Dee Jumbie Dance: A Resurrection

Dee Jumbie Dance

A Resurrection

DEE JUMBIE DANCE: A RESURRECTION by Jamal Gerald

First published in 2023 by the Live Art Development Agency (LADA)

Live Art Development Agency (LADA),

The Garrett Centre,

117a Mansford Street,

London, E2 6LX

www.thisisLiveArt.co.uk

Copyright © Jamal Gerald and the individual contributors, 2023

Edited by Kadish Morris

Design & Illustrations by Olivia Williams (Liv Will Design)

Cover Design & Typesetting by Katie McLean

Cover Images by The Other Richard

Photography of Montserrat by Jamal Gerald

ISBN: 978-1-916519-00-8

Produced by Dudaan. Supported by Arts Council England, the Jerwood New Work Fund,

The Writing Squad and Theatre in the Mill. Thanks to LADA.

All rights reserved. The material in this publication is protected by copyright law. Except as

may be permitted by law, no part of this material may be reproduced (including by storage

in a retrieval system) or transmitted in any form or by any means adapted, rented or lent

without the written permission of the copyright owners. Permission will normally be given

to voluntary and community sector organisations except for commercial purposes.

A catalogue record for this book is available from the British Library.

The Live Art Development Agency (LADA) is a Centre for Live Art: a research and

knowledge centre, a production centre for programmes and publications, and an online

centre for digital experimentation, representation and dissemination.

LADA is funded as a National Portfolio Organisation by Arts Council England.

for the ancestors

‘Henry Devil’s son

Peter was disabled,

he couldn’t walk. He

was twelve years old

at the time.

So, they had a Jumbie

dance for him.

They whipped Peter

and then threw him

out the window. Peter

then walked back

inside as if he was

never disabled. I saw

it with my own eyes.’

Image: Ajamu X

Dee Jumbie Dance | 5

Contents

Introduction 9

Sex & BDSM Column 18

Auntie Terri 25

Ancestors 30

Letter to Ben Gerald 33

Engaging with My People 39

JUMBIE Outline 52

Dissertation Excerpt 58

Bla_k Soundtrack | Khadijah Ibrahiim 67

Woowoo Drum Rhythm 73

Aunt Teresa’s Jumbie Table 75

TUN 95

R&D Freewrite 100

A Conversation 111

For David Edgecombe 116

BREAKING POINT 122

#BlackExcellence 127

Spotify Playlist 136

Closing the Ritual 140

Acknowledgements 143

Contributors 144

Artwork 146

Bibliography 149

Bio 154


Cudjoe Head,

Montserrat,

July 2022

8 | Jamal Gerald

Introduction

In May 2019, I woke up at around about 6 am in Cudjoe Head, Montserrat. I

stepped outside and saw golden mangoes hanging in emerald-leaf trees, an

elated sun and a view of crystal waves blown by the wind. I then went on a

walk with my cousin, who would prefer to remain anonymous. They are an

academic, cultural activist and a culture bearer. The insight into my heritage

and Montserrat’s history developed because of the things they shared with

me. When they first told me about the Jumbie dance, my response was,

‘Huh?!’ I could not believe there was a trance ritual in Montserrat, and I

didn’t know about it.

A year prior, I had attended Orisha ceremonies in Trinidad, standing

in a palais, wishing Montserrat had something like this. And it did, of course.

All Caribbean islands will have or had an African diaspora religion. Yet,

Montserratian people don’t speak about it. If they did, they weren’t talking

to me until I asked questions.

The Jumbie dance, in a nutshell, was a dance for the ancestors.

A way for the living to ask for ancestral guidance through divination,

curing illness, solving personal problems and redress of social injustice. The

ceremonies also included food and music and would happen on occasions

like weddings, funerals, after a child’s birth and, most importantly, when

someone needed healing.


Since starting my research, I began to notice that whenever I was at

my grandma’s house, a Jumbie story was shared. I’m a sucker for a good

Jumbie story:

‘I was told that there was a woman at a

Jumbie dance who ended up in the air.’

‘Who put she up dey?’

‘A demon.’

However, when I first asked my grandma if she knew about the

Jumbie dance, she responded by asking, ‘Why?’ Then I asked my mother

about Jumbies, and she wasn’t comfortable talking about it. She was

pregnant at the time with my baby sister, Seraiyah, and was afraid of attracting

Jumbies because of it.

Although, as might be expected, there is no precise doctrine, “jumbies”

are generally considered to be spirits of the dead which have the power

to influence, benevolently or malevolently, destinies of the living.

(Philpott, 1973, pp. 155)

I always wondered what was unique about Montserrat. As I got older,

I learnt there are many things, but one thing in particular is the Jumbie

dance. I get a vomit taste in my mouth when I tell people about Montserrat

and they have never heard of it. There is such a richness to this island and I

want to help share that. I have told people that the Jumbie dance in Montserrat

is unique because of the syncretism of Irish and Kongo influences, only

for it to be dismissed when they go on to say other islands have the same

thing. They do and they don’t.

