Cite this article as: Abimbola, O. V., & Sanni, R. (2025). Yorùbá drummunication: An examination of Iyá-Ìlù (talking drum). Sokoto Journal of Linguistics and Communication Studies (SOJOLICS), 1(3), 252–237. https://www.doi.org/10.36349/sojolics.2025.v01i03.032
YORÙBÁ
DRUMMUNICATION: AN EXAMINATION OF IYÁ-ÌLÙ (TALKING DRUM)
By
Oyedeji Victor Abimbola (PhD)
Federal University of Education Zaria, Kaduna State
&
Sanni Rifqat Opeyemi
(PhD)
Lagos State University of Education, Oto/Ijanikin, Lagos
State.
Abstract
Ìyá-Ìlù or Dùndún (talking drum) is a popular type
of drum among the Yorùbá people of Southwest, Nigeria.It is a renowned
rhythmic instrument that transcend ordinary musical, butserves as a
communication vehicle within the Yorùbá culture. This paper examines the
complex relationship between the talking drum and the Yorùbá language,
emphasizing how the drum replicates the tonal subtleties and rhythmic patterns
in speech. Dùndúncan convey proverbs, songs and messages with effective translation of
the tonal qualities of the speech. The study reviews the function of the
talking drum and later extends to various contexts of use like ceremonies, and
social gathering. It plays an essential role in strengthening group identity
and cultural continuity. The communicative ability of the talking drum made it
possible for it to engage in a dialogical interaction with the human voices,
thereby performing beyond the conventional boundary between music and language.
It examines its impact on preservation of Yorùbá language, culture, and
continuity of information on tradition. Significantly, talking drum connects
language, identity and socio-cultural values. Finally, the paper enjoins the
concerned individual in oral literature and the government to give due
encouragement and recognitions to the study of drummunication in our schools.
Keywords: Communication,
Culture, Identity, Talking Drum, and Yorùbá Language
1. Introduction
Music and rhythm function not merely as forms of artistic
expression but also as vital modes of communication in cultures worldwide.
Among these, drumming occupies a unique position as a cultural language that
conveys messages related to social order, ritual significance, communal life,
emotions, and cultural identity. Despite its importance, drummunication has
often been underexplored in scholarly research, yet it provides a valuable lens
through which rhythm, language, and social cohesion intersect in Yorùbá
cultural practices. Drummunication refers to the use of drums as articulate
instruments capable of transmitting specific ideas, emotions, and social
messages in a manner analogous to spoken language.
The term “drummunication” is a portmanteau of the words
“drum” and “communication” (Babalola &Oluga, 2012), capturing the concept
of conveying meaning through drumming, particularly via the Yorùbá talking
drum (Dùndún). Drumming operates as a system of encoded messages, combining
melodic, rhythmic, and semiotic elements to function simultaneously as music
and verbal communication in social, cultural, and spiritual contexts. Studying
drummunication therefore requires a multidisciplinary approach, drawing
insights from ethnomusicology, linguistics, cultural studies, and performance
theory.
The Yorùbá talking drum, commonly referred to as Dùndún
or Ìyá-ìlù, performs diverse roles in Yorùbá cultural, communicative, and
ritual practices. This study seeks to examine the complexities of the language
embedded within the talking drum, focusing on how rhythm, pitch, and tone are
used to convey meaning across various cultural contexts. Understanding these
mechanisms is crucial for preserving this unique aspect of cultural heritage
and fostering broader appreciation for Yorùbá musical language.
The studyengages traditional Yorùbá musicians,
professional talking drummers, and other cultural practitioners actively
involved with talking drums in Yorùbá communities. Participants will be drawn
from regions where the talking drum is prevalent. Additionally, scholarly works
on drum language, contributions from royal and professional drummers,
internet-based resources on traditional drumming, and studies in phonetics and
phonology, particularly regarding tonal patterns, provide supplementary
insights for this research.
