Drummers

NEGOTIATING THE NEXUS IN THE TEACHING OF NIGERIAN YORB BT HISTORY AND CULTURE TO THE DIASPORA AND AFRICABY

JELEEL O. OJUADE

PERFORMING ARTS DEPARTMENT,

FACULTY OF ARTS,

UNIVERSITY OF ILORIN, ILORIN,

KWARA STATE,

NIGERIA.

Tel: +2348035531901

E-mail: jeleelo@yahoo.co.uk,

jojuade@unilorin.edu.ngPaper presented at the International Colloquim: Teaching of the History and Culture of Africa and the Diaspora, in Brasilia, Brazil, 9-15 November, 2009.

NEGOTIATING THE NEXUS IN THE TEACHING OF NIGERIAN YORB BT HISTORY AND CULTURE TO THE DIASPORA AND AFRICA.By

Jeleel Olasunkanmi, OJUADE

Performing Arts Department,

University of Ilorin, Kwara State, Nigeia.

ABSTRACT

Bata in performance is an important aspect of Yoruba culture. The ecology of the Yoruba is one that is favourable to human settlement and development whether such movement is from rural to urban or urban to rural. It has been observed that the Yoruba comprises of several clans which are bound together by language, traditions, and religious beliefs and practices (Idowu, 1962:4), which questions the history of their origin. This paper therefore examines the nexus often created in the teaching of Bata history and culture within Africa and to the Diaspora, and attempts an explanation of the means by which such conflicts/crisis could be resolved. In addition to the application of historical analysis, descriptive methodology and participant observer approach, the paper relies extensively on the researchers personal experiences in the practical instructions/teaching of Bata dance culture of the Yoruba to the enthusiasts/learners-to-be at the Johannes Gutenberg University, Mainz, Germany (2007) and at the African Studies Institute, University of Georgia, Athens, U.S.A. (2008). The paper finds out that the Yoruba history and culture, especially relating to the arts of Bata are being misconstrued and misapplied occasionally. Based on its findings, it recommends the teaching the trainers approach in order to give authenticity and truth on Yoruba history and culture to the Diaspora and African audiences as this will facilitate a concise documentation. Introduction

Dance is regarded as an important aspect of any culture. It is a very strong device for identifying the culture of a people. Kaeppler asserts that an adequate description of a culture should place the same emphasis on dance as that given it by the members of that society (1967:iii). It is thus notable that in traditional African culture, dance is life. It gives meaning to virtually all daily activities that human beings are involved in. It is an integral aspect of their life span; coming into this world, living in this world, and the consequent exit of humans from this world. This is succinctly captured by Ojuades (2004) in his description of dance situations in Nigeria:Thus, before a child is brought into this world, the mother feels or experiences internal movement of the yet-to-be-developed baby, therefore, the babys arrival into this world elucidates dancing activities of joyful movement (238).

Bt, which forms a part of this dancing culture, belongs exclusively to the Yoruba. It is a difficult, calculative, energy-sapping, indigenous Yoruba dance, which in the remote past, is associated exclusively with the worship of different deities especially Sng the Yorb god of thunder and lightening.

In the African societies, participation in music/dance may be a voluntary activity or an obligation by ones membership of a social group (Nketia, 1975:35). Public performance is required on social occasions, where members of a group or a community assemble for the purpose of leisure, recreation, performance of a rite, ceremony, festival or any collective activity.

The study, on which this paper is based, seeks to examine the connections embedded in the teachings of Yorb Bt culture (music and dance) to the Diaspora and Africa. Despite frequent changes in form, style and technique of Bata in performance, there are strong evidences of its continuity as an art.

A considerable number of questions in this regard prove relevant. How do we describe the mysteries that surrounds Bt dance? What is the instrument that produces rhythm for its dance? How can a novice acquire the skills of Yorb Bt dance? Are there connections between the Nigerian Yorb Bt history and culture and that of the Diaspora? In addition to answering these questions, this paper seeks to project the significant role of Bt culture in Yorbland, and to ably re-emphasise the relevance of history for a concise documentation.

