The
exact date of Kumina's emergence in Jamaica is unclear. However, it is
believed to have been in existence during the eighteen century and further
developed during the mid-to-late nineteenth century with the arrival of
indentured Africans to augment Jamaica's failing plantation economy. Several
historians have cited Kongolese as the primary source of the language,
music and religious practices found in Kumina. Historical records confirm
the dominance of Central African settlers in the parish of Saint Thomas
during this period. Many Kumina practitioners acknowledge their direct
Kongo descent. They cite their origin as belonging to the "Bongo
Nation", and use such terms as "Country", "African"
or "Kongo language" when referring to the language used in their
rituals.
The language used in Kumina rituals for singing and communication with ancestors, as well as with each other, is heavily influenced by Kikongo in grammar and vocabulary. For example, the Kikongo word "kumu" means meter, melody , rhythm ,or to play a musical instrument, and is used similarly by Kumina practitioners. Another example is the word "kumuni", a compound of "kumu", which refers to a traditional dance-music found amongst the Bakongo peoples from the old Kingdom of Kongo. Note the similarity to the Jamaican word "kumina".
The language used in Kumina rituals for singing and communication with ancestors, as well as with each other, is heavily influenced by Kikongo in grammar and vocabulary. For example, the Kikongo word "kumu" means meter, melody , rhythm ,or to play a musical instrument, and is used similarly by Kumina practitioners. Another example is the word "kumuni", a compound of "kumu", which refers to a traditional dance-music found amongst the Bakongo peoples from the old Kingdom of Kongo. Note the similarity to the Jamaican word "kumina".
The
integral part played by ancestors in the religious beliefs and practices
of Kumina practitioners, offers another example of Kumina's Kongo-based
origin. Although the argument can be presented that drumming, singing
and dancing is atypical of all African regions, the fact that Kumina drummers
sit astride their drums when playing, and the similarity between Kumina
drum music and that of their Central Africa counterparts, lends further
support to the belief that Kumina's roots are primarily Kikongo (Bakongo)
in origin. Click on the picture below to hear a sample of Kongolese drumming.
The role of drumming, singing and dancing in the lives of Kumina practitioners
is reflected in statement made by Fu-Kiau, a Bakongo scholar cited in
C. Daniel Dawson's "Treasure in the Terror: The African Cultural
Legacy in the Americas."
"Drumming,
singing and dancing are a source of inspiration, energy and joy. Kongo
people drum, sing and dance to raise their families with the balance provided
by the sound of music. They drum, sing and dance to moan their dead; they
drum, sing and dance to strengthen their institutions. Drumming, singing
and dancing form a powerful "spiritual medicine" (n'kisi) that
helps one to excel at work, at war , even under oppression."
