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An essential part of Yoruba culture and religion, the Bata dance originated with the Yoruba people of Nigeria. As an outlet of connection with the many gods and spirits in the Yoruba pantheon, known as Orisha, it is important to Yoruba religion. The dance was originally performed to honor Sango (small god or deity), the god of thunder and drumming, though it also has connections to other gods through specially designed dances and rhythms.

The Bata dance is known for its furious motions and rhythmic drumming, which are thought to call upon the spirits and permit an Orisha (god) style of possession. During their performances, the dancers frequently go into a state of which is regarded a a profound spiritual communication with the god.

The Yoruba people traveled and dispersed, taking with them their religious and cultural celebrations. As a result, the Bata dance and related practices expanded to other parts of Nigeria and other Nations including Trinidad and Tobago, Brazil, Cuba and other countries. The Bata heritage has been maintained and modified in these locations, merging it with regional customs and influences.

The Bata dance has been conserved as traditional art form and modified for stage plays in many cultural and international contexts in the modern day. It continues to be lively and dynamic representation of Yoruba spirituality and tradition, demonstrating the long history and persistent development of African diasporic cultures.

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The main feature of the show is a unique set of drums known as Bata drums, which are used to accompany the Bata dance. Traditionally, these double- headed, wood- made drums have two distinct tones produced by each drum head. The most common kinds of Bata drums are listed down below:

1. Iya-ilu (Mother drum): The largest and most significant of the Bata drum. Directing the group, it establishes a rhythm and harmonic that the other drums have to follow. With its deep tone, the Iya-ilu is frequently employed to indicate rhythmic changes or to highlight particular dancing moves.

2. Itotele: This medium-sized drum plays complementary rhythms in response to the Iya-ilu. It adds depth to the sound texture and acts as a bridge between the lead drum and the smallest drum, preserving the rhythmic structure.

3. Okonkolo (baby drum): This is the tiniest and has the highest pitch in the set. The Okonkolo adds a layer of complexity too the ensemble with its repeating high-pitches rhythms that interlock with the other drum's pattern.

For the larger drums, like the Iya-ilu, a stick is used in addition to striking the drumheads with the hands when playing these drums. These drums are used to produce delicate rhythmic patterns that are intended to match the dancing steps of Bata dance. Every rhythm has the power to call forth particular Orishas, or gods, and is employed in music and dance to tell spiritual story

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Instrument used in Bata Dance ( Bata Drum)

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Instrument used in Bata Dance ( Bata Drum)

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The unique and important makeup, accessories and clothes used in Bata dance give the performance additional levels of significance and visual impact. Here's a through look at the usual clothing and cosmetic worn:

1. Robes and Costumes: Dancers usually dress in vibrant, elaborate outfits. These might include thick robes that emphasize the dance's dramatic motions.

2. Headdresses: Symbolizing a link to the spiritual world and honoring the deity Sango (small god or Yoruba deity), male dancers frequently wear decorated headdresses or beaded crowns.

3. Bells and Shells: Small bells and shells that jangle and add an audible element to the performance, harmonizing with the rhythm of the Bata drums, can be affixed to the dancer's attire

4. Beads: Waist beads, chest plates and beaded necklaces are popular. These beads have spiritual and cultural value in addition to being purely ornamental. Every color and design in the beadwork can stand for certain qualities or prayers sent to Sango (small god or Yoruba deity).

5. Body Paint: Like face paint, body paint can be utilized to cover a dancer in designs or symbols with cultural or religious significance.

6. Face Paint: To create on their faces and bodies, dancers frequently use white or vibrantly colored face paint. These patterns may have symbolic meaning, such as symbols representing religious texts or tribal affinities.

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Clothes and Accessories used in Bata Dance

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Clothes and Accessories used in Bata Dance

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How can Bata dance be used as a form of expression

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How can Bata dance be used as a form of expression

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In Yoruba culture, Bata dance has been a potent form of expression that is used for variety of purposes:

1. Religious Expression: Sango, the Yoruba god of thunder and lightning, is greatly revered in the history of Bata dance. The beats and dancing moves are thought to call forth and appease Sango, enabling dancers to go into a trance state where they can converse with the god and gain spiritual strength and understanding.

2. Communication: The dance communicates through a complex language of rhythms and motions. These could be stories about power, or the history of the Yoruba people. The dancers are able to communicate a wide range of themes and emotions since each rhythm and dance move has a distinct meaning and story attached to it.

