Although modern musical instruments like the piano, guitar, trumpet amongst others are fast taking over the musical landscape across Africa, the place of the Yoruba ‘gangan’ or talking drum, as it is more generically known, and its generation of devoted players in music and entertainment can never be downplayed. Daniel Adeleye attempts an unraveling of the mystery of the gangan drum and indeed the gangan drummers.
HE’S about 45 years old, fair complexioned and clad in white singlet underwear over a crisp cotton trousers. On this mild sunny afternoon, he is repairing a small damaged talking drum known in local parlance as gangan and literally seems lost in his world. It takes nearly an eternity for him to mutter a reply of ‘welcome’ albeit in a somewhat sonorous voice; even as he immediately returns his attention to the job at hand.
One could easily tell that this was one of those busy afternoons. But finally, he lifted his head, looked this reporter’s way and indicated his readiness to give an audience.
His name is Monsuru Abogunloko Ayanyemi, a gangan drummer with vast skills at repairing damaged drums. Settling properly on his seat, Ayanyemi spoke of drumming as a beautiful profession, which uniqueness can never be underrated, especially among the Yoruba nation of South-West Nigeria.
Gangan in the genesis
According to him, talking drum is one of the oldest instruments in West Africa, which origin could be traced to the old Oyo Empire, during the inauguration of the first Alaafin of Oyo. “Drumming is a beautiful profession in the society, and the talking drum otherwise known as gangan is a musical instrument that the Yoruba people of South West Nigeria cannot do without at ceremonial functions.”
He explained that in the past, the gangan drum was a very important instrument for waking up Yoruba Obas (kings) early in the morning; as well as singing their praises and announcing their arrival and that of important dignitaries.
In addition, he said: “When a king passed on in the past, it’s the gangan drum that they would use in breaking the news to the people. And if a new king was to be coronated, it’s the same gangan that they used in passing the information across to the villagers. A gangan drummer communicates through the phrases and pause, which can travel upwards of four to five miles. This process may take eight times longer than communicating a normal sentence but effective in telling neighbouring villages of possible attacks or ceremonies.
“Despite civilisation, gangan drum is still waxing stronger in our society. Even in our current democratic dispensation, our politicians absolutely adore talking drums in their ceremonies.”
The gangan drum
The gangan drum is an hourglass-shaped drum, which pitch can be regulated to mimic and prosody human speech. It has two drum heads connected by leather tension cords, which the Yoruba popularly call ‘osan-ilu’, which allows the player to modulate the pitch of the drum by squeezing the cords between his arms and body. There are various sizes of hourglass talking drum, such as Iya-ilu, Aguda, Gudugudu, Omele, Bata and so on, with the dimensions of the drum differing between ethnic groups but all following the same template.
On why this is so, Ayanyemi explained that “In Yoruba land, we have a very rich cultural heritage. Just as we have Oro, so do we have Egungun, Oya, Sango, Obatala etc. If we want to play for Sango worshippers, iya-ilu is very important. It will take the lead before gudugudu and bata drums will follow. If we’re also playing for Egungun, iya-ilu plays the leading role, followed by omele and gudugudu. They must be played accordingly in a way that one will not disturb the other. Iya-ilu plays leading roles in virtually all Yoruba festivals and celebrations before the smaller drums follow.
“In most Yoruba communities, June/July is the period egungun festival is usually celebrated. There is a way we regulate the drums that will tell people that this is egungun festival. Playing drums for egungun festival is usually done with high speed, as if there is a war; while playing for Oro festival is carried out at a low rhythm. Also if we want to play for Christians and Muslims during their festivals, there is a technique. Its pitch can be regulated to mimic and prosody the desired language.”
History of gangan drummers
Ayangalu is believed to be the first Yoruba drummer. He is also believed to be the spirit or muse that inspires drummers. The word ‘Ayan’ means drummer. This is why some Yoruba families with long histories of playing the Yoruba drums are often easy to recognise by the prefix ‘Ayan;’ such Ayangbade, Ayantunde, Ayanwale and so on.
But does the fact that one is from an ‘Ayan’ family inevitably confer on him the profession of drumming? Couldn’t our host, Ayanyemi have opted for a more modern profession? This reporter asked.
His reply: “I was born into Ayan family from Ilero in Kajola Local Government Area of Oyo State. I grew up to behold my father as a drummer, although he was also a peasant farmer. But in those days, drummers didn’t do long distance farming; they wanted to be close to home enough, so they could hear the drum-beats, when there was an occurrence and they could quickly rush back home. When I was a little boy growing up, I was given the omele (one of the drums) to start with. After I had shown enough dexterity and ability to control it, I was allowed to carry the gudugudu and from there I graduated to carrying the aguda, which is next to iya-ilu until I became an expert.
“When I came to Lagos many years ago, I discovered that drumming is one of the noble professions here in the centre of excellence that can take one to any event, no matter how big the ceremony; so I chose drumming over my initial ambition of becoming a plumber. As an individual, you may not be able to enter certain gathering or event because you’re not invited, but because we are gangan drummers, we would be allowed in and we’d play for them and make them happy. Yoruba people give much respect to gangan drums. As a result, there is no place, gathering or event that I cannot go to entertain people and make them happy. Even though I had knowledge of drum-making before leaving the village, I discovered that I needed more knowledge and skill in that regard, so I went to seek more in that regard, not minding that I came from Ayan family.”
