Along with the different and numerous rhythm types that each nation has of its own, we also find that each nation and at times each individual rhythm is played on a specific drum. Consider it a percussion ensemble where by the use of different drums and auxiliary percussion instruments, has a meaning all to its self. To the best of my knowledge, there is not one song in Vodou where the drumming is just adlibbed. The specific rhythms that are played on a specific drum does infact have some meaning to the Lwa. No one is quite sure what the connection is other than the fact the Lwa enjoy the energy the drumming gives off and it peaks their interest. The rhythms are to be specific and precisely accurate, just as the ones that have been handed down over the many generations of drummers in both West Africa and Haiti in order for them to have any kind of affect during a service.

Some drums are played only by hand, others by hands and sticks and some use only an agida, which resembles a very small bow that would be used in archery. The heads of these drums are typically the hides of various animals and are securely fastened to the head ring or crown of the drum by using various types of wood pegs that slide up and down the drum (usually found on the Tanbou) and are used to tighten the ropes that apply tension to the head. It is maintained by the drummer playing the Tanbou will hit the pegs of the tension strings to tune and retighten the heads for sound and durability.

Depending on the rite or nation of the Lwa, the different drums are to use different animal skins or hides for ceremonial reasons.

Haiti is somewhat of a hotbed or “hub” of this type of African drumming although the focus primarily is on the countries of Cuba and Brazil where you’ll find Santeria (Cuba) and Lucumbe and Candomble in Brazil. There is a large rise in popularity in African style drumming and people in cities all across the U.S. are enrolling in classes to learn the rhythms of Africa; however the drums and rhythms are very sacred to us in the Vodou so therefore the rhythms are a very well hidden secret. Truly the only way to learn these rhythms accurately is to have some kind of connection to a society but most importantly, you must have drumming skills or a sense of rhythm or it just won’t happen!!!

Below are some of the rites and the types of drums that are used in its respective rite.

Rada rite; Boula, Segon and Manman

Petro rite; Rale and Manman (only played by hand)

Dahomey; also represents different drums, rhythm, dance and song of the Dahomey nation. Dahomey rhythms include; Wandjale, Chase and Agoni.

Drums of the Dahomey include the Katabo, Gonde and Manman which are played together with three people each using two sticks.

YaYa TiKongo; an influential family of Kongo rhythms from northern Haiti. These drums are played for Ganga and Madanlawe. The YaYa TiKongo also include a Mambo rhythm where the two goat skin covered drums, the Manman and the Rale are played by hand only.

Drums have often symbolized the power of a traditional political leader, and skilled drummers ("onigangan" in Yoruba) have held considerable status in these west African communities.

One of the unique features of the instruments is their ability to closely imitate the rhythms and intonations of spoken language. In the hands of skilled performers, they can reproduce the sounds of proverbs or praise songs through a specialized "drum language" - their dialogue can be easily understood by a knowledgeable Yoruba audience. Whether accompanying dances or sending messages, the sound of these instruments can carry many miles. Specific talking drum patterns and rhythms are also closely linked with ogun, or spiritual beings associated with the traditional Yoruba belief system originally celebrated in Nigeria and parts of Ghana. This religion (and its instrumentation and rhythmic patterns) spread to South and Central America, regions of the Caribbean and the United States during the era of the slave trade. Because of the perceived potential of talking drums to "speak" in a tongue unknown to slave traders and thus to incite rebellion, these and other drums were once banned from use by African Americans in the United States.

In Ghana, West Africa, Akan communities also highly regard a drummer who play the "atumpan", or Akan form of the talking drum. As J.H. Kwabena Nketia explains;

"he is considered the greatest of all drummers because of the breadth
of his knowledge, the skill which his work demands and the role
he plays as a leading musician in all ensembles in which the atumpan drums
are used."

Atumpan are similar structurally to the dun dun and gan gan, but Akan musicians use the tension drum heads primarily to create a descending or falling pitch on drum strokes rather to produce a wide tonal language.

This century, talking drums have become an important part of popular music in West Africa, especially in "juju", a genre which finds its roots in traditional Yoruba music, indigenous guitar bands and the British brassband heritage in Nigeria. Popular juju artists include King Sunny Ade, I.K. Dairo and Ebenezer Obey.

The Drum is like a Person;

The following exerts are from the "Angels in the Mirror" publication.

"The drums and iron are the focus of all activity of the dance. Especially since those who are possessed dance facing the drums, in whose beat is heard the voice of the Gods." -Melville Herskovits

"The Drum has a lot of power as an instrument. It is like a person, you baptize it, feed it like a Lwa. When you plan to a drum, you have to perform a special ceremony, to ensure that the right spirits get into it. You go to the wood with your assistants as if you were having a Vodou ritual under the peristyle. You light a candle and you draw a veve (the veve of Legba, the entity that opens the cosmic gates) at the foot of the tree you intend to fell. Then you offer food, liquor and water, and you pray. It is only after you have done all these things that you are allowed to cut down the tree to make the drum. After the drum is made, it must be baptized, the same way you baptize all other ritual objects."  -Master Drummer Ti Be, interviewed by; Gerdes Fleurant