Philbert was raised in San Miguel de Padron, Cuba by his grandmother Yeyita. He was initiated to Regla de Ocha, sworn to Añá and received a set of fundamento all before the age of four and claims to be the first child initiated into the Añá fraternity (a procedure previously considered taboo because a child’s sexuality can be undetermined until puberty and homosexuals are prohibited from entering the omo añá brotherhood). Philbert began playing batá when he was four under the guidance of Andres Chacon and came to Miami when he was eighteen in 1995 by which time he was already an established drummer, akpón and dancer. Although he initially played with Ezequiel Torres and Juan ‘El Negro’ Raymat he mainly worked with the late Julito Balsinde. He has established himself in Miami as an Olu batá (drum owner), ritual musician and band leader of the group Philbert Armenteros y Los Herederos.
(Interview in four parts conducted by Vicky Jassey with David Pattman, Miami: 23rd March 2017). |
Philbert Armenteros talks about what it means to be a batalero, the deity Añá and its significance in Regla de Ocha and how the combination of drumming, song and dance has the power to create something inexplicable.
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Philbert explains what it was like for him when he first started working as a ritual musician in Miami he talks about Julio Balsinde who he worked with closely and about the oricha singers that were working in Miami when he arrived.
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L-R: Rodney, Philbert Armenteros, Yoan Arguelles Gonzalez, Cuba with the tambor de fundamento , Añá Ogodo, belonging to Philbert's godfather, the late Ahmed Diaz. (Photo courtesy of Philbert Armenteros 2014)
In the following clip, Philbert explains the importance of hierarchy in the ritual musical tradition, why he feels wearing the right clothes is important and the value being a ritual musician has given to his life.
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Philbert talks about the value of religious music to Cuban culture and why there are contentions among the Añá fraternity. He talks about the restrictions that were placed on ritual performance and Regla de Ocha in the early 90s in Cuba and the sacrifice his grandmother made for him and the religion. He talks about the first, second and third generation of drummers and the current popularity of the religion and musical tradition globally.
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Philbert Armenteros playing Iyá in a tambor with akpón and omo añá Vitikin Suuru, Miami. (Video courtesy of Philbert Armenteros 2017)