Bata is one of the Yoruba artistic expressions practiced in these country today. Naturally, the dance has undergone a number of changes in the course of migration. Dance, as with any other cultural form, is influenced by the environment in which it is situated.
The Music and Dance of Bata is a ritual form of dance for Sango, a deity in Yoruba land in those days. It’s a communicative dance between the worshipers and the diety.
Nowadays, the dancers of Bata are found in both religious and the social functions. Gbamu, kutelu and alujo, cuts across religious functions. These dances are now performed at weddings, birthdays, naming and coronation ceremonies; unlike then, when traditionally they were strictly sacred dances.
'Eja' (break) is played on the master, drum 'Iya ilu' and the dancer reacts to it with sharp, angular, jerky movement of the shoulders; symbolised in the Ose Sango emblem which is like a double headed axe.
The feet and head are also used to compliment the beat. This drum beat is present in all the music of Bata and it tests the dancers understanding of the commands.
Three sizes of Bata exist and are seen to be collective single instrument, known also in Cuba as Ilú Aña. The largest drum, iyá, is always played by the master drummer and sets the rhythmic activity for the ensemble. The middle drum, itótele, "converses" with iyá and with it departs from the steady rhythm kept by the smallest drum, okónkolo. The iya ilu depicts the role of a mother which instructs the children.
There is always a dance-drum relationship, language development, and movement vocabulary between the dancers and the drummers.
No comments:
Post a Comment