2. Literature Review
Drums are not merely instruments to Yorùbá people but an
integral features of traditions and spiritual life. Responsibilities are assigned to drums to
bring out the desired sounds, for example Ìyá-ìlù (mother drum) holds
particular importance by frequently coordinating the ensembles and setting the
rhythm for dances and chants. The drums serve as a storyteller, transmitting
messages that can stimulate emotions and foster social ties in the community
while sharing experiences.
The talking drum is unique not only for its musical
qualities but also for its ability to convey messages and emotions, making it
an integral part of Yorùbá cultural communication system. Communication
simply means the process of exchanging information, ideas, thoughts or feelings
between individuals or groups. Wood (2009) sees communication as a systemic
process that facilitate human or people’s interactions with the aid of
interpretable and meaningful symbols. Devito (2012) also agrees that communication
has to do with sending and receiving of messages or information that can be
distorted with some possible effects and opportunity for feedback.
Communication can occur through various means, including verbal (Spoken or
Written), non-verbal (body language, gestures, facial expressions), Visuals
(images, symbols) and digital (emails, social media, video calls).
The Yorùbá talking drum known as dùndúnis one of
the iconic percussion instruments. Oxford Advance Learners Dictionary refers to
drum as a musical instrument made of hollow round frame with the plastic or
skin stretched tightly across one end or both ends, which is played by hitting
it with stick or bar hand. Akpabio (2003) points out that drums made of skin
are common all over the continent of Africa where they are used as musical
instruments accompanying song and dance performances but also confirms that
some are capable of “talking”. Oladosu (2015) contends that drums, carved from
trees, inherit spiritual attributes from their natural materials, making them
indispensable in religious rituals. This environmental symbolism confirms the
cultural assumption that the drum serves as a musical and spiritual instrument.
Vidal (2012) expresses the same opinion when he proposes that drums function in
both verbal and non-verbal communication, guiding dancers, signaling danger,
and reciting oríkì. Famule (2024) also investigates into the ÈdèÀyàn:
the language of drum in Yorùbá religious… this research work looks into the
mutual connection between ÀyànandEgúngúnfrom the viewpoint of
Yorùbá language....the study argues that dance and drum performances can and
should be analyzed as a “third dimension” of oríkì, in addition to verbal and
the visual... The Yorùbá talking drums are distinguished from other drumming
traditions globally because they function not only as musical instruments but
also as mediums of communication.
The drums disseminate important information and also respond
to it when needed to, this makes their roles in social interaction and cultural
preservation a very vital one, Babalola and Oluga (2012). This notion is in
line with González and Oludare (2022) who disclosed that Yorùbá drums used
tonal mimicry as speech surrogacy, serving as ritual performances and
socio-cultural activities where denotation through drum gestures represents
historical or spiritual occurrences. Bello (2020), on the other hand asserts
that the interpretation of certain drum languages, especially the bàtádrum,
that continue to invite debate, given the sematic plurality meaning nature
complicates understanding even among cultural insiders and users. Sesan (2014)
investigatesthe cultural semantics of Yoruba poetry using observation/field
work to gather data, that he used in comparing how humans and drums
communicate. His paper concluded that tone and tonal marks within situational
contexts are the hallmarks of semantic interpretation of drum poetry. This article therefore examines the complex
relationship between the talking drum (ìyá-ìlù) and the Yorùbá language,
emphasizing how the drum replicates the tonal subtleties and rhythmic patterns
in speech.
3. Methodology
Qualitative approach was used to gather in-depth insights to
the language of talking drum. Some languages and talking drummunication were
contextually translated with their meanings and their usage. Available works on
language of drums were considered with their connotations and cultural
relevance. Furthermore, ambiguities in the translation and misinterpretation of
languages of drums we reanalyzed. Yorùbá language is a tone language.For this
reason, the study discusses some Yorùbá tonal symbols that aid drummunication
and interpretation of language of drum.
