When most people think of Yorùbá talking drums, the gángan immediately comes to mind, and it’s understandably so. Its distinctive hourglass shape and remarkable ability to "speak" or "mimic" have made it the poster child for West African drums. But here's what many don't know: calling the gángan "the" talking drum is like calling a violin "the" orchestra. There's an entire family of instruments working in harmony, each with its own voice and purpose.

The Yoruba talking drums belong to a family known as Dùndún, which translates to "sweet sound." The Yoruba talking drums are capable of mimicking the tonal sounds of the Yorùbá language and perform multi-functional roles among the Yoruba people. Aside from being used in performance for entertainment, the dùndún plays a significant role in religious rites, ceremonies, and other key celebrations.

As a family name, the dùndún ensemble comprises different types of drums. There's the gángan (the most popular of the family), then ìyáàlù, ìsáájú, kẹríkẹrì, gúdúgúdú, and ìkẹ́yìn (meaning: the last one). Interestingly, most of the drums in this family are hourglass-shaped, except the gúdúgúdú. They include seven common components: a wooden resonator, a dried skin membrane, black leather rings, tension cords, taut ropes, a curved wooden stick, and a carrier strap.

The most common woods used to make the wooden resonator are iroko, mahogany, or Gmelina arborea. The wooden resonator is carved into an hourglass shape, hollow inside and open at both ends. The two openings at both ends are covered with soft, dried goat skin. These covered edges are called the awo ojú ìjú (literal meaning: skin that covers the drum heads). Around the drum heads are black rings called egí. The egí plays a key function in maintaining the drum's tension as it helps fix the drum heads in place. Also, the egí helps in enhancing the pitch of the drum.

Attached to the drum heads are leather strings or thick natural fiber ropes, known as osán (which means tension or tightening cords). The tension cords are attached to the drum heads and extend from one end to the other. The drummer can manipulate these tightening cords using a pull-and-release mechanism to adjust the pitch of the drum. This technique allows them to imitate spoken language through rhythm and tone.

The taut rope or ìdẹlẹ, made of leather, is wrapped around the drum usually at the neck or the constriction of the wooden resonator and sometimes close to both drumheads to improve the tautness of the tension cords. Both drumheads are beaten with a curved stick to produce sound. The tip of the curved stick is tapered with strips of rubber or leather to enhance the sound and protect the awo ojú ìjú. The carrier strap, known as àpá, is typically padded due to its functional design. Drummers use it to hang the drum on their shoulder or neck while playing, and the padding provides essential cushioning for comfort.

Now to the types of the dùndún—what makes each drum different?

Ìyáàlù (the mother drum): As the name connotes, this is the leading drum in the dùndún ensemble. Its large size and the brass bells called sàworo at the drum heads set it apart from the rest, as does the high-pitched sound it produces and its ability to mimic spoken language. In performance, the ìyáàlù leads the play while other drums follow or respond to its call. The strap or carrier of the ìyáàlù is slung behind the neck and made to rest on both shoulders of the drummer when it's being played.

Ìsáájú (the fore-runner drum): Similar to John the Baptist's role as a forerunner to Jesus in the Christian faith, the ìsáájú drum plays the same function. Although it is physically smaller than the ìyáàlù and the gángan, its significance cannot be overlooked. The high-pitched sound of the ìsáájú sets the pace and tone for the performance, preparing the way for the introduction of the ìyáàlù and the gángan.

Gángan: The gángan, similar to the ìyáàlù, can imitate spoken language and is also suitable for solo performances, which sets it apart from the ìyáàlù. Due to its ability to be performed solo, the gángan can also serve as a medium of communication. When playing the gángan, the strap is worn over the shoulder while the drum rests under the player's armpit. The arm is used for both pulling and releasing the drum when playing.

Kẹríkẹrì (the father drum): The Kẹríkẹrì plays various roles within the dùndún ensemble. It is similar in size and has double drum heads like the ìyáàlù, but it does not feature brass bells. The drum is hung over the player's shoulders using a strap during performances.

Gúdúgúdú: Among the dùndún ensemble, the gúdúgúdú stands out with its size and shape. Unlike its counterparts that are hourglass-shaped, the gúdúgúdú is cone-shaped with one drumhead, which, when beaten, can make two distinct tones. Some refer to it as the father drum, as it provides a steady foundation for other drums to play during a performance.

Ìkẹ́yìn (the last drum):  Despite its name suggesting it is the last of the dùndún ensemble, the ìkẹ́yìn, a smaller drum, plays an important complementary role to the bigger drums. Its sound is high-pitched and percussive, enhancing the rhythms during performances. The ìkẹ́yìn can also be manipulated to "mimic" spoken language.

Though there are other drums in the dùndún ensemble, we would limit our exploration of the dùndún ensemble to the five above.

So, the next time someone mentions Yoruba talking drums and you think only of the gángan, remember this rich family of voices. Each drum in the dùndún ensemble brings its own character to the conversation—some leading, others following, some providing a steady foundation, others adding rhythmic flourishes. Together, they create not just music but also speak the language of the Yorùbá people for generations. The gángan may be the most famous child in this musical family, but like any good family, the magic happens when they all come together. Next time you watch a dùndún ensemble performance, you'll know you're witnessing not just one drum talking, but an entire chorus singing the sweet sounds of tradition.

Did you know that when we say Yorùbá  talking drum, we are actually talking about an entire family of drums working together?

The Yorùbá Talking Drum is More Than Gángan?

Did you know that when we say Yorùbá talking drum, we are actually talking about an entire family of drums working together?

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