Fear and entertainment combine in Jonkunnu.Tanya Batson, Staff Reporter
For many Jamaicans, especially the younger ones, the idea of culture is an almost mythical, elusive beast. This might be because of the opposition we enforce between perceived 'slackness' or lewd behaviour and that which is cultural. As such, the cultural item often finds itself lacking definition, or at least wearing a badly fitting one.
As such, one turns up at an event and on the programme you are offered a 'cultural item'. This often means one of two things. First, the person who put the programme together really had no idea what the performer would do, or more often it simply refers to the fact that we have the tendency to call anything that has received much reuse and no innovation since the 1960s as culture - and, of course, anything by Miss Lou. This is in part because when we say 'kulcha', we really mean folk culture.
However, Jamaica is still in possession of much of its cultural heritage, even if most of the nation is relatively unaware of it. This is in spite of the fact that the global village, epitomised by the www, does not leave much room for individual cultures.
Those who possess the technology are generally the ones who determine the language. Just like English, Dutch and French were the languages of the colonisers, the binary code of the computer has become the new global language.
This much is evident simply by visiting the Jamaica Cultural Development Commission (JCDC) festival competition, especially the traditional folk forms segment. Those who missed the finals may get their chance to see the performances at Folk Fest, which will take place on July 23 at the Jamaica 40 village. The festival highlights quite a few of these folk forms, including ring games, quadrille, maypole, kumina, revival, ni night, brukins, dinki mini, tambu gerreh and jonkunnu.
A look at the programme also indicates that many of these artforms are not really known outside of the areas in which they are practised. As such, very few entries came from the eastern region of the island and even fewer from Kingston and St. Andrew.
However, the real problem is not that Jamaican folk forms only have few practitioners. What becomes troubling is the degree of ignorance surrounding them. When a 40-odd year old woman was asked to define "gerreh", her response was, "Well mi know ole time people used to do one dance dem call gerreh". This concept of something that 'old time people used to do' shadows most of our conceptions of Jamaican folk forms.
Of course, it is important to understand one's folk culture because it is the bedrock on which the popular and other forms of culture are built. Furthermore, Jamaican folk culture is such an eclectic mix that it epitomises the national motto, 'Out Of Many, One People'.
One aspect of the culture which goes back to our European heritage is the Maypole dance. The dance was originally held annually on May 1 at the May Day fertility celebration in England. Its most distinctive feature is the coloured ribbons that are plaited into different patterns around the pole.
The patterns usually include the basket weave and a 'grand chain'. Dance groups are usually made up of 12 to 16 people and may be all female or both sexes. After plaiting and weaving the ribbons, they are then unravelled. During the plaiting and unravelling, the dance allows for individuality through the different moves that the dancers employ. Their techniques generally vary as they create their own patterns.
Anther dance which originated in Europe is the quadrille. The JCDC defines it as follows: "This is a ballroom set dance, which originated in the courts of Europe and was danced in Jamaica by the gentry during slavery. There are two styles - the Ballroom and the Camp Style - the former European, the latter the Creolised version." The commission also states that the dances are usually accompanied by mento bands, which traditionally play various traditional European tunes. This is with the exception of the fifth figure, which uses the mento.
Kumina
At the other end of the spectrum is Kumina. Kumina is the most African of Jamaican religious practices. The religion originates in the Kongo and was brought to the island by 'salt water negroes', which helps to account for its strong African retention. During a Kumina ceremony, the practitioners call upon their ancestors. In order to maintain control of the spirits present, particular parapharnelia, such as the coconut and different carbonated beverages, are used.
Kumina rituals are often performed at births, anniversaries and thanksgivings. Even so, the strange acts which occur during spirit possessions and the almost shuffling, circular dance are its most well-known features. The major instrument featured is the drum, which is used to help transport the spirits into the corporeal world. Other instruments used include shakas and the grater.
In Kumina, the dancers move in a circular pattern anti-clockwise around the drummers in the centre, inching their feet along the ground with the back held in an almost erect posture. The hips, rib cage, shoulders and arms become involved as spins, dips and breaks in the body movements occur throughout the dance. Kumina is to be found primarily in the parish of St. Thomas and to a lesser extent in St. Mary and St. Catherine.
African art form
Jonkunnu is another largely African art form which is currently undergoing a rebirth. These groups, which have almost been absent from the streets of Kingston and St. Andrew, have been occasionally returning. Originally, Jonkunnu was performed at Christmas. It has a series of characters, the most famous of whom are Pitchy Patchy and Belly Woman. Other characters include Devil, Horsehead, Cowhead, Actor Boy, Warrior and Wild Indian. Jonkunnu has a distinct rhythm, which is produced by the fife and the 'rattling drum'. The characters are famous for frightening small children, a trait they still carry.
Less popular artforms are Gerreh, Dinki Mini, Tambu and Ettu. From definitions found, Gerreh and Dinki Mini are relatively close. The JCDC states: 'Both dances are of African origin, of the wake tradition usually performed after the death of a person and up until the ninth night after the death.' Gerreh/Dinki-Mini sessions are usually held to cheer the bereaved. It is called Gerreh/Wake in the western end of the island and Dinki-Mini and Zella in St. Mary and Portland respectively'.
However, the Jamaica Information Service (JIS) adds another distinction: "Gerreh has another dimension, however, called the bamboo dance. This is dancing on elevated bamboo poles and between four bamboo poles brought together and pulled back by four crouching players."
Tambu and Ettu have even fewer practitioners. Tambu is mainly found in Trelawny, while the latter is practised by a small group in Hanover. Ettu's most distinctive feature is the 'shawling' of the dancer, as a sign of respect for her skills.
Like Kumina, revival is often linked with obeah, although they are both distinct art forms. However, unlike Kumina, Revivalism has a healthy dose of European influences. However, many young Jamaicans have probably only been introduced to Revival through the novel Escape to Last Man Peak, where they represent a dangerous singing band that emerges from the shadows and terrifies the children.
The JCDC reports that there are two main branches of Revival: Zionism and Pocomania. It differentiates between the two as follows: "Zionism is more Euro-Christian and deals with holy angels and heavenly spirits. Pocomania deals with earthbound spirits and has stronger African elements!"
However, one aspect of the folk form which is interesting, especially if you are over 25, and had not realised that it had become folk, is ring games. These ring games, which are not relegated to rings, provide significant clues into the way Jamaican children used to entertain themselves in the days before cable and Nintendo.