The jombee dance is a variant of folk ritual found throughout

the Caribbean. Comparison of the jombee dance with these other

rituals, which have been variously labelled as Neo-African, Afro

American, or African Derived, reveals sufficient similarities to

10 | Jamal Gerald

say that it is a variant on a common theme. But the comparison

also yields enough differences to see the rich, varied and creative

response to the African Diaspora.

(Dobbin, 1986, pp. 145)

Yes, every island will have their equivalent of a Jumbie dance. An

example would be Kumina (or Cumina) as the Jamaican equivalent. Dobbin

continues, ‘The Cumina dances are held for purposes similar to those of the

jombee dance: they can be held for life crises – such as death, betrothal, christening

and simply for paying respects to the dead ancestors of the participants.’

I get the whole thing of commonality and connection, but with that

it’s easy for things to not be truly acknowledged for what they are on their

own. Growing up, I had a slight annoyance because other islands were and

are more well-known than Montserrat. As I look back, it seemed like I knew

more about other Caribbean islands than my own. This is due to not being

told about Montserrat until I got older. Montserrat is still a British colony,

and that comes with a lot of suppression of embracing African ancestry.

There are Black Montserratians that would say they are Irish before they’re

African due to the Irish influence on the island. The African influence is of

course present but won’t always get the same acknowledgement.

In July 2020, I began planning the research and development of the

JUMBIE performance to eventually realise it and present it to UK audiences.

When talking to venues, I described the work as a sort of dance show. Before

this, my artist and performer journey began at age twelve in high school. I

loved being the centre of attention. I took part in theatre productions like

Joseph and the Amazing Technicolor Dreamcoat. And then at thirteen, I

joined Leeds Young Authors (LYA) – a creative writing and performance

group. After joining LYA, I competed in slam poetry competitions natio nally

and internationally, one being Brave New Voices (San Francisco, 2012).

I then did my degree in Performance at Leeds Beckett University,

which was more focused on Live Art and contemporary performance

practice. My earlier work was autobiographical storytelling. This was a

result of a combination of my time as a poet and what I studied during my

degree. My practice was, and still is about taking up space as a Black queer

person. But I got sick of sharing my trauma with audiences. I honestly


don’t have any more autobiographical shows in me. With JUMBIE, I

wanted to challenge myself and make something that didn’t centre my

personal experience: create an artwork that was connected to me, but

wasn’t focused on what I have been through as a Black queer person. I’ve

cried on stage too many times.

In autumn of 2019, I had started to interview Montserratian people to

gain a better understanding of the Jumbie ritual. I wanted to use the Jumbie

dance to fall in line with my interests and what I had already explored in my

practice; I wanted to embrace the chaos of the dance through a queer and

contemporary lens. There has been a queering of other African diaspora

religions, such as Haitian Vodou and Santería. These can be found in books:

Queering Black Atlantic Religions: Transcorporeality in Candomblé,

Santería, and Vodou by Roberto Strongman; as well as Ezili’s Mirrors:

Imagining Black Queer Genders by Omise’eke Natasha Tinsley.

Yet there hasn’t been a queering for the Jumbie dance. So, I wanted

the JUMBIE performance to be part dance party, part ritual and part sex

dungeon. Ooh, kinky! Sounds exciting, right? I didn’t want the show to

be text-heavy either – but rather an experience of my interpretation of a

Jumbie dance. As a natural storyteller, I wanted to push against British ways

of making performances. Generally speaking, British theatre often focuses

on a character arc, which is also known as the hero’s journey. I wanted to

make something much more avant-garde, something that aligned more

with the experience of a Jumbie dance and didn’t focus too much on making

sure that the audience understood what was happening. In the end, it was

fascinating to see how many of my team members couldn’t get out of the

idea of making a performance that wouldn’t include narrative and character.

It showed me how a lot of people mostly view art through storytelling and

not anything else.

I went through Armageddon to make JUMBIE from dealing with

character assassination, homophobia and envy, to anti-Blackness, betrayal

and the colonised mind.

Imperialism leaves behind germs of rot which we must clinically

detect and remove from our land but from our minds as well.

(Frantz Fanon, 1961)

12 | Jamal Gerald

I became convinced I had done something wrong in my past life or I

had some curse through my lineage: that I was suffering because of things

that some of my evil ancestors committed. Trying to make this performance

ended up being the most traumatic thing I have ever done. And yet, I’m still

standing. All I wanted to do was archive an essential part of Montserratian

heritage, but the JUMBIE performance never happened. But that’s the thing;

it did happen in some way.