The methods of field investigation used are participant observer approach and series of interviews with professional Bt dancers and practitioners aimed at obtaining accurate data on Bt. Interviews were conducted with Alhaji Lamidi Ayankunle, leader of Ayanagalu International Dancers from Erin-Osun, Osun State; Ayankunle Ayanlade from Oyo town in Oyo State; and Alhaji Fatai Ojuade, leader of Ojuade and his International Dancers from Ifetedo, Osun State (all in Nigeria). The interviews and other relevant sources provide authentic information for this work. Origin of Bt (Mythological and Historical)

Evidence of research on Yorb origin revealed that there are many propounded theories and stories surrounding it. In recognition of this fact, Idowu (1962:4) observed that the Yoruba comprise of several clans which are bound together by language, traditions, and religious beliefs and practices. He states further that the question of their origin is still a debatable subject, since we do not yet possess adequate materials out of which we can build up the history of their beginnings. These stories relating to origin are fabricated and described in books written by scholars such as Biobaku (1971), Johnson (1921) and Omosade (1979), based on individual sources and retentive memory of events derived from folktales; mythologies of creation, fables and moral stories.

The above reiterate the fact as noted by Johnson (1956:3) that the origin of the Yorb nation is shrouded in obscurity. As there are no written records of the ancient past of the people, all that has been preserved of their myths, philosophy, culture involving dance and music, has come down to us by words of mouth from generation to generation. However, our study on the teaching of Nigerian Yoruba Bata history and culture to the Diaspora will rely heavily on available document and oral evidences.

Bt is a music culture that extends beyond the phenomenon of dance. However, Yorb oral traditions confined the emergence of Bt dance to religious rituals, serving as accompaniments to Egungun (Yorb word meaning masquerade) and Sng (Yorb god of thunder) during their life time as it will be revealed under this segment.

Ogunba and Irele (1978) claimed that Sng was an ancestor, deified and worshipped by the people. Bt was used to accompany Sng and Egungun who were both relations and inseparable.

Baderinwa Abefe Oladosu (in an interview) explained that Sng, who was referred to as Oba k so was once a traditional king in Old Oyo Ajaka. During his reign, Timi and Gbonka were his warriors. He noted that Sng and Egungun were friends, but Egungun was older. Interestingly, Bt music accompanied both of them on social occasions. After the death of Egungun, Bt as an accompaniment became solely associated with Sng. Later, Sng ascended to heaven to avoid an impending humiliation from his rebellious warriors. Gbonka plotted to overthrow and annihilate him. On his final journey, Sng summoned the Bt drummer, who accompanied him to the point of demise.

However, Gbadamosi Adebisis version differs. He claimed that it was one ace-drummer known as Saate who made an innovation in the musical instruments used in Bt dance performance. It is also him that we owe the information on Bt Koto (an original form of Bt instrument, which consisted of a set of calabashes, each covered with animal membrane and each having a cloth strap by which it was hung around the drummers neck with the drum resting in front of him. It was beaten with one hand and a stick) Sango was a beautiful dancer, and Saate an expert drummer.

Their acquaintance blossomed into a beautiful relationship and interdependence. They always performed together at festivals and other public ceremonies so much so that people came to associate them with each other and always looked out for their joint performance.

However, as the oral tradition has it, Sng and Saate fell out over the sharing of some gifts obtained at a performance. Saate felt he had been cheated and withdrew his services. At first, Sng thought he could go it alone and began to dance without drums. He was shocked when people began to run away from him, taking him for a madman; Sng has gone mad! They said. It was not long before he sent his wife, Oya, to make peace between him and his friend and drummer, Saate. Truly they say a lovers quarrel is but the renewal of love. So much sweeter and stronger did Sng and Saates friendship became that it was said that whenever they were eating together (usually from the same bowl) Sng would say;

wo onbt mi mran

T mo b ti r yn re

Mo ti m p k ni.

(My Bt drummer, pick a piece of meat.

When I behold your softened heart

I know it is a lesson)

It was obvious that he (Sng) discovered that it was Saates drums that added glamour to his dancing.

