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Boundaries
Jeano Edwards
MA: Design:
Expanded Practice
Goldsmiths,
University of London
Dedicated To
My Late
Grand Mother
Noami Robinson-Steers
Contents
Introduction 9
Preservation
‘Can there be a global blackness that connects, 22
articulates and synchronises experiences and
& Its Place In The Context of Kumina
histories?’
The Musical Feedback 28
Loop System
Design,
Research & Reflection 30
Bibliography 33
Creators
Jasmine studies design at Goldsmiths and is one of my dearest Ras Happa is a Jamaican Master Drummer, he was I was Introduced to Ras Prince by Ras Happa Ras Cambell (seen in the center) and his Kumina group
friends. She became interested in the project because of her love our London based Kumina expert and point of ref- during a drumming session we had organized was the base on which the project was built. They provid-
for music and her curiosity about the sounds and practices of Ku- erence for the project. He is the person responsible to both document and to host discussions ed live sessions while I was in Jamaica, which tremendous-
mina. She is the main vocalist and sound engineer on the project. for providing the core drums that acts as a heartbeat in regards to the significant of Kumina. Ras ly helped contextualize the project. They are responsible
Her involvement in the project was invaluable as she serves as the or pulse throughout the main sound pieces on side Prince was our Bandu drummer for the night for creating the field recording on side ‘B’ of the record.
primary technical backbone for everything audio. ‘A’ of the Record. and was both open and insightful.
Javed WU-LU is a South London based band headed by I am the Creative Director and Fa-
Saxophonist Miles. Miles is half Jamaican and was interested in cilitator of the project. My role was
Jamaica/New York. the project from the onset. WU-LU is responsible for to facilitate the conversation and ex-
Javed is a Jamaican saxophonist who was inter- the amazing bass on track one of side ‘A’ of the record. changes between people across the di-
ested in exploring the sounds of Kumina through aspora, as a means to question the idea
his lens and practice. He provided the lovely of preservation as it pertains to cultur-
harmonies of the saxophone to complete the al practices and in particular Kumina.
rhythms of Kumina.
Introduction
Kumina, at least the performance aspect of it - drumming, danc-
ing, singing - was widely practiced throughout the island. Its de-
I would like to start by offering some context, as I believe this will aid in helping cline was initiated by the introduction of the sound system into
the reader understand the underlying motives driving my inquiry. I was born in Jamaica’s soundscape. By the time I had my first exposure to Ku-
Saint Thomas, a parish in the remote eastern part of Jamaica. I was raised by my mina - around the late 1990s- it was already on its last leg. I do
Grandmother, a direct descendant of the Maroon Tribe. The Maroons are often not attempt to discount the role nostalgia played in my decision
described in both literary and popular cultural productions, as serving an ‘essen- to center my major project around Kumina. However, beyond
tializing’ function. Not only do Maroons embody positive values such as defiance, nostalgia was the unmistakable fact that this part of my culture
resistance, and autonomy, but they represent an original cultural authenticity never was fading into obscurity. While my initial response to this im-
compromised by the experience of plantation slavery (Bilby, “Making” 265). The pending loss was an intense need to somehow preserve this part
aforementioned qualities of the Maroons, along with their rich African spiritual of my childhood and culture, there also immediately arose the
practices were elements that played a major role in my upbringing and in forming question around “preservation”. The Oxford English Dictionary
my identity. defines preservation as: To Maintain (something) in its original
or existing state, to retain (a condition or state of affairs), and to
In Saint Thomas, not far from the Maroon communities, live a group of people maintain or keep alive (a memory or quality) (“Preserve | Defi-
who refer to themselves as ‘Africans’, members of a separate ‘nation’ which they nition Of Preserve In English By Oxford Dictionaries”). All of
sometimes call the Bongo Nation. Like Maroons, they have retained a distinct iden- these definitions reflected my long-held views on what preserva-
tity, and an African-based religious tradition, Kumina, with its own music, dance, tion means. I knew I wanted to contribute to the preservation of
ritual and cult of possession by ancestors. There has previously been confusion in Kumina but on the other hand, I knew that any conscious effort
regards to the origins of Kumina. However, recent studies have shown that Ku- to “preserve” would ultimately alter the very thing I was looking
mina was introduced to Jamaica shortly after emancipation by the Bongo Nation to retain.
who arrived on the island between 1841 and 1865 (Bilby, “Two Sister”).
