1. A Means of Communication in Yoruba Land.
Talking Drum.
A Means of Communication in Yoruba Land.

2. Written By
Ayodapo Ayansiji Oyelana
May 2010 (c) Copyright Reserved

3. 5 or 7 Continents of the world?
There are 5 to 7 continents depending on how you count them

4. Continents of the World
Africa
America
Asia
Australia
Europe

5. 7 continents of the world
Africa
Antarctica
Asia
Europe
North America
South America
Oceania

6. 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 

7. 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.  

9. Nigeria
There are three main tribes:
Hausa
Ibo
Yoruba

10. Ethnic Groups
There are more than 250 minor languages and ethnic groups under the three main ones

11. 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.

12. Yoruba Language Yoruba is a toner language
There are three main tones in Yoruba language
They are
d r m
Do Re Mi

13. Three Main Tones Form the basis of speech and names in Yoruba land
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.

14. 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

15. Gangan
These are commonly played by the upper Yorubas of Igbominna, Ilorin and so on. They are showcased as “dadakúàdà”

16. 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.

17. 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

18. The Anatomy of a Talking Drum

19. 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.

20. 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.

21. 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.

22. 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

23. 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.

24. 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 semi-circle, jingling while the iya-ilu is being played. Ṣaworo adds percussioning effects to the tune of iya ilu.

25. 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.

26. Omele ( Followers / Accompaniment )
The Omele sub-group comprises of
ÌṢaájú
2. Àtẹ̀lé .

27. 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)

28. 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

29. The “Isaju” and “Atele”
The more you tight, the higher the pitch

30. Isaju and Atele Patterns
These are same patterns played in different time, alternatingly i.e.
Mi – mi -high pitch
Re- re (low pitch)
Mi – mi (high pitch)
Mi-mi / re-re /mi - mi / re-re

31. 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.

32. Gudugudu/Ọmọle Player
A skillful ọmọle player can substitute for both atele and isaju players.

33. 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

34. 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)

35. Sekere and Aro
These are other members of the big ensemble family of Yoruba talking drum

36. Ṣẹ̀kẹ̀rẹ̀
The Ṣẹkẹrẹ players are known as the song leaders. They echo the songs or chants of a lead talking drummer.

37. Aro are a pair of metal gongs that rub against each other.

38. Prompting/Cautionary Measure
Talking drummers use talking drum to converse, instruct and caution themselves especially during performances.

39. Question Time
Can anyone play this instrument?

40. 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.

41. Let’s Play
Let’s play

42. The end
Thank you.

43. 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

44. References
Gbeminiyi Akintunde, Music Department, Obafemi Awolwowo University, April, 2010
Jonathan Ayanwale Murray, Multicultural Percussionist/Drummer, FunDrum Rhythm Circles, USA

45. References Cont.:
Locke, David. Drum Damba: Talking Drum Lessons. Crown Point, Ind: White Cliffs Media, 1990.
Waterman, Christopher A. Juju: A Social History and Ethnography of an African Music. Chicago: University of Chicago Press, 1990.