African music is known for its rhythm, depth, and cultural richness. Central to many traditional African musical expressions is the talking drum, an instrument renowned for its ability to imitate human speech through pitch and tone variations. Its integration into contemporary African gospel music prompts an important discussion: does this ancient instrument enhance the musical experience, or does it risk being an incongruous element?
The answer to this question is based off of people’s experiences, perspective and even churches’ doctrinal knowledge. For example, churches like Christ Apostolic Church have always frowned at the use of talking drums in church because they believe it has mythological powers as it is often used by traditional worship. But times have changed, a lot of the gangan drummers we see today are not even from the Ayan lineage. That means they are simply talented drummers who want to use their talent to praise God.
The talking drum, known as gángan in Yoruba, serves as more than just a percussion instrument; it holds a significant place in African heritage. This instrument has been used for centuries to communicate messages, convey oral histories, announce ceremonies, and lead community events. Thus, the talking drum functions as a voice for the people. When incorporated into gospel music, the talking drum contributes more than just sound; it also carries cultural identity. Its presence affirms that African worship holds validity, power, and deserves expression in its native language—through song, dance, and drumbeats.
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Praising God with traditional African instruments is appropriate and deeply rooted in history. The Bible contains numerous instances of musical worship, showcasing how the Israelites utilized instruments such as harps, lyres, cymbals, trumpets, and tambourines in their praise. Notably, King David is described as dancing before the Lord with great enthusiasm, accompanied by joyful sounds.
In a similar vein, the talking drum serves as a powerful instrument of praise in our culture. The essence of worship lies not in the type of instrument used but rather in the attitude of the worshipper’s heart and the intention behind the music.
The talking drum plays a significant role in contemporary worship, particularly during live praise sessions in churches. It serves as an accompaniment to the worship team, enhancing the rhythm of praise songs thereby energizing the worship atmosphere. What sets the talking drum apart is its conversational quality, allowing it to transcend mere background noise and actively participate in the worship experience.
Modern gospel music has increasingly incorporated traditional instruments, with the talking drum emerging as a key element in the background rhythms. Artists such as Bidemi Olaoba utilize this instrument to infuse their songs with a rich cultural essence, effectively merging African identity with contemporary gospel sounds. A notable illustration of this can be found in the remix of “Promise Keeper,” a collaboration between Sound of Salem and Bidemi Olaoba.
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The use of the talking drum in gospel music may have sparked some debate, particularly due to its traditional ceremonial associations. However, it is important to recognize that any musical instrument can serve the purpose of glorifying God, as long as the intention, message, and spirit behind its use are aligned with this goal. For example, many people believe that one of the downsides of the use of talking drums in church is the input of slangs and words that may be ungodly. Remember about two years ago, when drummers started using drums to say, ‘wa wa warisi’ during praise sessions. How about times when the drummer says lyrics or slangs generated from secular music. While, we are proud of the evolution of African praises in church, we still need to take a look at why some of the Fathers in faith or certain denominations frowned at the use of talking drum. On the other hand, it is a great addition to praise medley. To be honest, no praise session is boring with talking drum.
When the talking drum is incorporated into praise, it acts as a conduit for expressing joy. Far from conflicting with faith, it can enrich the worship experience. This highlights that African Christianity can retain its authenticity while embracing indigenous sounds and instruments rather than conforming to Western musical traditions.
There is nothing wrong in praising God with our instruments. The Israelites used theirs—we have ours too.
