by Thomas Altmann » Tue Jul 03, 2012 2:18 pm
Santo Iyawó!
Living in Hamburg, Germany, I am in a similar – if not worse – situation as you. And although I know that fundamento drums must not be filmed according to the rule of Añá, I do not miss a single opportunity to stay in touch with the universe of ceremonial batá drumming until my next journey to Cuba.
Going by the traditional religious dogma, Añá must never be photographed, nor filmed or recorded. This is what Regino Jiménez (ibae) said in the video “Añá – la magía del tambor”, produced by Mundo Latino in 1994. The complete video is uploaded on YouTube.
I was taught basically the same, however with one allowance: While the photo of my juramento was still taken in the absence of the drums themselves, but rather in front of its banner instead, I later learned that, while visual photos and films were prohibited, recordings were indeed permissible.
Some five years later, I found that photos as well as film clips of Añá, complete with sound track, had not only been taken, but worldwide published on the internet – to be watched not only by initiates, but by any living being that can execute a mouseclick.
I my religious experience with elders I have noticed that, in a general sense, duplications of the visual as well as the auditive appearance of any orisha, including Orúnmila, were perceived at least as questionable, if not outright forbidden. This extends to the prohibition of photos and mirrors for iyawó. Hence, for those of us who truly regard Añá as orisha, the verdict as outspoken by Regino had to be followed. The only escape from this rule would be the notion that the drum itself is nothing but the container of the orisha Añá, comparable to the soperas of other orisha. However, considering the fact that the bodies of the drums are born from Osain, too, and the treatment that they receive, clearly indicate that the entire drum in its physicality is more than a mere container. I have heard the statement that the batá de fundamento is an orisha expressed verbally by Cuban omóañá.
In consequence, the overt publication of video and audio recordings of consecrated batá drums just has to be disapproved of by anyone who has ever decided to obey to the traditional precepts of our religion. (I don’t want to discuss the special case of a film taken by an initiate for an abure at this point.) The gradual watering-down of the religious doctrine against taking photos, filming and recording of orisha including Añá is but a symptom of the so often lamented profanation and vulgarization of this religion.
One aspect of the matter in dispute is secrecy. A certain amount of secrecy has always been a feature of Yoruba religion, and I dare to state that it has not only begun with slavery and the persecution of non-Christian rites: According to the findings of Anthony Buckley (as explained in his book “Yorùbá Medicine”), a body that turns outward too much of what belongs to the inside is traditionally regarded ill in Yoruba worldview. Secrecy is to be found in every sector of the religion, especially Ifá and Añá, and generally concerning ritual practice. In this respect, beyond any question it would be absolutely inadmissible to make filmed footage of Añá ritual free accessible to the public, and the consultation of Ifá in the matter is equal to “preguntar lo que se sabe”. It is typical, however, that this is even considered an option by some elders of the guild today.
Concluding, we may observe that the actual real-life practice is overtaking religious doctrine in a way that makes any opposition look ridiculous, as this process is unstoppable. One might only think of the plethora of cameras incorporated and hidden in cellphones and all kinds of portable electronic devices all around us. (It would probably be impossible to count the number of photos that exist of myself as iyawó, especially while I was performing on stage.) And what can be the point of a German batá drummer complaining about the changes in Añá protocol, propelled by the actual practitioners in Cuba, who are handling the tambor and its fundamento on a daily basis? All I can say is that, while I concede free fashioning of ritual behaviour to anyone at their own responsibility, I feel most comfortable just sticking to what I have been taught, and what I believe is theologically coherent – at least as far as I am the one to “run the show.”
In this context I also want to remark that I noticed that in many of the YouTube clips of toques de fundamento, participants would put their heads on naked drums. To me, the banté is an integral element in Añá ritual practice, and its omission feels even more disturbing to me than filming the ceremony.
Thomas Altmann