Interviews were conducted with the talking drummers,
musicians and other cultural practitioners to gather personal narratives and
gain insights intotheir experiences and knowledge of drum language. Also,
audio-visual recordings were made whereby performers and their performances
were recorded to analyze the tonal patterns, rhythms and techniques used in
communicating various messages. Furthermore, a detailed phonetic and
phonological analyses of the drum soundsin relation to Yorùbá language on
sound mimic and spoken language werecarried out. Media works especially on
music, jingles and drumming werealso gathered for analysis.
4. Theoretical Framework
Semiotic theory of Ferdinand and Umberto was employed to
examine drummunication among Yorùbá people. There are numerous crusaders of
semiotic theory like Ferdinand (1857), Charles (1914), Barthes (1915) and
others. Semiotic theory deals with the study of sign and how signs signify
meaning in communication. This theory provides a framework for analyzing how
words, images, gestures, sound, etc. function to represent ideas, object,
actions, or emotion within a particular cultural or social context. Ferdinand
agrees that a sign consists of two elements which are signifier and (sound or
image) and the signified (concept). This scholar submits that meaning is
derived from the difference signs in a language system not from an intrinsic
connection to reality. Yorùbá drum language signals signs whenever the drum is
beaten. It could be to inform or announce a particular individual or event but
this drum signs always signify a context. Meaning can therefore be deduced
linguistically, culturally or contextually. Chandler
(2017) sees semiotic as the study of sign and meaning-making processes in
communication and culture. He believes that in literature, semiotics
investigates how meaning is been generated through signs, codes, and
conventions. Drum beats sounds are signs and can be analyzed for how they
produce meaning.
The key concepts of semiotic theory are sign, signifier and
the signified, types of signs and denotation and connotation. Signis anything
that stands for something else. For instance, there are some drum languages in
Yorùbá rituals that signal the presence of deity and there are some that when
beaten the worshipers are spiritually inspired. When it comes to bàtá,
the drum beat always makes the dancers feel good during the Sàngó festival.
Among the Yorùbá people drums especially ìyá-ìlù or dùndúnis
used to announce outbreak of war. Wherever and whenever the warriors hear this
drum-beat they know that it is time to prepare.
Even in the war front, drums are beating to inspire and encourage the
warriors to fight to victory, dùndúndrum is always used to chant their
praise words (oríkì) and this gingers them to fight harder. Signifier and
signifiedaccording to Ferdinand signifier is the physical form of the sign
(image, sound, gesture) while signified is the mental concept or meaning
associated with it. For example, drum is a signifier while the message it is
passing is the signified. Types of
Signsaccording to Sabri (2019) could be icon, index or symbol but in
Yorùbá drummunication perspective sign is the language of drum itself which
can be contextually, linguistically or culturally decoded. Barthes (1977) is of
the view that signs operate on multiple different meanings - denotation meaning refers to the primary or
literal meaning, while the other meaning is connotation. This has to do
with the secondary, cultural or emotional associated meaning of the sign.
Adeyemi (2019) supported this assertion when he explained that, African and
specifically Yoruba literature, and cultural codes are central semiotic
analysis. Yoruba proverbs (òwe) function as condensed signs that
communicate layered meanings beyond their literal expression. A proverb like “Òwelẹ́ṣinọ̀rọ̀” (“A proverb is the horse of speech”)
signifies that effective communication often requires cultural decoding of
metaphorical signs. Denotation is the
direct meaning while connotation is the deep meaning of the concept. In some
verses of oríkìa valiant person is always referred to as Ẹkùn(Tiger) or Kìnnìún (Lion) denotatively these are
animals but, in this context, they connote strength or royalty.
5. Data Presentation and Analysis
The Relevance of Drum to Yorùbá
People
Linguistic function: The drum language of the Yorùbá
people is intricate and mirrors the tonal patternof the Yorùbá spoken
language. Yorùbá language has three primary tones: high, mid and low (m: r:
d:). Drum patterns always mimic these tonal variations by allowing drummers of
dundun or ìyá-ìlù to reproduce the sounds of the spoken words. Drums,
especially Ìyá-Ìlù or Dùndún are culturally indispensable to Yorùbá
people because drumming cuts pervades through all cultural and folkloric activities
of the Yorùbá people.