So closely associated did Sng become with Bt music that later on after his deification his adherents claimed, whenever they heard the clap of thunder, that it was Omele akos sound that Saate was drumming for Sngs delight and Sng was dancing up there, by the flashes of lightning. So, not even death could separate Sng from his Bt music.

Therefore, Bt served as a crowd puller and a special language to people at this particular time. One of the popular drum sounds like this:

Oba k so

dd fi d omo lr

Eruku gbgb l gb le gbogbo lkr ld

n l e b lhn

n l ar iwj

A sgiri, o lgiri

O lagiri k k k

Kmobnrin b hn

(The king did not hang

He does not intentionally cover up a child

But was influenced by the whirwind

Every ground surrounding the stream become marshy

As he is being pursued from the rear

He also pursues those in front

He who cracks and splits the wall

He who forcefully splits the wall open

And thrusts two hundred thunder cells into it).

Saates mastery of Bt is unquantifiable sometimes be used his drums to warn people of Sngs magical power and to praise him due to his ability to move his body accordingly too, such as:

feni t kogl kol

feni s n se

Ll ko l s

L l ko lu Sng

A feni t Sng pa.

(Its only someone who has been bedeviled

Its only someone who has been possessed by Esu

That will attack Esu

That will attack Sng, only he who wants to be killed)

Saate reported that Sng loved Bt dearly, so much so that if he was eating his best food, and the sound of Bt music is heard, he would abandon the food and prefer to dance. Of Sngs character, Saate illustrates with drums as follows:

Ar l le s

s t Sng le n

Ar l le s

(He can only run

That deity that Sng cannot destroy

He can only run.)

Meanwhile, each time Sng went on a dancing tour, Saate would keep warning and informing people where to meet them and see Sng in action. For instance; Sng d e fi enu m enu

r oj para m

In oj la n lo

r oj para mo

Oj oj la n lo

Para m para m, para m.

(Sng is here!

Let everyone keep mute!

Market men and women take cover

We are advancing to the market place

Market men and women take cover

We are proceeding to the centre of the market

Hide yourself, hide yourself, hide yourself!!!)

On his own account, Bode Osanyin (in an interview in 1996) posited that the foundation of Bt in Nigeria is more of mythological and even religious than factual history. He believes that, Bt is attributed to Sng. It is one of those music forms dedicated to the worship of certain gods or Orishas. Bt is dedicated entirely to Sng, the god of thunder and lightning. Those who dance Bt try to emulate his personality by using their feet, hands and shoulders. The sheer energy of Bt dance, its flashes and dashes reflects the thundering, rattling and piercing sounds of Bt drums in performance.

Anthony King (1961:1-4) believes that variety of dialects among the Yorb people is a factor for the versions of traditional music and songs in use. He says that it is impossible to give an exact history of the development of the different Yorb drum families. However, one of the legends states that Ks drums were introduced into Yorb music at the time of the founding of Ife, having been imported from the North. He reiterates that Bt is 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 Sngs prestige during his reign at old Oyo (Oyo Ile), and

(b) to terrify his opponents during his reign.

On his own part, Alhaji Fatai Ojuade (in an interview in 1996) explained that Sng in his life time was a warrior and any time he wanted to go to war, he liked dancing to fast music in preparation for war. It was as if Bt rhythms prepares him for war. He revealed that Sng 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 Bt that satisfied his demand in the end, with Omele Ako (another drum type) playing the lead role. He was highly moved and danced to his satisfaction. That was how he accepted Bt as his accompaniment to date, for it suits his fiery and tempestuous nature.

Lamidi Ayankunle (2003) in his own version reiterated the fact that the early practitioners of Bt drumming started with Bt Igba, that is Bt Koto. It has only one face covered with animal skin, and it is played with hands. Though he emphasized that it was Yangede that Sng first danced to and Sng equally danced to other drums before Bt. Sngs acquaintance with Bt came into being with the demise of Yangede.