In this publication, I will examine the concept of preservation as it
My first experience of Kumina came from a visit to a ‘nine-night’ in Yallahs, a relates to maintaining and propagating cultural practices such as
community in St Thomas. Kumina sessions usually begin on the 9th night of a Kumina. This is in contrast to the more common interpretation
nine-night - a wake, celebrating the life of the recently deceased. It was like nothing of preservation which simply means; maintaining (something) in
I had seen before; Incredible pounding rhythms, guiding the dancer’s silhouettes its original or existing state (“Preserve | Definition Of Preserve In
as they swirl, sweeping pleated cloth through the air. All revolved around a single English By Oxford Dictionaries”). It is imperative to make clear
candle flame, placed in the center, between two drummers whose hands and drums to the reader that the investigation will be undertaken through a
have been bathed in plantation rum. It was an experience that has stayed with me thematic lens - investigating the underlying themes within Kumi-
as vividly as it had happened that night. na instead of primarily looking at its distinct physical attributes
or aesthetics. My role in this effort will be that of a facilitator,
designer, and creative director/controller. Beyond exploring the
central concept mentioned above, I also seek to explore the role
of a designer in an anthropological and sociological setting.
Kumina:
A Thematic Journey
I was not born as a part of the Bongo nation, I do not know how to
speak the Bongo man’s language nor have I ever played the drums,
but when I hear Kumina, when I assemble and enter the ritualistic
space where the drums take control of your heartbeat, your mind,
and body, at that moment I understand it. Not in terms of aesthetics
- the drumming pattern, the language or even the way they dance -
Instead, I understand what it represents, and what it represents goes
far beyond the things I’ve just mentioned.
The fabric of Kumina is made of many thematic threads. The under-
lying themes that drove Kumina are identical to those of other Black
Atlantic, Afro-Spiritual traditions. The difference is the way in which
the threads are woven, the various pattern they have from through-
out the history of the African diaspora. A thematic journey means
we are not vainly plagued by the nuances of specificity in regards to
the aesthetics and particularities in the execution of the practice. In-
stead, we are able to take into account the local nuances of Kumina
in regards to their relationship with specific themes which enable us
to connect other practices within the rest of the Black Atlantic.
The objective of this thematic journey is multifaceted. My aim is for
the reader to fundamentally understand each theme and its signifi-
cance. And by extension understand how the themes are instrumen-
tal in forming the structural backbone which represents the ontolog-
ical significance of Kumina within the Jamaican society.
Location
Dislocation
The theme of location and dislocation represents two sides of the same The nocturnal assemblies that were Kumina ceremonies were
coin in the context of the African diaspora. Our history in the Atlantic freedom spaces, communal spaces set up throughout Colonial
is one that is deeply linked to a psychological and physical dislocation Jamaica. The ceremonies required the participants to psycholog-
of the mind and body respectively. This initiated a perpetual search, in ically, mentally and aesthetically ritualized their bodies, their per-
which the black man ceaselessly tries to locate himself in the world. Lo- sons to repossess themselves from their enslavers by performing
cation and dislocation are major components which act as an adhesive rituals which enabled their ancestors and gods to possess them
for the fragmented Black Atlantic and is, therefore, a crucial element in (to guide them, to communicate with them, instruct them).
understanding cultural practices throughout the region.
Location/dislocation is also a fundamental ingredient in This provided a practice through which the dislocated were
shaping our musical sensibilities. Ernest Brown refers to this able to locate themselves by ontologically desecrating and
phenomenon as ‘musical pan-Africanism’ – ‘a recognition commercializing their bodies to ritually become gods, kings,
of the resonance in musical style and/or content among the queens, sovereigns and free persons cultivating an ethos
peoples of Africa and the African diaspora’ (Bilby, “Making which enables them to resist and to cope with postcolonial
Modernity” 284). The concept of musical pan-Africanism is racism and disenfranchisement (Hutton, “Forging Identity”
one that we will be returning to throughout this publication. 131).
looking at the transition from Kumina believe this re-interpretation of preser- Though there are numerous ap-
The importance of embarking on a changed since its introduction. My of having a shared thematic history and
sessions into a new emerging ontologi- vation does is to help move us away or proaches a designer could take to test
thematic journey of Kumina was not views on preservation are one that how the concept of musical pan-African-
cal musicking space which embodies the beyond the surface glow of nostalgia or or implement this theory, we will only
to just list and speak on the various the- must take into account the context in ism acts as a mechanism through which
old but acknowledges and seeks to co- aesthetic preferences. It places us inside be looking at one - The MFLS. The
matic elements that Kumina consists which the practice being preserved ex- one can reference from in order to tackle
exist with the new. Hutton description the internal structure, inside the en- Musical Feedback Loop System is one
of. It was a process through which I isted in, the role it played in that socie- contemporary social/cultural problems.