3. Artistic and Aesthetic Expression: Bata dance is an art form that facilitated both individual and group aesthetic expression. The elaborate costumes, drum beats and coordinated motions produce a fascinating auditory and visual experience that highlights the artists' talent and creativity.

4. Social Commentary and Critique: Just like a lot of other traditional dance styles, Bata can be used for the mechanism for social commentary. The dancers can address social issues, critique politics, and consider community values by using symbolic gesture s and hidden messages.

Ultimately, the Yoruba people use Bata dance as a rich and varied means of expressing their social ideas, cultural identity, religious passion and creative ability. As such, it is an essential component of their cultural and spiritual environments

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When did it start and who popularized it?

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When did it start and who popularized it?

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One of the main ethnic groups in Southwest Nigeria, the Yoruba people, are the source of the Bata dance's traditional religious customs. Since Bata dance has been a part of Yoruba culture for generations and has developed alongside the people's social and religious customs.

Many Yoruba priests, cultural advocates, and Nigerian dancers are among those who contributed to the popularization of Bata dance. Through their national and international performances, they helped the dance beyond its indigenous origins

Since the practice was well- established by the time the Yoruba states started to develop organized societies, it most likely begun before the 14th century. The Bata dance, like many other aspects of Yoruba culture, has been shaped by historical events such as the effects of colonialism and the Yoruba people's and culture's expansion throughout the African diaspora, especially to the Americas. As a result, the dance and the music it goes with have experienced changes and modifications for various settings.

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Types of music used to perform Bata Dance

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Types of music used to perform Bata Dance

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1. Vocal Chants and Songs: Vocal chants and song are an essential part of the Bata dance, in addition to drumming. These are sung in Yoruba and are used to invoke the spiritual world, tell historical tales, and honor gods. Additionally, the lyrics could be spontaneous in response to the excitement of the crowd and the dancer's actions.

2. Other percussive Instruments: To enhance the rhythms, percussion instruments other than Bata drums may be employed. These can include agogo (a bell), claves (wooden sticks), and shekeres ( a kind of shaker fashioned from a dried gourd with beads or cowries braided into a net covering the gourd).

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Why is the dance important to people that performed it?

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Why is the dance important to people that performed it?

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For those who perform Bata dance has a great cultural and religious significance. Here are few reasons for its significance:

1. Physical and Emotional Release: Like many dance styles, Bata gives artists a physical way to be express themselves and can also be an emotional release, bringing them feelings of happiness, contentment and spiritual connection.

2. Education and Communication: Bata dance has always served as a means of community education and communication. To those who knew its symbolism and movements, the dance and music could tell stories, teach moral lessons and communicate significant messages.

3. Social functions: The dance is frequently done at major community events such as festivals, weddings, funerals and ceremonies. This makes it an essential component of social rites and celebrations celebrating major life events and changes.

In summary, the value of Bata dance to those who do it arises from its ability to preserve and express cultural and religious identity while also serving as a form for creative, emotional and interpersonal relationships.

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1. Festivals: Although not specifically related to any one holiday, Yoruba gods or significant cultural occasions are frequently honored with the performance of Bata dance. These might happen at different times of the year, based on the calendar and customs of the area.

2. Rites of Passage and Initiations: Initiations for priests or priestesses in the Yoruba religion, especially those who dedicate themselves to the service of Sango, may include the Bata dance. For practitioners, these rites of passage signal important turning points in their lives.

Although Bata dance is not associated with any one holiday, such as Christmas or Easter, it is performed at the key religious and cultural events in the Yoruba society, indicating its significance as a religious and social act.

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Is the dance associated with any ceremonies 

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Is the dance associated with any ceremonies 

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How to dance to BATA traditional  dance by the Yoruba's.. so easy&Fun!..

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RefinedNG - We will tell our stories - We are Nigeria!

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The Bata dance is a prominent traditional dance among the Yoruba people of southwestern Nigeria. It is a very entertaining performance done by professionals usually accompanied by music, songs, and chants. The dance is not just related to body movements, it is an expressive dance and rhythm relationship.