Ayankunle however claimed that based on the history handed to him, it was from Agalu that drums emerged. For instance, his own family are into drumming profession, just as some other families take to Ifa worship. This belief is common in the Yorb culture, where the arrival of a baby is marked by divination of Ifa to find out its destiny. This is known as Ese n taye, which means the foot that the child takes to touch the ground.

Ayankunle Ayanlade (2003) stated that Bt 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 drum that she could lay claims to or regard as her children. He adjudged her to be a very good singer and an expert drummer.

The womans expertise came through sheer luck! She started drumming on her discovery of pawpaw tree, which she cut at both end and tied the ends with a piece of cloth attaching it to a string for easy placement on her neck.

Ayanlade explained how she (Ayan) went one day to meet Esu (the messenger god) to further enlighten her on what to do. This was because, she was not satisfied with her act of stroll drumming and dancing around the community. In furtherance of her quest, she met with an artist, who carve images out of woods to help her in making a drum to her own specifications (of how previous pawpaw tree looked like). It was carved with leather used in covering the two ends as opposed to the earlier one covered with cloth. Thus, she continued her usual practice of stroll drumming and dancing around the community putting the drum on the ground each time she was drunk. It gives people a clue that Ayan is around in the neighbourhood where the drum is found.

However, she got a boy as an apprentice who was living with her in order to console her and learn the art of Bt. Unfortunately Ayan died prematurely and wherever people see the young man, or anybody with the type of drum left behind by Ayan, they would greet him as follows;

E n l o omo yn

(How are you, Ayans son).

Ayankojo (2003) placed Bt origin farther back from Ayanlades version. He compares 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 Yoruba. He claimed that with the development and growth of Yorb culture, Bt had witnessed series of modifications, alterations in usage, adaptation and technique due to modern technology.Bt Drum Set and Skill Acquisition in Performance

The Bt drum ensemble consists of four and sometimes five drums. Functionally, each of the drum is constructed with its own structure and particular tone. The drums are:

(i) Iya Ilu The Iya Ilu translated literally into English means mother drum. As the lead drum, the Iya Ilu dictates the pace which the other drums follow. It is conical in shape and double membrane. Iya Ilu produces two different tones. The wider end produces a bass sound, while the smaller end gives a very harsh and sharp sound.

Iya Ilu Bt

The Iya Ilu of the Bt orchestra is a talking drum, and this is achieved by the drummers varying and alternating the sequence of beats on both sides of the drum. The wider membrane is played with the palm of the hand, and a leather strap known as Bilala is used with the left hand in playing the smaller membrane. The two membranes are played simultaneously to produce a tone.

The Bt is a prattler during performances. The Iya Ilu improvises against the background of repeated patterns in an ensemble. It keeps on rattling and the Omele Abo re-echoes what it says. While reciting Oriki (praise poetry) or other Yorb texts, the middle and high tones of Iya Ilu are reinforced by Omele Abo. Iya Ilu sometimes makes uncompleted statements, which Omele Abo picks up and concludes.

The Iya Ilu, being the lead drum in the Bt ensemble, introduces each piece before it is joined by the Omele (the secondary instruments).

(ii) Omele Abo The Omele Abo has a double membrane, one on each end. The membrane is either that of a pig, an antelope or a goat depending on which one is available at the time of manufacture.

Omele Abo

However, Antelope skin is considered to be the best. The skin which is about 22cm in circumference is sewn to the rim on both end and kept in position by leather straps which are used to wrap the wooden body. The drum is about 84cm in length. The other end of the drum which is smaller is about 19cm in circumference.

The Omele Abo resembles the Iya Ilu, but is smaller in size. It has a very heavy weight which makes it rather difficult to carry. In order to produce varied pitches, such as high and low, a black wax devised from a tree known as Ida is pasted centrally on the surface of the bigger membrane. The smaller end of the drum does not have a glue on it, but it is struck with a leather thong called Bilala Bt. The end with paste on it is struck by the open palm. Omele Abo is held suspended around the neck of the drummer by a strap (Agbeko).

In a performance, the sound resembles a conversation between 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 Iya Ilu are complementary, with Iya Ilu starting a statement which Omele Abo completes. For example:Iya Ilu:K snit Olrun se fn

Omele Abo: se fn onl, se flej

Iya Ilu:(There is no person that God has not provided for

Omele Abo:He provided for the owner of the house, and for the visitor).

