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Kumina
Kumina, also known as Kalunga or Kaduunga, is a Kongo-based religion primarily found in the Parish of St. Thomas in the eastern part of Jamaica. It is quite likely that Kumina emerged there as a consequence of the presence of large numbers of Africans from the Congo-Angola region. Although other African religions existed there as well, the numerical superiority of the Africans from the Congo-Angola region allowed their religion to be dominant and to integrate aspects of other African religious traditions. The practice of Kumina is also attested in the Parish of St. Mary and St. Catherine, but to a lesser degree. Although the origin of the word kumina is still debated, one likely source is kambinda, the name of a particular Bantu people.
Although Kumina followers believe in the highest God, Oto, also called King Zombi (from the word Kikongo nzumbi, meaning “spirit, God”), their religion evolves most critically around ancestral spirits and veneration. Those ancestral spirits, named zombi, are called on during ritualistic ceremonies to inhabit the bodies of living humans and deliver messages through them. Adepts of Kumina believe that when a person who had once been mounted by a spirit while dancing during a ceremony dies, his or her spirit would join the ancestral world and would come back to Earth to mount someone. Otherwise, on dying, their soul would go to Oto, never to find its way back onto the Earth, an unenviable fate. This entry looks at the religion's worship and historical context.
Ritual Ceremonies
Kumina ceremonies are held in the form of ecstatic dance, as a way for the participants to gain knowledge from the ancestors. The dancers receive messages from the ancestors through spiritual transcendence known as mayal. The ceremonies take place during the evening hours and may well last until sunrise. The most important elements of Kumina worship involve music, dancing, spirit transcendence, and healing through prophecy.
Like much in the African religious tradition, drumming plays a paramount role. The lead drum is called kbandu and is accompanied by shakas, graters, and catta sticks, as well as singing. Kikongo words are common in Kumina songs. Drumming is a central part of Kumina because it is used to communicate with the spiritual world of the ancestors. The rhythms of the drums call the ancestors to commune with the participants of the Kumina ritual.
The repetitive, circular-patterned dance used during the ceremony brings about energy in the participants that allows the ancestors to have better accessibility to their body and spirit. The dance pattern is relatively simple: It involves dancers moving in a circular fashion anticlockwise around the drummers. At first, the dancers move in a syncopated and slow manner and then gradually accelerate their motion. Over the course of the ceremony, the dancers become increasingly excited and fast-paced, which helps to move them from this Earthly plane and into the realm of the ancestors through transcendence.
In Kumina, transcendence is called mayal, whereby the dancers' personalities change and become unusual. Their voices become distinctly different because of the external supernatural ancestor who inhabits their body. During transcendence, the dancers may be able to perform extraordinary physical acts, such as walking while in a trance and speaking in a different language. Usually the participants use the African language during Kumina religious ceremonies. While in a state of transcendence, the dancers receive messages to help the living achieve health and balance in their lives and relationships. Such messages are known as prophesizing.
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