Manigua
Writings
SONGS AND RHYTHMS FOR
ESU
I was taught this "canto a Eleggua" in Cuba, and it seems to be
a popular one in the States; I hear it a often at ceremonies and bembes. There
are a couple of recordings of ths song available: `Bembe' by Milton Cardona
& Eya Aranla Ensemble, and Sacred Rhythms of Cuban Santeria on Smithsonian
Folkways (they have a great catalog of sacred world music). It's a great one
to sing while you feed him, during cleansings, ceremonies, or any time you
feel like praising Esu. It brings very good energy when a group sings it in
call and response form. Enjoy....
Akpwon: Ibara ago, moyuba
or gallo Ibara ago, ago moyuba
Omo ode, koni kosi
Ibara ago, ago moyuba
Eleggua Eshu Lona
chorus: repeat
Your saying: "My body gives homage, praise,
I ask your permission, I salute you
Young child, there is no other,
My body gives homage, praise
I ask your permission, I salute you"
Akpwon: Akonko ago, Akonko Eleggua
Laroye masoquio
chorus: repeat
Akpwon: Akonko ago
chorus : Laroye
Akpwon: Akonko ago
chorus: Eleggua
Akpwon: Akonko ago
chorus: Lagguana
Akpwon: Esu oh..., Eleggua a eh...
Esu oh..., Eleggua a eh...
Eleggua moforibanle baba oba
Eleggua ago...
chorus: repeat
Most of the words above are different paths of Esu. The last couple of lines
say: Eleggua I prostrate to salute you, father, king, Eleggua I give you praise...
TOQUES PA' ELEGGUA
The following is a bata rhythm for Eleggua. It's written out in a simple format
anyone can understand: 16 equal notes or spaces in 4/4 time, and down beats
are numbered. We present only a small part of the "toque" since
it has certain changes and conversations between the drums that speak to the
Orisa. This is only to help our readers understand the rhythmic concept of
bata drumming; if you are interested in learning the language of the bata,
you should contact a "kpuataki", or "olu-bata." These
drummers, also known as "omo-aña," have gone through the
spiritual, as well as musical, training to understand the complex language
and power of the bata. Aña is the Orisa that lives in the bata, which
is carefully prepared and fed through precise ceremonies; bata drums that
don't contain
Aña and are used in secular music are referred to as aberikula. There
are three hourglass shaped drums in each ensemble, each with two skinned heads:
the small one is called cha, and the big one is called enu. The smallest drum
is the okonkolo, and functions as the time keeper, always alert to the calls
and changes; the itotele is the next size, and it reponds to and engages the
large drum in rhythmic conversation; iya has the deepest tones, and being
the "mother" drum it leads and guides the drums through the sacred
language of the Orisas. A kpuakti has learned how to contact the Orisa to
come down to speak, share in their joy, and dance as he plays their rhythms.
Having the key to this sacred language he influences the energy of ceremonies
and bembes through the iya drum. The recordimgs mentioned above contain some
"toques" for different Orisa by great bata ensembles; Los Muñequitos
de Matanzas and Afro-Cuba de Matanzas have also recorded rhythms to the Orisa,
as well as "bata-rumbas," and both ensembles are considered musical
treasures of Cuba
This "toque" for Eleggua is called "La-lu ban-che," which
in Lucumi means "to be sure, touch, open the road, work"; in other
words to be sure all goes well play the drum, so Eleggua performs his task
of opening the roads. Ashe!
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