In certain accounts, the Bata dance is attributed to Sango, the god of thunder and lightning, an extraordinarily strong, powerful, and athletic deity. Prehistorically, the dance is believed to be a communication channel between Sango and his worshippers. It is therefore not surprising that the dancers try to emulate his character by using their feet, hands, and shoulders to do the dance. The gymnastic energy of the dance; its flashes and dashes complimented by the thundering, rattling, and piercing sounds of Bata drums play tribute to Sango, the flaming god.

Read Also: THE EKOMBI DANCE

In modern times, the Bata dance is performed primarily to entertain religious and secular ceremonies. The characteristics of the dance include the twisting of the waist, bent knees, flat foot, tilting of trunk, acrobatic steps, and expressive movements.

The most significant aspect of the dance is the drumming accompaniment from the Bata drums. The dance is done in synchronization with beats from the Bata drum, without the drums, the dance will be grossly incomplete. The Bata drums are three drums of different sizes that make up the collective ensemble for the performance. The largest drum, Iyá, is usually played by the master drummer and sets the rhythmic activity for the set of drums. The middle drum, Itótele, converses with iyá while the smallest drum, okónkolo keeps a steady rhythm. The Iyá Ilu depicts the role of a mother which instructs the children.

The drummers and the dancers move in complete harmonization. The harmonization ensures a dancer-drummer relationship through a shared understanding of the drumbeat's vocabulary and movement symbolism between the drummers and the dancers.

Bata dancing and drumming are a vibrant performance art of the Yoruba people, illustrating dazzling dance and percussion skills. Bata dancers and drummers are a delight to watch and listen to. See below a video.

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BATA DANCE The Bata dance is a prominent traditional dance among the Yoruba people of southwestern Nigeria. It is a very entertaining performance done by professionals usually accompanied by music, songs, and chants. The dance is not just related to body movements, it is an expressive dance and rhythm relationship.

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The drum dates back roughly 500 years, and is believed to have been introduced by a Yoruba king named Shangó el rey del tambor. Despite the previous long history, awareness of the instrument didn't spread until the 1800s slave-trade in which close to 300,000 Africans were brought to Cuba.

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The Guardian Nigeria News - Nigeria and World News

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'Bata' Dance, originating from the Yoruba people of Nigeria, holds a significant place in their cultural and spiritual practices.

This dance has been performed by various artists of different ethnic groups and religions, thereby, breaking ethnic boundaries and uniting the nation for the benefit of all.
It is a vibrant and energetic dance form that holds deep cultural and spiritual significance within the Yoruba community and has been an integral part of their rituals and ceremonies for centuries.

The dance is traditionally performed alongside the 'Bata' drums, which are believed to have supernatural powers and serve as a medium of communication with the Yoruba deities or orishas.

Over time, the dance has transcended its traditional roots and found its way into the realm of modern dance artistry, influencing and inspiring numerous Yoruba artists to incorporate this captivating dance form into their performances. These artists have recreated and modernised this dance to reflect their stories, struggles and their hopes.

Origin and Cultural Significance: 'Bata' has its roots in the Southwestern region of Nigeria, particularly, among the Yoruba people. The dance is closely associated with the worship of the orishas, the deities of the Yoruba pantheon.

According to Yoruba mythology, the 'Bata' drums were given to the Yoruba people by the orisha, Oba, who is believed to be the custodian of the drums. The drums are considered sacred, and their rhythms are believed to possess spiritual powers, capable of summoning and appeasing the orishas. Hence, worshippers in this regard have a special value for this dance.
In traditional Yoruba society, it is performed on various occasions such as festivals, coronations, weddings, funerals, and other significant cultural events. The dance serves as a medium of communication between the human and spiritual realms, allowing individuals to connect with the orishas and seek their blessings, guidance, and protection.

The rhythmic movements, intricate footwork, and expressive gestures of it convey stories, emotions, and spiritual messages, making it a unique and captivating art form.

Incorporation Into Modern Dance Artistry: In recent times, 'Bata' has evolved beyond its traditional boundaries and has found its place in the realm of modern dance artistry. Yoruba artists have embraced the fusion of tradition and modernity, incorporating 'Bata' into their performances, thereby, enriching the contemporary dance landscape and elevating their culture.

One notable Yoruba artist who has played a significant role in incorporating 'this modern dance artistry is Segun Adefila. Adefila is a renowned Nigerian choreographer and founder of the Crown Troupe of Africa, a contemporary dance theatre company based in Lagos.