A resurrection of the dance took place during the making of JUMBIE,

even if people didn’t get to witness it. I believe my ancestors showed signs

that I wasn’t working with the right team. Some team members were ready

for what we were embarking upon but the majority weren’t. I’m intrigued by

the Jumbie dance being outlawed and done secretly, and my performance

was made for public viewing and then got cancelled. I don’t think this was

a coincidence.

Yet, I wouldn’t say I liked where the performance piece ended up. It

became something that I didn’t want it to be, which was too conventional.

So, with this book, I’m starting again. I think with all the research, notes and

reflections I had done, I had already written a book, but I didn’t realise it. I

wanted to write a book after noticing there was only one about the Jumbie

dance by a white male anthropologist called Jay D. Dobbin. There hasn’t

been much written on the Jumbie dance by Black people either. While Eddie

Donoghue (author/historian) and David Edgecombe (playwright) have

researched and written about the Jumbie dance in either journals or plays,

I am the first Montserratian to compose a book on it. That’s not to sound

big-headed; but to recognise how overlooked this part of Montserratian

history has been.

Readers will see what I was trying to do through a live performance

and see things that were written, came up in my research and created but

didn’t make the final cut. Some moments will flow and some will not be

clear. Some elements will be explained and some will have no analysis. Some

sections will pop out of nowhere and might make you think, WTF?

Right now, the combination of her screaming in that high shrill voice,

the bearded man shouting, and Ben singing ‘Saltwater’, in addition

to the noise of the band and other people dancing about – all give me


the impression of chaos. But the guests here do not react as though

the whole dance were disintegrating. They act as though nothing is

out of the ordinary; they are neither frightened nor mystified that a

variety of sounds and activities are taking place at the same time.

(Dobbin, 1986, pp. 80)

This quote is what I kept in mind while making JUMBIE, so I have

kept it in mind when writing this book. As I said, I welcomed the chaos

of the Jumbie dance and wanted to explore its normalisation. Therefore,

this isn’t a traditional book. It also won’t be a tell-all book, although I will

spill some tea here and there. You will also read and see contributions from

others that I admire. Sometimes, I get bored with my own voice, so I wanted

to create space for others.

There is a Montserratian man called William ‘Willy Kinny’ O’Garro

OM – a dancer, musician and choreographer – who told me a lot about

the Jumbie dance. He told me, ‘You do it your way. You don’t just look at

someone else and copy them; you let the music and spirit [the Jumbie] take

over you.’

That’s what I have been doing ever since. I embraced freedom! I

didn’t do the Jumbie dance entirely how it was originally done. I took all the

information I could get and added my naughty and rebellious twist. To be

clear, this is how I wanted things to be done. I suggest those who would have

done it differently go on to create their version of a Jumbie dance someday.

And please don’t forget to send me an invite.

So, here we are. A lost dance. A lost show. A story.

Dee Jumbie Dance: A Resurrection is a ritual. I can finally heal.

Jamal Gerald

14 | Jamal Gerald

Image: Ajamu X


[

Someone reading this has a kink for fucking married men.

Ah-you-oh! Lawd God! I wonder who that could be! ]

Runaway Ghaut,

Woodlands,

Montserrat,

July 2022


Sex & BDSM Column

Recognising the power of the erotic within our lives can give us the

energy to pursue genuine change within our world, rather than merely

settling for a shift of characters in the same weary drama.

(Audre Lorde, 1978)

One may think, what does the Jumbie dance have to do with BDSM? Therefore,

I’m going to break it down for you. People already don’t understand or

want to understand the Jumbie dance. The same can be said for queerness

and BDSM. Although, the taboos of these topics were never the reason I

brought them together. I don’t believe in censorship and throughout my

time researching the Jumbie dance, it has been projected onto me. I will

admit there is a privilege I need to acknowledge when it comes to being an

artist and writer currently based in the UK. I can say and express myself

however I want. People may be upset and want to challenge my thinking

and intentions; nonetheless, no one can stop me from expressing myself. I

invite conversation and debate. Unfortunately, that is not the case with other

societies across the globe where certain themes are completely off-limits.

18 | Jamal Gerald

The Link

I’m a sexual being without apologising for being a sexual being…

Lots of us might be out around our sexual identities but marginalised

around our sexual behaviours.

(Ajamu X, 2023)

During my interviews, I collected Jumbie dance stories of whips being used

for healing and/or punishment purposes. I then thought about BDSM. In

the article, ‘The Aesthetic of Kink as Political Resistance’ (2020) by Mamello

Sejake, she states: ‘I understand kink, which includes BDSM – bondage and

discipline/dominance, submission/sadomasochism and masochism – to be

a variety of consensual fetishes, preferences, lifestyles, identities and desires.

It’s not always sexual. It’s often misunderstood and misrepresented.’

Someone is punished (flogged) because they want to be submissive.