of the sound system culture and its im- gine that drives the machine. Through possible way the concept of praxerva-
was able to understand the motives that ty and the underlying themes and mo-
pact paints a clearer picture of this idea: this sort of mechanical comprehension tion can manifest itself. The MFLS is
drove Kumina. A process that allowed tives that drove its propagation. With This can clearly be seen from Bilby’s
of the practice, one is removed from a combination of electronic transmis-
me to look beyond the aesthetic and this foundation, I believe preserva- conversation with Wailing Roots - a ma-
“thousands of Jamaicans constantly the role of a spectator and is instead sions of pulsations and rhythms which
physical aspect of the practice, whether tion in the context of this publication roon/reggae band from French Guiana:
journeyed into ritualized dance spac- placed in the seat of the operator, the is, in fact, a transatlantic conversation
it by the drumming pattern or the lan- and by extension, the practical aspect
es, to participate in a community of facilitator, the creative director. Make between people of color across the Af-
guage spoken. In other words, it helped of the brief is best represented by the “On a recent cassette release, Oudou
movement to sound, engendering and no mistake in thinking this a hierarchi- rican diaspora. The primary aim of this
me to uncover some of the fundamen- term Praxervation. Praxervation can Loutou includes a song called ‘Regae’
languaging a common national emo- cal role with only one driver, for it is system is to highlight the role praxer-
tal aspects of what Kumina represent- be thought of as preservation coupled [sic], backed by a new style of Maroon
tional, psychological, aesthetic ethos, in actuality very rhizomatic in nature. vation could play in a contemporary
ed and still represents today. Through with the idea of praxis. It is a self-updat- drumming created by stripping the reg-
transcending the epistemology and cultural framework, while also embod-
this understanding, it becomes much ing system that continuously responds gae ‘beat’ down to its rhythmic essen-
ontology of coloniality and its pow- ying the notion of the past and present
easier to tackle the question of how to changes and development happen- tials; this new reggae-inflected Maroon
er to alienate subjected peoples from coexisting.
to go about preserving the practice. ing within a given cultural network rhythm, played on the aleke drums, re-
by referencing the mechanisms em- sembles nothing so much as the tradition- themselves, from their physicality and
metaphysicality, from the sovereignty The MFLS acts as a blueprint for these
As someone who is originally from Ja- ployed within the past cultural tradi- al nyabinghi rhythm of Jamaican Ras-
of their imagination, from their lin- rhythmic exchanges/conversations. Al-
maica and of a generation that marks tion in order to develop new practices. tafarians, which itself was an important
eality. The sound system movement though the system is designed using
the decline of the old and the ascent Although the term praxervation was influence in the original development of
seemed to be drawing on the crea- Kumina as a case study it can be ap-
of the new, I can say that I under- never formally mentioned prior to reggae during the 1960s...Both Maroon
tive/aesthetic traditions developed plied to almost any cultural practice
stand the place of the new; the place this publication it is a concept that reggae bands such as Wailing Roots and
by the enslaved to forge a popular with minor tweaks.
of the sound system, reggae, dance- has been explored in other academ- neo-traditional aleke bands such as Ou-
hall. However, this mindstate ex- ic works. For example, Kenneth Bil- dou Loutou have discovered that the national aesthetic modernism as Ja-
ists as a duality, one in which the old by’s Making modernity in the hinter- communicative potential of this import- maica moved towards independence
and the new are both able to coexist. lands is a wonderful paper that clearly ed pan-African/Caribbean musical style in 1962” (Hutton, “Creative” 19)
speaks on and embodies a great deal can be as fine-tuned to local realities, or as
Kumina existed as a medium to serve of the ideas embodied in the concept broadly calibrated to diasporic concerns, Both examples represent how prax-
the needs of a community, a com- of Praxervation. In particular, Bilby as need be” (Bilby, “Modernity” 276). ervation can manifest and be utilized
munity whose people and needs have examines some of the implications An even more direct thread can be seen by within the African diaspora. What I
M.F.L.S
2. Bilby, Kenneth. “Making Modernity In The Hinterlands: New Maroon Musics In The
Black Atlantic”. Popular Music, vol 19, no. 3, 2000, pp. 265-292. Cambridge
University Press (CUP), doi:10.1017/s0261143000000179.
4. Boukman Barima, Kofi. “Cutting Across Space And Time: Obeah’s Service To Jamai
ca’s Freedom Struggle In Slavery And Emancipation”. Africology: The Journal
Of Pan African Studies, vol 9, no. 4, 2016, Accessed 28 Nov 2018.
7. Hutton, Clinton. “The Creative Ethos Of The African Diaspora: Performance Aes
thetics And The Fight For Freedom And Identity”. Caribbean Quarterly, vol 53,
no. 1-2, 2007, pp. 127-149. Informa UK Limited, doi:10.1080/00086495.2007.
11672312.
KUMINA
TRANS
C
ATLANTI
TRANSMISSION
1841-1865
PRESERVATION
In this publication, I will examine the means maintaining (something) in its through a thematic lens - investigating creative director/controller. Beyond
concept of preservation as it relates to original or existing state ("Preserve the underlying themes within exploring the central concept
maintaining and propagating cultural Definition Of Preserve In English By Kumina instead of primarily looking mentioned above, I also seek to
practices such as Kumina. This is in Oxford Dictionaries"). It is imperative at its distinct physical attributes or explore the role of a designer in an
contrast to the more common inter- to make clear to the reader that the aesthetics. My role in this effort will be anthropological and sociological
pretation of preservation simply investigation will be undertaken that of a facilitator, designer and setting.