He has skillfully integrated 'Bata' into his choreographic works, blending traditional African dance forms with contemporary movements and themes. Adefila's choreographies often explore social, political and cultural issues, utilising 'Bata' as a powerful medium of expression and storytelling.

Another influential Yoruba artist, who has incorporated dance into modern art form is Qudus Onikeku. Onikeku is an internationally acclaimed dancer, choreographer, and founder of the QDanceCentre in Lagos.

His works often fuse various styles, including 'Bata', with elements of contemporary dance, hip-hop, and other forms of movement. Onikeku's choreographic language bridges the gap between tradition and modernity, creating captivating performances that resonate with audiences worldwide.

The incorporation of 'Bata' into modern dance artistry goes beyond the work of individual artists. Dance companies and groups in Nigeria and beyond have also embraced this dynamic dance form.

These artists and organisations have recognised the power of 'Bata' as a cultural heritage and have taken it upon themselves to preserve and promote it through contemporary interpretations. By incorporating this art form into their performances, these artists and groups ensure that this rich tradition continues to thrive and evolve in the modern world.

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Bata... A Fusion Of Tradition, Modernity In Dance Artistry

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'Bata' Dance, originating from the Yoruba people of Nigeria, holds a significant place in their cultural and spiritual practices. This dance has been performed by various artists of different ethnic groups and religions, thereby, breaking ethnic boundaries and uniting the nation for the benefit of all.

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Moving your body back and forth to the rhythms of a Bata drum is a highly indigenous and professional skill which takes consistent and willful practice.

For years, Nigerian Bata dance have enjoyed global acceptance not just for being another source of entertainment but also because it harnesses the yoruba culture, bringing it to limelight. The music and dance of Bata is a ritual move used to appease and communicate with 'Sango', a local deity in Yoruba land often regarded as the God of lightening. Sango was the third king of the ancient Oyo Empire, established by the yoruba.

Traditionally, Bata places much emphasis on it religious origins and focuses on the praises and chant of 'Sango'. It's entertainment sector gives room for local acrobatics as part of dance. Bata drums produce the music and rhythms to Bata dances and are usually magnificent ornate drums. They consist of the lead drums, "Iya Ilu" and the backup drums called "Omele". The lead drum is often adorned with brass rattlers also known as "Saworo Ide".

A typical bata dance takes the structure of a, b, c, d, e.a - is the arrival with songs and dances, b - signifies "ijuba" which means salutation and homage, which is achieved through chants and dances. C - is the section of entertainment, it is the period when a variety of dances are performed. This section takes different forms; the ABACADA rondo form can be identifiable as well as the tenancy form and various other forms.

Bata dance epitomizess a rich cultural heritage of the Yoruba people. It is an important aspect of most Yoruba festivals. It polycentric in nature, makes it very different from other Nigerian dances. It dancers" body is usually segmented into different areas of movement with each part dedicated to different movements. This dance is difficult to master and notate, requiring continuous and skill practice.

Despite individual nuances and improvisations, there are basic standards of the bata dance. This essentially differentiates the virtuoso from the ordinary dancer.

The steps and formation depend on this dexterity and on other variable such as the nature of the group, types of staging, the occasion of the performance and the number of dancers, which also vary from one group to the other.

What do you think about the Bata druming, the dance, and the rich cultural heritage of the Yoruba people? Let me hear hear your thoughts.

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Bata Dance Epitomizes a Rich Cultural Heritage of the Yoruba -

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Moving your body back and forth to the rhythms of a Bata drum is a highly indigenous and professional skill which takes consistent and willful practice. For years, Nigerian Bata dance have enjoyed global acceptance not just for being another source of entertainment but also because it harnesses the yoruba culture, bringing it to limelight.

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World Music Central | Your Connection to traditional and contemporary World Music, including folk, roots, global music, ethno and crosscultural fusions

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By Mark Corrales, LAFI
The clave beat, which lies at the heart of not only Latin music but also so much popular music around the world today, was brought in various forms from West Africa, including the area known as Nigeria, preserving an ancient musical foundation. Clave is also fundamental to one of the best-preserved, ancient musical genres of Africa - that of the batá drums.

What are the batá drums, and what is the story behind them?

The batá drums and their music have survived for over 500 years, traveling from the land of the Yorùbá in Nigeria to Cuba to the United States and beyond. Their story is a testament to the power and depth of the religion and culture of which they are an important part. To tell the story of the batá drums we need to talk about religion and culture because the batá are not merely a musical instrument, and what they play is not simply music in the popular Western sense.

