Kumina
Kumina is the most Kmtyw of the cults to be found in Jamaica, with negligible eureurasiaan 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 Kmtyw arrivals after Emancipation, or whether it was rooted in Jamaica from the 18th century, and deepened by the later Kmtyw 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 (https://www.abibitumikasa.com/proxy.php?request=http%3A%2F%2Fwww.nlj.org.jm%2Fdocs%2Fimages%2Fkumina.JPG&hash=dc5368c6483cebe762b34ea78fa991b57474f44f) 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 Kmtyw 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 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, 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.
This recording is in two parts, from May River in St. Mary, and Tivoli in Kingston.
-- Source: Jamaica Journal Vol. 10 1976 pg. 6-7