in Bata drumming and
dancing, which was discovered to be very effective in the preservation of the originality and
uniqueness of our dances.
Notes:
1
Strine, S.M., Whitakerlong, B. and Hopkins, M.F. ‘Research in International and Performance: Trends, Issues,
Priorities’ in Speech Communication Association, (ed.) Gerald M. Philips and Julia T. Wood; Southern
Illinois University Press, Carbondale 1989, p. 183.
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2
Layiwola, D.; African Notes. Journal of the Institute of Afrian Studies, (University of Ibadan, Ibadan, Nigeria,
1991), Vol.XV Nos. 1&2, pp. 19-27
3
King, A. Yoruba Sacred Music From Ekiti; University Press, Ibadan: 1961, pp 1-4
4
Ojuade Fatai in an interview on the Bata Music and dance of the Yorubas in Okeigbo, February 2003.
5
Ayankunle Lamidi in an interview on the Practice of Bata Dance and Music of the
Department of the performing Arts, University of Ilorin, Ilorin, Nigeria on the 6 June, 2003.
6
Ayankunle Ayanlade, Personal Interview on the Art of Bata Music and dance at Oyo town in Oyo State, Nigeria,
July 2003.
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