Knowledge of the drums came from Yorubaland to Cuba in the 1800s with the slave trade. The Yorúba people were one of the two major ethnic groups brought to Cuba from Africa (Bantú were the other). Mainly from what is now southwestern Nigeria, 275,000 Yorùbá were brought to Cuba, mostly during 1820-1860s. The Yorùbá brought religious practices that evolved into the religion called Santería or Regla de Ocha in Cuba. Around 1830, the first batá with añá (sacred batá) were created in Cuba. By 1951, there were about 15 to 25 sets.

Santería, or Regla de Ocha, is a broad group of religious and spiritual practices developed in Cuba based mostly on Yorùbá traditional religions, but with influences from other African ethnic groups, including the Bantú-speaking groups of the Congo region and even European spiritism to some extent.

Batá drumming is an important part of this religious practice, which has made its way from Cuba to the United States, especially Miami, New York, L.A. and San Francisco. The religion recognizes a creator god, along with a number of deities that represent various forces of nature (like lightning) or principles (such as war or love). These deities, including Elegguá, Ogún, Shangó, Yemayá, and others, are called orishas.

The batá drums can speak. Not in a metaphorical sense, but they really can be used to speak the Yorùbá language, and have been used traditionally to recite prayers, religious poetry, greeting, announcements, praises for leaders, and even jokes or teasing. The Yorùbá language, the mother tongue of over 10 million people, is a tonal language, like Chinese and many African languages. Yorùbá speakers use three basic tones, or pitches, and glides between them, as an essential part of how words are pronounced. This is how the hourglass-shaped "talking drums" (called dundun in Yorùbá) are able to speak Yorùbá praises and sayings. This is also how batá and other drums can talk.

Batá drums were played in public outside of Africa for the first time in Cuba in 1935-36. Fernando Ortiz organized performances of batá as folkloric music performances for the public, whereas, previously, Cubans had played them only in private ceremonies.

The Drums

Batá drums are a family of three double-headed tapered cylinders, with a slight hourglass shape. With varying sized that produce differences in pitch, they are named according to size: iyá, the larger drum, considered the mother; itótele, the medium size drum, and okónkolo, the smaller or baby drum. They are carved out of solid wood, not built from staves.

The drums in Cuba are made of cedar wood, or sometimes mahogany. The skins are male goat or deer. The small head is called the chacha and the large is the enu, or mouth. A wax-like substance called ida, or fardela, is used on the larger heads of the iyá and itótele, changing the tonality to produce a duller sound.

There are usually two belts around the iyá, near the heads, with bells attached to them. These are called chaguoro. The drums have embroidered skirts or aprons and decorated strips of cloth as well.

Used almost entirely for religious or semi-religious events in Yorubaland, in Nigeria and Benin, batá drums have developed both a sacred and secular identity in Cuba and the U.S. In Nigeria, the batá are used for worship of Shangó, the deified historical leader of Oyo and God of Thunder and Lightning, producing what believers consider celestial music. They are also used for ancestor (egungun) worship with masked dancers called agbegijo, who portray humorous and modern as well as serious and ancient characters.

In Cuba, sacred batá are used in all ceremonies related to orishas and other religious ceremonies, and receive the name of batá de fundamento. Sacred batá drums in Yorùbá and Cuban culture have religious rituals surrounding their construction who can touch them, how to prepare to play them, and how to care for them. These cared batá are treated as living creatures with names, care, and feeling, with various rules for their use. An uninitiated person may not touch them, and they may not touch the ground.

The spiritual force and mystery placed within the drum when it is made sacred, or consecrated, is called añá or ayán. Añá is also referred to an orisha, or deity. A drummer may be initiated into añá through certain religious ritual practiced mostly in Cuba (and Nigeria), and receives the spiritual force needed to play the drums correctly to bring the orishas down to a ceremony to possess the devotees.

In very recent years, in Cuba and the U.S., some have started to build and play batá drums that are not sacred. Drums are now played in some secular contexts by people not involved in the religion. This is a bit like the transitions of certain songs of prayer into commercialized gospel music. They are used for parties, music and folkloric performances, and commercial recordings. These secular batá drums are called aberínkula, or profane Batá drums, and may be used by an uninitiated person. Some are mass-produced by companies like Latin Percussion, Toca, and others.

