By Umi Vaughan
Batá identifies either the two-headed, hourglass-shaped drum of the Yoruba humans and the tradition and magnificence of drumming, making a song, and dancing linked to it. This ebook recounts the existence tale of Carlos Aldama, one of many masters of the batá drum, and during that tale lines the heritage of batá tradition because it traveled from Africa to Cuba after which to the U.S.. For the enslaved Yoruba, batá rhythms helped maintain the non secular and cultural practices of a people who were torn from its roots. Aldama, as dad or mum of Afro-Cuban track and as a Santería priest, keeps the hyperlink with this practice cast via his mentor Jesus Pérez (Oba Ilu), who used to be himself the relationship to the preserved oral history of the older iteration. by means of sharing his tales, Aldama and his scholar Umi Vaughan deliver to mild the recommendations and rules of batá in all its facets and record the tensions of keeping a practice among generations and worlds, outdated and new. The booklet contains infrequent pictures and entry to downloadable audio tracks.
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Additional resources for Carlos Aldama's Life in Batá: Cuba, Diaspora, and the Drum
Don’t be afraid to hit the drum hard. It’s not about mistreating the drum, but bringing out its sound, its voice. You have to really play. Esto es un ring de boxeo. ” just to mess with you. There are always guys who do those things, not necessarily to destroy you, but to play around and have fun. The jokester, the loudmouth, el hijo de puta (son of a bitch). It’s part of the everyday life of the drum. Añá goes out to rumble. ) The singer, the drummer, and the dancer are three fighting cocks! 31 Carlos C a r l os A l da m a’s L i fe i n Batá Conservation vs.
Very important. The sounds are punctuation marks. The iyá player must use punta del dedo (the fingertips) as a support for the chachá to get a bright sound. Understand? Use your chachá on the mayor as your entrance point, tu pie. To play iyá you must learn to shorten things (apocopar) in order to conserve and manage your energy. Level, speed, and strength is all up to you. If you play soft, or if you play hard I have to follow you. The batá have to find a balance among all three drums. In a ceremony I start smooth and spread out my energy, 27 Carlos C a r l os A l da m a’s L i fe i n Batá thinking always of my second wind.
You run things! It is very important to signal the beginning and the end of phrases and conversations. Very important. The sounds are punctuation marks. The iyá player must use punta del dedo (the fingertips) as a support for the chachá to get a bright sound. Understand? Use your chachá on the mayor as your entrance point, tu pie. To play iyá you must learn to shorten things (apocopar) in order to conserve and manage your energy. Level, speed, and strength is all up to you. If you play soft, or if you play hard I have to follow you.
Carlos Aldama's Life in Batá: Cuba, Diaspora, and the Drum by Umi Vaughan