By By Ahmed Adedeji Adesigbin
In Yorùbá folklore tradition, ìlù (the drum) can be traced back to the era of Àyángalù, the first drummer, whom many believed got his name from the way he battled its gurgling drum. This colossal heritage of the Yorùbá culture and tradition is well practised by the family called Ìdílé Àyàn (family of the drum). This lineage whose primary jobs are drumming and drum making often coined their names to the drum, praising themselves and their aesthetic work of art with such names like Àyàndìran, Àyànwálé, Àyàntúnjí, Àyànbísí, Àyànlówò, Àyàntúndé, Àyànléke, Aláyànde, Ayanfunbi, Àyàntáyò, with the family deity being referred to as Àyàngalú, a symbolic name referring to the first drummer in the Yorùbá mythological concept. However, some other names were given to the holders of the drum, like onílù (owner of the drum), Alubàtá (player of the bàtá drum), and Àyàntojúbò (someone who is not from the drummer’s family but learns the drum).
In Yorùbá oral tradition, the mother’s drum, ìyá ìlù, is the largest, which is the dundun (talking drum) often placed on the shoulder with its twin brother “gongo” (the drumstick) on the other hand, which is not only used in ceremonial gatherings but also used on several occasions like at the war front, announcing visitors/royalty, invoking deities like Sango (god of thunder) and Ogun (god of iron), transmitting messages, proverbs, and social commentary. On the other hand, there are several other drums, including Ìgbìn, Omele, Gbèdu, Gudugudu, Ìpèsè, Àgèrè, Kànàngó, Agbá, Bàtá, Gángan, Saworoide, among others.
In Tunde Kelani’s mainframe production movie “Saworo Ide,” the drum (saworo ide) is being connected to the king’s crown “Ade Ide,” and both are intertwined. The satirical movie depicted how drums played a crucial role in ritual rites and performances, such as the king’s installation. Àgbá, one of the drums used by the Ògbóni, a secret society that influenced strong political, judicial, social, and sacrilegious power. The àgbá is an upright, open-ended log drum with a single goatskin/leather head beaten in the early morning to announce cult meetings, which take place every seventeenth day at their sacred house called “iledi.” In one of the Yorùbá classical Nollywood movies, “Koto Aye,” produced by the Late Alhaji Yekini Ajileye, the drum served a means of social cohesion among the “eleye” during their meetings. Ìlù, as it is being called among the Yorùbá, holds a very important place in custom and tradition, because the sound and rhythm of the drum cannot only be interpreted by a mere person but also by someone who has vast knowledge of what the drum is saying.
One of the ways to identify Modakeke, a conglomerate of about 500,000 people with about 48.1 km from Osogbo and 81.1 km from Ibadan, as an ancient town in Osun State, in the southwestern part of Nigeria, is through the use of ancient traditional drums. In fact, each family has one drum or the other associated with its clan. However, the famous Ìlù Ìgbìn drum has its source traced to the Adesigbin family, one of the lineages of Obàtálá (god of wisdom, peace, purity, and justice). The custodian of the revered Ìlù Ìgbìn drum, whose origin can be traced back to Ifon-Orolu (one of the descendants of Obàtálá), migrated with his clans (Oyenpemi, Oyesiji, Oyewole, Olanrewaju, Keyede, and the Odeyinka’s family) in the midst of the 19th century to Tonkere and Modakeke and formed the “Abinu” compound. Ìlù Ìgbìn, which is highly revered among the worshippers of Obàtálá, acts as a vital link between the physical and metaphysical, particularly in the worship of “Orisa Nla.” These drums are not just mere drums for entertainment; rather, they are considered a spiritual being that connects man with the deity. Unlike any other drum, this drum can only be beaten by his devotee, and anyone who is not a devotee that beats the drum is considered disrespectful to the deity, likely leading to the wrath of Obàtálá. During Obàtálá festival, devotees of the “Orisa Nla” who are often called “Aje Nla,” put on their white apparel, which symbolises purity and beat the ìlù Ìgbìn drum to re-enact the historical narratives regarding Obàtálá as a king in the ancient Ile-Ife.
Another symbolic drum in the Yorùbá cultural heritage is the Àgèré, the hunter’s drum. This ancient drum, which is dedicated to Ògún (god of iron), is commonly played during ìsípà (hunter’s funeral rites) and the annual Ògún festival. The carved wooden drum, usually cylindrical or slightly tapered in shape and standing upright on the ground, is played while sitting on the ground. In most cases, these drums, which produce a strong, full-sounding tone that is used to create unique sacred rhythms, are often passed down through generations, specifically with families linked to hunting and blacksmithing.
Ìlù, the drum, which can never be taken away from the Yorùbá tradition, has not only brought about the aesthetic beauty of the Yorùbá tradition but has also made the culture widely respected and recognised. During the pre-colonial era, ìlù is one of the major musical instruments that could be vastly seen in the king’s courtyard. The man-made creature made up of animal skin and wood carved from the ìrókò tree also played a symbol of royalty and authority particularly in the Yorùbá culture with their presence highlighting the significance of rulers and chiefs during events and festivals. The Gbèdu drum which is described as the royal drum serve as a symbol of monarchy in the Old Oyo empire, and in the Ògbóni courtroom. The drum is played during the installation of the king marking his reign as the second-in-command to the deity and it final beating symbolizes the king has joined his ancestors.
It’s sufficed to say that ìlù is beyond a musical instrument; it’s a living deity of the Yorùbá cultural identity that echoes its rhythmic voice, which influences our contemporary society, connecting both the past and the present generation together. The making of the drum is a respected craft among the Yorùbá culture which is specifically created by some specific set of family called Ìdílé Àyàn. Artisans from this lineage/houses carefully select wood and animal skin, often performed ritual before and after its making. This carved wooden creature, which has continued to live among man, serves as a medium of communication in which stories are told, messages are conveyed, and emotions and ideas are expressed without words. It embodies our history, tradition, and culture, reflecting our values and spiritual beliefs, and serves as a timeless voice that connects man with his ancestors. Ìlù, which is highly regarded because it is believed to hold spirit and power, lingers and echoes in the hearts of those who have listened attentively. When the ìlù is played, it does more than produce sounds; it calls people together and re-enact the historical heritage of the Yorùbá culture. Dancers respond to the beat, elders nod in recognition, and community moves as one. Even in our dynamic world where modern sounds compete for attention, the ìlù endures; its voice which sparkles and trembles our dancing spirits to action, is a true reminder that the Yorùbá culture will creep into every man’s hearts. As long as there are hands to beat it and ears to listen, the ìlù will continue to be the birthright of the Yorùbá people.