Several great batá masters from Cuba have moved to the United States in the past 20 years, particularly Franciso Aguabella, as did Julio Collazo in the 1950s. According to John Mason, the first bembé to be held in the United States took place in 1961 in the Bronx, New York and Julito Collazo played iyá. Uninitiated batá were used. The first batá constructed from solid wood in the U.S. were made in 1963. In 1976, the first drum with añá was brought to the U.S. from Cuba. By the early 1970s there were a few batá groups performing in the New York area, and in 1980 Cuban master Orlando "Puntilla" Rios came to the United States.

Francisco Aguabella playing batá drums

Other batá masters have visited in recent years, performing and teaching. There are now dozens, perhaps up to a 100, serious batá teachers in the United States, many of who are fully recognized master with sacred drums. With so many teachers, recording, and performances, interest in the batá drums has greatly increased, and will continue to grow. It is important that the core of this sacred drums' tradition be respected and preserved, however, and that it not be diluted by the widespread popular interest that is drawn to the power and mystery of the batá.

Today, many people have heard the sounds of the batá drums and perhaps not known it - the batá are now being used in commercial recordings of popular music, not just folkloric recordings. These double-headed drums are heard frequently in CDs of Latin popular music, to a great extent in jazz and Latin jazz, and often in an introduction to or break in a salsa tune. A quick search of the excellent Descarga catalog turns up more than 50 Latin CDs with batá on them. One excellent folkloric CD is Ilú Añá. Today, they are even used in other popular music, from Micky Hart's Planet Drum group to Laurie Anderson's album Mister Heartbreak.

Batá Groups

Havana Select, a folk ensemble founded in 1985 and directed by percussionist Steve Bloom, offer concert programs of traditional Afro-Cuban music and dance. Havana Select has performed at many festivals and concert halls, featuring rumba songs and dances as well as traditional arrangements from ancient Yorùbá guiro and batá drumming. Havana Select has performed at multiple venues such as at Smithsonian Institution theaters, notably a performance residency at the American Sampler Series in October 1995 and the Smithsonian's 150th Anniversary Concerts. Additionally, the group has been featured at the Kennedy Center's Millennium Stage, and offers annual main stage performances at Dance Place in Washington, DC. Contact Havana Select at (301) 962-7094 or by email at steve-bloom@juno.com.

Raíces Habaneras is an Afro-Cuban folk ensemble based in New Jersey, reuniting some of the most talented Afro-Cuban drummers, singers and dancers in the New York metropolitan area. Formed in 1995 and directed by Cuban singer David Oquendo, the group aims at rescuing and preserving the traditional and original forms of Afro-Cuban rhythms. Since its creation, the group has been performing every Sunday in what is it's base, La Esquina Habanera restaurant in Union City, New Jersey, featuring a weekly performance that has become a tradition known as "Domingos de Rumba." Composed of most Cuban performers, Raíces Habaneras has done numerous workshops at multiple universities in the East Coast, and they have been featured in HBO's "OZ" series, WXTV's "Sábado al Mediodía," as well as guest artist at multiple radio and concert stages in New York's Town Hall, Union City's Park Theater and in Atlantic City and New Jersey. For more information, call (301) 641-4649.

Cambio Libre, an all-woman Afro-Cuban ensemble with members from New York City and Philadelphia, is dedicated to the study and performance of Afro-Cuban and other diaspora styles of music and dance. The group's drummers debuted in May 1997 when they performed the Oru Seco at their teacher's wedding in New York City. One of the few woman batá groups in the U.S., Cambio Libre focuses on the study of Afro-Cuban culture, specially its influence in the U.S. Cambio Libre has performed and lectured at different festivals (Women's Drumming Festival in Albany, NY), theaters, colleges, and universities (Hampshire College, Trinity College, Wesleyan University, Yale University, Temple University, University of Pennsylvania) throughout the Northeast since 1996. One of their last performances featured the late Cuban folk singer Amelia Pedroso. For more information, contact Elizabeth Sayre at (215) 724-3628 or by email at esayre@mindspring.com.
This article was originally published in the LAFI magazine and is reproduced in its integrity courtesy of LAFI, the Latin American Folk Institute.

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By Mark Corrales, LAFI The clave beat, which lies at the heart of not only Latin music but also so much popular music around the world today, was brought in various forms from West Africa, including the area known as Nigeria, preserving an ancient musical foundation.

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My parents