(iii) Omele Ako: Shares common features with Omele Abo. They are both constructed from the same materials, using the same procedure of construction. The Omele Ako is however smaller in size than the Omele Abo.

Omele Ako and Kudi tied together

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. 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 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 Bt ensemble.

(iv) Kudi is the smallest of the Bt drum set. It is made of two or three small drums which are tied together with Omele Ako and beaten in turns in order to get a polyrhythmic effect.

The construction techniques, as well as materials are the same as that of Omele Ako. Like other drums, it is suspended from the neck by a cloth strap (Agbeko). 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 about 9.5cm and 6.5cm in circumference respectively. Kudi is played 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 a kind are used in which case, one is made so wet so that the pitch would be lower than the other. This is actually responsible for the sound of Kudi, which is softer than that of Omele Ako.

Interestingly, there can be additions and variations during performances. For instance, the fifth one here can be introduced, thereby increasing the number of drums. It is called Ijin. It acts as an accompaniment, and not a lead drum. There cannot be two lead drummers at a time in an ensemble. Ijin is another Iya Ilu, but echoes Iya Ilu when introduced. At times, another Kudi drum is added to Omele meji bringing it to Omele meta.

However, a complete Bt drumming performance is usually done by four drummers. That is the lead drummer, who usually works on Iya Ilu, and he is the most skilled and dictates the pace and rhythm of the performance. Next in the category is the drummer on Omele Abo, who acts as the interpreter. The third is the player of Omele meji, which are the Omele Ako and Kudi tied together. There can be a fourth player on the Ijin who supports the lead drummer when necessary.

The mastery of Bt dance needs serious attention. It can be equated with the learner of a new language that has to be familiar with all the alphabets. With continuous practice, he/she could master the art of the language.

Bt dance requires the physical frame of the human body for its interpretation in movement. It requires the totality of the human body for an aesthetically pleasing performance. The acrobatic Bt dancers teach their apprentice through imitation, that is, the teacher demonstrates and the student repeats what the teacher did. Some by-standers do watch the dancers while they are being taught and they quickly grasp the dance technique.

Meanwhile, apart from the above mentioned methods, Bt dancers-to-be or enthusiasts can acquire the art without being taught. It is inborn in such naturally talented people, which may not necessarily be from the Oje or Ayan lineage. The surest way of acquiring the skill is to first and foremost introduce the Bt drum set as earlier explained to the learner of the dance.

The student (learner) would listen attentively to the sound of each drum and would know the significant part planted by each drum in the ensemble. The next stage of the exercise is the combination of the entire drum and the ability of the student to make sense out of the combination without being confused. However, it is essential at this stage to highlight the qualities that a Bt dance trainee must possess. The person must;

(i) be able to hear very clearly

(ii) have a nimble and flexible body

(iii) be able to synchronize the rhythm of his dance with that of the drums

(iv) be patient and steadfast as a learner to enable him master the syllabus, and

(v) be able to interpret whatever the lead drummer says on the Iya Ilu.

Equally, the learner will be taught how to express himself with the gesture of the head, eyes, chest, shoulders, hands, legs, toes etc. when dancing Bt. The dancer will only be taught the commonest form of Bt known as Gbamu, but all other varying Bt dance styles will be introduced to him.Conclusion/Recommendations

The study of the Yoruba Bt history and culture is an attempt to identify what it entails in the teaching of the arts to the Diaspora. The findings shows that history relating to Yorb culture is informative and is fundamental to the subsequent teaching of the aspects of culture to the Diaspora.

Therefore, this study recommends regular or further workshops on the teaching of history and culture to the Diaspora and Africa.

It further challenges CBAAC to be a store-house and ably document African Arts and Culture in order to be able to train the trainers in the Diaspora based on the authentic documentations.

Finally, efforts should be made to further organize international festivals performances, exhibitions where Africans in the Diaspora would have direct access to instruments (drums) and necessary contact with their culture.

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