Religious relevance:
Yorùba people attribute great importance to drums and
drumming. Yorùbá rituals and worships are not complete without the
significant roles played by drums and drumming. It is noticeable that drums
feature in almost all the socio-cultural aspects of the people such as
politics, religion, economics and social aspects, drumming is always relevant.
Just like other deities and gods that are worshiped, some drums like talking
drums (Ìyá-ìlu or Dùndún) and Bàtá are also worshipped by the drummers.
In an interview with Isiaka Ayanwole[i], he
supported this when explained that drums are deity and they are worshipped. He
stressed further that the name of the god of drums is called Àgalú (drums
divinity). To Yorùbá people, drums are not just ordinary instruments but
spiritually significant. In the religious perspective Ìyá-ìlù plays an
important role in performing rituals especially during the festivals like
ọdúnòrìṣà, Egúngún, Ṣàngó, Ọbàtálá etc. Drums are always beaten
to praise and invoke the spirits of the deities. Apart from the ritual use each
of these deities has his or her peculiar drum which is mostly beaten during
their festival. For instance, Sango (godof thunder) dances to bàtá
drum, Ògún (God of iron) loves either bàtá or dùndún (with
a unique style called àgẹ̀rẹ̀), Ìgbìn or àgbá is for òòsàálá
(Ọbàtálá) while Ọ̀rúnmìlà is known for agogo or àràn.
Also, during the sacrifice period, traditional drummers are always engaged to
announce the commencement of the sacrifice so that people can keep indoor in
order not to fall victim during the exercise. An example of this can be seen in
Baṣọ̀run Gáà when Májẹ̀ógbé
was to be executed by a masquerade called Jẹńjù. The drummers came
out to scare the people away, to keep them off the scene.
Social function:
Traditional drums play a significant role in social
functions of the Yorùbá people. Drumming features virtually in all the social
activities like chieftaincy installation, naming, wedding, singing, warring,
games etc. It is observed that whether good or bad Yorùbá people use drums in
occasions either for celebration, information, mourning or warning maybe this
is the reason why Aronso, cited by Babalola and Oluga (2012), refers to human
beings as social animals. Each of these occasions has its own pattern which
always conveys the nature of the activity that is going on at that period of
time. Among the Yorùbá people drumming is even one of the traditional
occupations. Yorùbá drummers belong to lineage of ‘Àyàn’ the ancestral drummers. It is interesting to know that
even in this contemporary age the use of traditional drums like gángan,
ìyá-ìlù, àpàlà, dùndún, etc. pervades the musical genres,
nationally even in the diasporas be it jùjú, fújì, hip-hop, afro,
gospel and makossa beats.
Medium of information and
communication:
Informing
the targeted audience about the happenings in the society is the main goal of
communication in which Yorùbá drums are not exceptional (Gerson, 2012). Drums
are used to pass crucial and important message to the people. In social
functions drums are used to announce the arrival of dignitaries like king,
honourables, chiefs and other important personnel. For instance, drummers
always communicate utterances likeKáàbọ̀
ṣé dáadáa lo dé (welcome,
hope your journey was smooth) orẸni
tá ǹ wí ó dé (the person we
are talking about has arrived),etc.Theseare commonly used among the Yoruba
drummers and the sounds are easily decoded by listeners.
It was gathered during our interview with chief Adewale
Laoye[ii] of Ede
kingdom in Ọsun state that dùndún or ìyá-ìlù played communicative roles
during the reign of ỌbaLáoyè the Tìmì of Ẹdẹland. When the
colonial masters came to visit the king, even at the palace gate, the king’s
drummers have informed the king through their drums that the white men were
around. As the white men climbed up to meet the king in the palace, it was observed
that their cars were wrongly parked outside, as the meeting was going on, the
drummers again informed the king about the wrong packing through drum language.