Being spanked is only one part of being submissive and there are many

other ways, such as performing an act of service, being someone’s slave and

cleaning their house. The number of white men that have offered me this

is impressive. I could do with an extra hand when it comes to cleaning, but

I have never accepted the help. Those who wish to be flogged or spanked

find it pleasurable or a form of healing, which is another link to the Jumbie

dance ritual.

Aside from these standard ceremonial occasions, a jumbie dance is

most likely to be held to seek a cure for an extreme illness when

ordinary Western medicinal practices have failed.


Another reason was me being charmed by the things that are hidden, the

things we don’t always say out loud. During the Jumbie dance, the Jumbies

would reveal the identity of guilty parties through divination. Some of the

stories I was told were of people being exposed for sleeping with someone

they weren’t supposed to be sleeping with.


‘A young man was having an aair with an older woman. He took

ill. A dance was held. The ancestors instructed him to be beaten. He

was beaten severely because he was playing man before his time. He

recovered thereafter.’

I thought that was compelling and I wanted to connect the divination

element of the Jumbie dance to kink. People are afraid to say what they

want out loud for fear of being judged. From conversations I have had with

friends, I know there are things they are into that they will never admit to

anyone. That’s also fine. It’s a shame that sex and kink are still taboo topics.

Unquestionably, they are as taboo as the Jumbie dance is in Montserrat

society.

Imagine being at a Jumbie dance and all your kinks, desires and

naughty things you have done are revealed in front of everyone without your

consent. People would run out in horror! Ahhh! I would love to experience

this. Hence, the creation of ‘Someone reading this...’

My Interests

On the spectrum of pleasure, yes, I like to get touched, I like to get fucked,

but also, what about my community, for my people? What is pleasurable

in finding a place of grace and well-being and transcending oppression?

(Page, 2019, pp. 39)

I couldn’t tell you exactly why I’m interested in sex and BDSM. I will say it

is something I think about often. I’m used to getting complimented on my

confidence when talking about it. If you follow me on Instagram, you might

have heard a story or two. Even a tease of my nudity. I would encourage

more conversation about sex and BDSM. Conversations about sex and

BDSM are healthy and exciting. I grew up keeping my sexuality hidden, and

now I refuse to do that. Montserrat is a religious and conservative country,

due to the lasting impacts of colonialism. This of course influenced my

suppression.

I don’t care how uncomfortable my desires could make some people

feel. I do believe there is a time and a place to discuss these topics. If people

20 | Jamal Gerald

want to join in these conversations, great. But I have learnt not to call people

prudes just because they’re not as comfortable as I am. I have also learnt I

can be quite extra when it comes to letting everyone know how much of

a sexual and kinky being I am. I’m not ashamed to admit that I’m extra

as fuck. I believe being confident in my desires is an act of resistance to

instances of homophobia in the Caribbean, and wherever else it may exist.

People have every right to explore and not explore what they want.

Because, at the end of the day, what people do behind closed doors is none

of my business. It’s none of your business, either. Just as long as it’s consensual,

there’s no bestiality and those involved are of legal age. I thought

I was a freak, but the more conversations I had with people, the more I

realised that I’m nothing compared to them. This became more apparent

when I started doing sex and BDSM work and having conversations with

clients. Through this, I started to believe you can try anything once, and

if you don’t like it, you don’t have to do it again. But also, if you know you

would never want to do it, that’s okay. Your extreme is someone else’s tame,

and vice versa. I have thought a lot about the kink-shaming I have read

on Twitter. And yes, people are entitled to their opinions. However, I’m

puzzled why people care so much. People can be overly critical and don’t

have that much of an open mind when it comes to sex and kink. There

could be a potential reason why someone is into something problematic.

What if it’s because that “thing” is problematic? And the problematic

element of it is what turns them on. It may not make sense to you, but it

makes sense to them. That’s the most important thing. I would never say

that on Twitter: I love my life. Even ass-eating is still freaky to some people.

That’s nothing to me! I’m an expert.

Black Queer Imagery

Black men loving Black men is a revolutionary act.

(Joseph Beam, 1986)

In the Jumbie dance, there are quadrille sets from 1–5. This is when dancers

rotate around each other in pairs. The dance was usually performed

by women. So, in this book, I wanted to showcase Black queer men doing


this by also showing their affection for each other. Even though I’m kinky,

I do love and appreciate seeing moments of intimacy and tenderness. I

don’t think society shows enough of Black queers, especially men, being

intimate. Even outside of queerness, I don’t see much platonic affection

from Black men. I’m still surprised whenever a straight Black man hugs

me. I love Black men, but most importantly Black queer men. I thought

I’d share it through photography because I believe in showing that love is

needed. But also, to get you hard or wet.

Naughty Notes

When practiced by Black folks outside the gaze of whiteness, heterosexuality,

and maleness, