nations, Moshoeshoe I opened his kingdom to
people who had been displaced by the great chaos
of warfare. The king used the strategy of asking
Europeans to come live with his people as a way
of having access to guns and ammunitions as
the whites were pushing into his territory.
Nevertheless, the missionaries were not able to
prevent the inevitable conflicts between the
Afrikaners and the British. The Afrikaners/Boers
had started to move into the area around 1831.
Moshoeshoe I appealed to the British for aid in
fighting the Afrikaners/Boers, but the British did
not respond until 1868 when Queen Victoria
granted some protection. The Basuto people were
placed under a British protectorate and gained
their independence in 1966.
Molefi Kete AsanteSee alsoAncestors; God; Kings
Further Readings
Doke, C. M., & Mofokeng, S. (1974).Textbook of
Southern Sotho Grammar. Cape Town: Longman
Southern Africa.
Khaketla, B. M. (1972).Lesotho 1970:An African Coup
Under the Microscope. Berkeley: University of
California Press.
BATA DRUMS
Bata Drums are a set of three drums that are
of Yoruba origin (ethnic group of Nigeria, West
Africa). Although these drums originated in
Nigeria, they are also found in Cuba due to the
forced enslavement and migration of Africans
from Old Dahomey to the former Spanish colony
of Cuba during the era of African enslavement.
The drums are used to play the sacred music of
theYoruba people.
There are two types of Bata drums: the tradi-
tional Bata, which are played in Nigeria, West
Africa, and those that are played in Cuba by
practitioners of the Lucumi and Santeria spiritual
systems (Yoruba-based). The Bata drum is a hol-
lowed wooden cylinder (carved wood/glued slats
of wood) with two open ends (each of different
diameter) that are covered by specially treated
goat or cow skin. The skins of traditional
(Nigeria) Bata are attached to the body of the
drum by a system of interwoven straps. The skins
of the Cuban Bata are attached to the drum’s
body by a series of metal rings and tension rods.
Both types of Bata are played at both ends as
they sit horizontally on the lap of the Bata drum-
mers. The traditional Bata are played with leather
straps, whereas the Cuban Bata are played by
hand. Both heads of each of the three drums has
its own distinct sonar range. While playing these
drums, each player produces a distinct rhythm,
which, when combined with the other rhythms,
produces polyrhythms designated for various
Orisa (deities) of the Yoruba/Lucumi/Santeria
pantheon. The combined Bata music, songs, and
dancing operate in concert to invoke the deities
and spiritual possession.
Along with its own distinct range, each Bata
has its own character and name. The lead drum,
called the Iya (EE-Yah), which means mother
in Yoruba, is the largest and lowest in range.
The middle drum (in range and size) is called
theItotele(EE-toh-ta-lay), a Yoruba-derived name
that implies completed action. The Ikonkolo (EE-
Kon-Ko-Lo), the smallest drum and highest in
range, derives its name from a combination of the
wordsKoh (to sing) andLo (to play a musical
instrument). Additionally, the Iya is adorned with
a string of small bells called theChawuoro or
Chaguoro, which enhances the sound of the
drum, and a resin-like substance calledIda(EE-
dah), which is placed at the center of the largest
head to dampen the sound.
Bata drums require special care, which includes
consecration, feeding, and special storage. The
drums are consecrated by a babalawo (traditional
priest) after they are constructed. The feeding of
the Bata drums involves sacrifice and ritual, which
is conducted by the Babalawo before they are
played in ceremony. When not being played, the
Bata are placed with their smallest heads facing up
or hung from the wall and not allowed to touch
the ground. Bata drums are also thought to
possess magical powers.Kefentse K. ChikeSee alsoDance and Song; Drum, The; SanteriaBata Drums 111