Ọba Láoyè (who was a drummer before he became the king) told the
leader of the colonial master that their car was blocking the road. The
visitors were amazed, they wondered how the king knew that they were blocking
the road without him getting out, also no one moved closed to inform him about
it. The king told them that his drummers informed him with drums.
Reservoir of Yorùbá oratures:
Some Yorùbá oral literatures like praise words (oríkì),
proverbs (òwe) and other axioms and aphorism are accurately kept in the drum
language. That is why professional drummers find it easy to dabble into any
Yorùbá praise poetry of individuals that they know his or her lineage.
Yorùbá drummers are versed in numerous praise poetries and proverbs. There
was some sacred information among the Yorùbá people that can only be
communicated with drums like bàtá, dùndún or ìyá-ilù.
Information like death of a king, curfews and so on are not communicated
verbally.
Another instance that is analogous to the story of ỌbaLáoyè
is the one that Mrs. SuwebatỌlániyí Raji told us during our interview with
her some years ago. This aged woman told us how drummers saved a performing
magician named Ṣàngóròdò[iii] on
stage. According to her, Yorùbá travelling theater practitioners (pidánpidán) used to travel to towns
and villages to perform for kings and village heads.It happened in the olden
days when tax collectors used to travel to the villages to fish out tax
evaders. On that fateful day Sàngóròdò was performing his magic, his
drummers and the audience werehailing him with drums and applauses. Suddenly
tax collectors appeared they joined the audience watching him dancing and
performing his magic. These tax collectors too were enjoying his performance
but they had it in mind that immediately he finished his performance they will
arrest him if he could not show his tax receipt. The drummers identified them
among the audience, immediately they change the rhythm of their beat to warn Ṣàngóròdò
about the presence of the tax collectors. The drumming goes thus:
|
Kí ni ká
tigbọ́ |
How do we
explain? It is unheard of |
|
Pólówó
orí mú Ṣàngóròdò lọ |
That tax
collector arrested Ṣàngóròdò |
|
Olòsì
bí omiàmàlà |
Stupid
people like àmàlà water |
|
Olòsì
bí omiàmàlà |
Stupid
people like àmàlà water |
|
Sàngóròdò
má ṣàfira |
Ṣàngóròdò
do not waste time |
|
Ó yá
parìdàrìdà gbéranílẹ ọjọ́ ń lọ … |
Display
your dancing skills time is not by our side |
Members of the audience and the tax collectors were busy
dancing to the rhythm of the drums but Ṣàgónròdò understood what
his drummers were telling him. He stylishly changed his dancing steps as if he
wanted to entertain them in another style. He danced off the stage and heading
towards the nearby bush in the village, his drummers followed him as if they
wanted to inspire him more until all of them escaped into the forest. The tax
collectors were dumbfounded as the beating suddenly stopped and Ṣàngóròdò
and his drummers have vanished. This was how drummunication saved this popular
magician from arrest.
Phonological rhythm of Yorùbá Talking
drum (Ìyá-ìlù)
On the communication and oral perspective Yorùbá talking
drums like gángan and ìyá-ìlù mimic the tonal sounds of
Yorùbá language. As earlier mentioned, Yorùbá language is phonologically
tonal which immensely contributes to meanings, and guide against ambiguity in
pronunciation of words. These tones are high, mid and low tones. The tones are
represented with these symbols:
High / m:
Mid - r:
Low \ d:
They are the tone marks on syllables or vowels of Yorùbá
words. Similarly, Yorùbá talking drums too are being guided by these tonal
sounds when drumming. In other words, Yorùbá talking drums can effectively
mimic anything that can be communicated from mouth. Yorùbá professional
drummers always like to show their dexterities and expertise in praise songs
(oríkì) through drumming. This is because of the musical embellishments and
inspirations that go along with the rhythm of drums. Yorùbá traditional drums
also serve as reservoir of historical events and ancestral lineage. Euba (1990) illustrates how drummers use
drums to chant praise poetry, greetings and pass information and other messages
through dùndún drum. Apart from these three major tones which form the
bedrock of Yorùbá words, Yorùbá talking drums especially ìyá-ìlù
or dùndún can perfectly mimic exotic music which comprises of many
tonic sol-fa which are d: r: m: f: s: l: t: d: (do: re: mi: fa: so: la: ti:
do:). These musical scales are very germane in teaching music. A skillful and
expert Yorùbá dùndún can mimic thesetones. In many political
campaigns especially in the southwest of the country, professional Yorùbá
traditional drummers have sung National Anthems with talking drums perfectly.
