What is Kumina?

Kumina is the most African of the cults to be found in Jamaica, with negligible
European or Christian influence. Linguistic evidence cites the Kongo as a specific ethnic
source for the language and possibly the music of Kumina. There are varying theories
as to whether it was brought with late African arrivals after Emancipation, or whether it
was rooted in Jamaica from the 18th century, and deepened by the later African
influence.

The cult is to be found primarily in St. Thomas and Portland and to a lesser extent in St.
Mary, St. Catherine and Kingston. Kumina ceremonies are usually associated with
wakes, entombments or memorial services, but can be performed for a whole range of
human experiences (births thanksgivings, invocations for good and evil).

Kumina sessions involve singing, dancing and drumming and are of two general types:
bailo the more public and less sacred form of Kumina, at which time songs are sung
mainly in Jamaican dialect; and country-the more African and serious form, and at
which time possession usually occurs.

Male and female leaders must exhibit great deal of strength in their control of zombies
or spirits and assume their positions of leadership after careful training in the feeding
habits, ritual procedures, dances, rhythms, and songs of a variety of spirits, by a
previous King or Captain and Queen, or Mother.

One is said to catch Myal when possessed by one of the three classes of Gods-sky,
earthbound, and ancestral zombies, these last being the most common form of
possession. Each god can be recognized by the initiated by the particular dance style
exhibited by the possessed, and by songs and drum rhythms to which it responds.

The two drums used are the Kbandu and the Playing Cast. The Kbandu (battery of
drums), larger and lower pitched, on which the rhythm is played with emphasis on the
first and third beats; and the Playing Cast or treble (lead drum, on which the most
complicated and specific spirit basic rhythms are played. In the centre is a bottle of
rum used to anoint the players and instruments, which is usually done with an
incantation before the ceremony. The drummers on the Playing Cast is afforded much
respect with the cult since he must be both knowledgeable and competent in playing the
variety of rhythms which invoke, repel, and control the many spirits or deities. The
Queen plays a similar role in her selection of songs and often engages in call and
response (with the King/Captain) type singing of both bailo and country songs.

Other instruments employed at dance music sessions include Scrapers (which can be an
ordinary grater), Shakas, gourd or tin can rattles, and Catta Sticks which keep up a
steady rhythm on the back of the drum or on the centre pole of the dancing booth. The
drummer sits on the body of the drum while a player behind uses the Catta Sticks (c.f.
expression Catta Sticks). Hand clapping often accompanies the Catta Sticks. The
group heard in the first selection, who consider themselves the most authentic, also use
a gourd which they blow across and a bamboo stamping tube.

At Bailo dances, the spirits who are called, more often than not make their presence
known by mounting (i.e. possessing) a dancer; whose given dance style helps in
identifying the spirit, but can span all possibilities of movement. The basic dance
posture constitutes an almost erect back and propelling actions of the hips as the feet
inch along the ground. The dancers move in a circular pattern around the musicians
and centre pole, either singly or with a partner. The arms, shoulders, rib cage, and hips
are employed, offering the dancers ample opportunity for variations and interpretation
of the counter-beats or poly-rhythms. Spins, dips, and breaks on the last beat are
common dance variations.

The journey of the spirits from the ethereal to the mundane world is no less ritualized
than other Kumina elements. Once invoked by music and other ritual paraphernalia
(rum with blood, candles, and leaves) the spirits are said to hover near the dancing
booth. If successfully enticed they travel down the centre pole into the ground, then
through the open end of the drum to the head of the drum, where the drummer and
Queen must salute its presence. The spirit then re-enters the ground, from where it will
travel up the feet of the person selected to be possessed, along the whole length of the
body, culminating with full Myal possession in the head of the individual.

Kumina in Jamaica
Kumina is described as one of the most African religious expressions in Jamaica.
Standing the test of time, Kumina has managed to survive the influences of Western
culture. The language and the dances of Kumina are so undiluted that they can be traced
back to tribes in the Congo in Africa.

The influences that shaped Kumina landed in the 1850s with the arrival of African
indentured immigrants from the Congo region of Central Africa during the immediate
post-emancipation period. Kumina took root in St. Thomas where a large number of the
immigrants settled. However, the religious spread to the parishes of Portland, St. Mary,
St. Catherine and Kingston.

Kumina rituals are usually associated with wakes, burials or memorial services, but can
be performed for a whole range of human experiences. Kumina dances are used when
help is needed to win a court case or for winning a lover.

The dances associated with Kumina are also viewed as an intrinsically Jamaican art
form and are performed for entertainment value by several Kumina groups and even the
distinguished National Dance Theatre Company.

However, Kumina is sometimes viewed with suspicion as a form of witchcraft or bad

obeah because of the trance-like state some of the participants fall into during the
ceremonies. Those that are more informed about the religious expression have
rubbished these superstitions but have warned against misuse of Kumina rituals.