Asked what kind of wood is used in making the gangan drum, Ayanyemi said, “A talking drum traditionally is carved from tree trunks like Igi-omo, tick or manila woods and molded into an hourglass shape. The drum head usually has a membrane that is made out of dried animal skin like lamb and goat skin. It must be a light skin sourced from about a month old to three months old lamb or goat. The skin must be light, so that it can give us the desired sound and tone.”
When asked how the skin of an animal of that age is sourced, and whether they buy it, Ayanyemi chuckled and said “No, we don’t buy young goats. Just as we are doing this work, there are other people who specialise in supplying us with the skin. They travel to the far north to bring the skins. The challenge that we face here is that out of a hundred skins we buy, we may not get more than 35 or 45 that are light enough to make gangan drums.”
In his own reaction, an America based Nigerian Accountant, Otunba Ayan Kolawole said when it came to his turn to assume the full responsibility as a Drumming Professional, he refused because he desired to further his education but with a promise to his family that he would allow the family heritage to thrive under his watch.
The Ekiti born American drummer, said though he didn't grow to see his grandfather who is a drummer, late Chief Jimoh Aborisade (Obaloro Pupa) as a Practicing Master Drummer, but he loves drumming.
According to him, "I have drummed, given lectures to many groups and institutional settings in America for enjoyments and educational benefits of Yoruba Dundun Musical Artistry. To God be the glory. I'm fulfilling my promise to my forebears.
"By the grace of God, I will continue to do whatever possible to promote and preserve this Family Heritage of mine. I'm one of the third generation members of Idile Onilu at Iloro Compound, Ikun-Amure Ekiti.
"My Father, late Alfa Kolawole Aborisade, was an extremely proficient Master Talking Drummer. He went and spent 3 years at Ila Orangun, Osun State for Talking Drumming Trainings in all its aspects of Artistry. He was known for his mastery of
"Though none of my Nigerian-American Kids are adept at Talking Drumming, but they're enlightened and recognized that aspect of their grand family's heritage with Ayan... as part of their names. I'm happy.
As Yoruba would posit, "Odo to ba gbagbe orisun e, kiakia lo ma gbe!"
"What's your Family Heritage to showcase...with Pride?" he queried
Is there a future for the profession?
How profitable and futuristic is the profession, going by the fact that modern musical instruments are taking over and seemingly displacing the natural ways of making musical sounds?
Ayanyemi has this to say: “We make money on a daily basis, though I don’t go out every day to play drum. People come to buy drums that I produced. There are some who bring damaged ones for repair. Christians and Muslims are now using talking drums for their events, unlike then when it was only traditional believers that used gangan drums. So, drumming as a profession has a brighter future, no matter the civilization.”
Corroborating Ayanyemi’s stance on the future prospects of gangan drumming as a profession, the general secretary of African Drum Producers Association of Nigeria, ADPAN, Lagos State chapter, Hamzat Jimoh Ayanfemi, said there are more silver linings ahead for the profession in this modern world than in the past. “It’s when civilisation came that gangan drummers began to play in churches and mosques. In those days, if drummers were in processions playing drums, they would stop their drums when they get to churches or mosques. But today talking drums play important roles during church services; likewise Muslims don’t underrate it in their events. In the past, apart from traditional believers, the only time a talking drum was relevant was during funerals or weddings. Today, Juju and Fuji musicians don’t joke with talking drums”.
Although both Ayanyemi and Ayanfemi claimed that drumming makes drummers renown and gives them pass to many beautiful gatherings and places; still, one cannot discountenance the challenges drummers face in society, where some perceive them as glorified beggars and therefore treat them with disdain at events. How do they manage this challenge? This reporter asked.
Dapo Olufade, a senior journalist with The Nation Newspapers and a descendant of the ‘Ayan’ family provides a rather interesting answer to this. He said: “Elders of traditional ayan (drummers) families already envisage this, hence they prepare their children for the hard task ahead from the day they’re born. In order that the child is steeled against all such embarrassment in the future, all things used on him on his first day on earth, including sponge, soap and even clothes are borrowed. That way, he is already immune to shame and is thus able to put up with whatever embarrassment he encounters in his profession.”
On his part, Ayanfemi berated those who regard gangan drummers as beggars. He said, “We are the real entertainers; we set the pace for the entertainment industry and we make people happy. Whatever people are doing, without drummers, the place cannot be lively; in fact, the place would be morose. But some people due to their ignorance call us beggars. Some of them say so as a result of poverty of all sorts. For instance, gangan drummers enjoy singing people’s lineal heritage, which the Yoruba call ‘oriki’ accompanied with drumming. Every genuine Yoruba man and woman enjoys it so much because it makes them feel important. But when such person is stingy or is hindered by poverty and can therefore not express appreciation in cash, they resort to calling drummers beggars.”
Ayanfemi capped up his defense by saying that “the role gangan drummers play in the society is beyond reproach.”