In a nut shell the rhythm of exceed the trios’ tones (d: r: m:) it cuts across
other musical genres.
Semiotic Ambiguity
in Drummunication:
Language of drum is always coded and it takes a lot of
linguistic and cultural competence to understand the actual message a drummer
is passing across to the audience. That is why one of the Yorùbá axioms says
no one understands the language of drum better than the drummer that beats the
drum (Kò sẹní mèdè àyànbí ẹni
tó mú ọ̀pá rẹ̀ dání). Finnegan (1970) agrees that drums mimic the
tonal patterns of speech yet drum languages can be either translated or
interpreted to various meanings which may or may not tally with the initial
meaning of the drummer. Therefore, proper understanding the coded language of
drum is based on context, culture and competence in language. Ajibade (2006)
observes that not all the languages of drum can be linguistically, contextually
or culturally decoded. He said in his article titled “The drum as the Voice of
the gods” certain drum signals cannot be understood purely linguistically
because their full meaning emerges only in the ritual or sacred contexts. Our
take on his submission is that the scholar is still corroborating the crucial
role of context, culture and language in understanding the drum language.
The Place of Context, Culture and
Language in Decoding Drum Language
Oladapo (2015), drawing on Finnegan (1970), explains that
drum language can only be accurately interpreted within its social and
situational context. As Finnegan notes, a single drum rhythm may communicate
different messages depending on the setting. Oladapo illustrates this in his
own analysis, showing how ambiguous translations of certain drum patterns can
obscure or distort the drummer’s intended meaning.
A dùndún drummer drummed to advertise Nigerian
Broadcasting Station in English thus:
“This is Nigerian
Broadcasting Station” (m: m: d: d: m: m: r: r: m: m: r: d:) but the audience or the listeners gave it different
translation and interpretations that are different from what the drummer was
saying.
Some
of these interpretations are:
|
Ó jọ̀gẹ̀dẹ̀ dúdú inú ń ta bònùn |
He ate unripe plantain and his stomach was swelling up |
|
B’olúbàdànbá kú ta ni ó joyè? |
When Olúbàdàn dies who becomes the next king |
|
Wẹ́rẹ́wẹ̀rẹ̀wẹ́rẹ́ ọmọ yín ń jalè |
Gradually and gradually your ward is stealing |
|
Bello Gbàdàmọ́sí olórí olè |
Bello Gbàdàmọ́sí the kingpin of robbers |
|
Kò sónígbèsè níbí ẹ lọ sílé kejì… |
Nobody is a debtor here go to the next house |
Oladapọ, 2015: ivx)
Another instance of ambiguity of drum language emerges in
the poetry of Adebayo Fálétí titled Oníbodè
Lálúpọn. Oníbodè Lálúpọn was a fierce custom officer who was in charge
of the border between Ibadan,LálúpọnandÌwó town (which are towns
under Ibadan). There was a professional drummer who used to shuttle between the
three towns to entertain people. This drummer was the only person always
allowed freely to pass through the border without been harassed because he
loved his artistic skills in drumming. Whenever he was entertaining people, he
always used his drum to appreciate the kindness of Iwo and Ibadan people to
him. While doing that, he also used to appreciate Oníbodè Lálúpọn his
friend who even always entertain him with food and drinks before allowing him
to pass. The drumming goes thus:
|
Mo jeun Ìbàdàn mojẹunÌwó r: r: r: d: d: d: r: r: r: d: m: |
I ate the
food of Ibadan people; I ate the food of Iwo people |
|
Mo túnjẹunoníbodè tiLálúpọn r: m: r: r: m: r: d: r: m: m: r:) |
I also ate
the food of Oníbodè Lálúpọn |
One
day his enemies went to Onídodè Lálúpọn to black paint him before the
fierce custom officer. They accused him of using his d: r: m: to abuse Onibode
Lalupọn every time he came to Iwo. The enemies changed the rhythm of the drum