Sounds of Kumina
Instruments

The captivating sounds of Kumina emanates from several rudiment instruments, some
that were transplanted from the Congo and others that were repurposed for these
ceremonies. Here is a list of the instruments and songs used in Kumina ceremonies:

Kbandu (battery of drums)

Larger and lower pitched drums, on which the rhythm is played with emphasis on the
first and third beats.

Playing Cast or lead drums

The most complicated and specific spirit basic rhythms are played on this set of drums.
The drummers on the Playing Cast are respected as they must be knowledgeable and

competent in playing the variety of rhythms which invoke, repel, and control the many
spirits or deities.

Scrapers

An ordinary grater that is used as an instrument.

Shakers

A gourd or tin can rattles.

Catta Sticks

Used by the 'racking men' to keep up a steady rhythm on the body of the drum behind
the drummer.

Songs
Singing is a critical part of Kumina ceremonies and is divided into two types, Bailo and
Country.

Bailo are songs in Jamaican creole and are less sacred, these songs are used for
performances and exhibitions. On the other hand, Country involves the use of the Ki-
Kongo language and is used to communicate with the spirits during mayal.

The Queen engages in call and response with the King/Captain, singing of both Bailo
and Country songs. Call and response means one line or verse is "raised" or sung then
repeated by others in response.

In Edward Kamau Braithwaites examination of Kumina in the Jamaica Journal, he says

that persons who perform Kumina for entertainment purposes are warned against using
particular drums. It is also recommended that certain words in the songs be changed.

Dances
The basic dance posture constitutes an almost erect back and propelling actions of the
hips as the feet inch along the ground. The dancers move in a circular pattern around
the musicians and centre pole, either singly or with a partner.

The arms, shoulders, rib cage, and hips are employed, offering the dancers ample
opportunity for variations and interpretation of the counter-beats or poly-rhythms.
Spins, dips, and breaks on the last beat are common dance variations.
 Picture of Kumina

The influence of
kumina on the
Jamaica
society

Kumina, commonly
called a traditional folk
form to Jamaica has its own history before even reaching
Jamaica. It is said that
indentured
laborers from Africa
came to Jamaica after
the after slavery-
emancipation
period looking for
work. They came from the
Kongo region in Africa with
their religious and secular beliefs, language, behaviors and practices. Knowing this, I
have come to realize how much the emergence of Kumina has
influenced our Jamaican society and on a mass scale the
world. The world? You may ask, yes the world,
because this is where reggae is
rooting out from. If you may
ask why reggae has
influenced the world? It is
because Bob Marleys music
is reggae and he has
impacted the world with his music and has penetrated my brain to higher heights of
over standing myself, my roots, with its trance like harmonious sounds which brightens
my soul and brings salvation to this world. No other music affects me in this way so I
know this is real music, the music from ancient times is of major importance to my
roots.

First I must really explain what

Kumina is in simple for all our
understanding as to why this art form is
so powerful. Usually when performing
Kumina you must understand it is a
ceremony being conducted because
its a powerful spiritual ritual, that
if its performed wrong, there will be grave consequences. It is usually associated with
wakes-funerals, entombments or memorial services, but can be performed for a whole
range of human experiences such as births, thanksgivings, marriage, major
achievements, healing, protection, court cases, the dispensation of justice and
invocations for good and evil; the focus at all times is the evoking of ancestral sprits.
This makes me wonder about the world and its mysteries that are hidden from us
(todays society) from the past of what we were. Magic and witchcraft which I usually
watch movies to see or hear about, thinking that it was fiction and could never happen; I
have come to realize that its much bigger than fiction. Drumming, singing (chanting),
dancing is performed for the ritual, the drum and the drummer is the main
communicator with the sprits and the Queenie (queen, mother) are the ones who play a
dominant role in procedures in the dance, rhythms, and songs of a variety of sprits to
invoke their presence. Once invoked by music and other ritual paraphernalia (rum with
blood, candles, and leaves) the sprits are said to hover near the dancing booth .If
successfully enticed they travel through the center pole, to the drum, to the queenlier
where the drummer and the queen salute its presence and continue with the procedures.
What Im saying is that its a complex ritual of the past African people in-which we know
nothing about in this present day. Jamaicans of today couldnt care less of old and
history, we have changed over the generations for the worst, not knowing anything of
our past, we are definitely on a blind path. Anything can just easily come and hold our
hand (influence us) and lead us to destruction. I suggest we all take off the blind-fold off
our eyes and see for ourselves, talk for ourselves, walk for ourselves and finally learn for
ourselves.

Picture of Symbols and instrument used in kumina

Kbandu (battery of drums)

Playing Cast or lead drums

Scrapers
Shakers

Catta Sticks