to an abusive one like this;
|
Ẹ wẹnuÌmàdò ẹ wẹnuÀáyá
|
Look at the mouth of chimpanzee, look at mouth of monkey |
|
Kẹẹ wá wẹnụ Oníbodè tiLálúpọn |
Then look at the mouth of Oníbodè Lálúpọn |
Oníbodè Lálúpọn truly was an ugly man who looked like a
chimpanzee or monkey. He was so furious when he heard this and he promised to
deal with his drummer friend when next he comes. On that faithful day as the
drummer came, he started hailing him with the same rhythm as he always did but
he was welcome with serious flogging by friend Onibode. The drummer asked him
the offence then Onibode too asked him why he has been abusing him with drum
since all these days. Later the drummer told him how he has been telling people
about his kindness to him both in Iwo and Ibadan. The drummer now interpreted
what he has been saying with his drum to Onibode who later begged him and
apologized for his ignorance.
Nketia (1963) too details that without good knowledge of
tonal patterns of a language it will be difficult to effectively decode the
meaning of drum language. In his own submission Euba (1990) maintains the fact
that understanding the language of drum requires cultural competence. It also
requires the ability of the audience to interpret the cultural associations
embedded in the drum. Truly, only those who are versed in cultural worldview
can fully grasp the meaning of drum language both denotatively and connotatively.
Culture provides the symbolic framework that aids the meaning of drum messages.
Also, without context which refers to the immediate social, physical and
situational environment in which the drummunication is taking place, listeners
or audience may misunderstand the tone, pace or phrasing of the drum.
Understanding the language structure can greatly help in accurate
interpretation of drum message.
6. Conclusion
This study has demonstrated that drummunication, communication
through drums, is a significant extension of linguistic knowledge beyond
conventional verbal interaction. It offers insights into the social structures,
belief systems, and rituals of communities while preserving and transmitting
indigenous knowledge, including oral traditions, histories, and proverbs.
Drummunication also functions as an alternative system for disseminating
information, particularly in rural areas where modern technologies are limited.
The integration of computer technologies has further enhanced drummunication,
with percussion rhythms of the dùndún, gángan, and bàtá drums being
digitized and incorporated into musical performances.
This paper has critically examined drummunication as a vital
African contribution to indigenous knowledge systems and oral traditions. The
social, religious, and linguistic roles of various Yorùbá drums were
highlighted, alongside analyses of drum language semantics and the potential
ambiguities in drummed messages. The study underscores the need for the
pedagogical integration of drummunication into African school curricula, from
primary to tertiary levels, through subjects such as music, language, and social
studies. Government support for academic research in indigenous communication,
as well as the inclusion of drummunication in African literature, media, and
film, is crucial to ensuring that younger generations appreciate and preserve
traditional values while showcasing the richness of African orature globally.
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[i]Interview
with Mr. Isiaka Ayanwole, Gbongan, Ayedaade Local Government, Osun State, June
2023.
[ii]
Interview with Chief Adewale Laoye,Ede Kingdom, Osun state, November 28, 2023.
[iii]Interview
with Mrs. Suwebat Olaniyi Raji, Arogundade Village, Odeomu, Ayedaade Local
Government, Osun State, June 2, 2023.
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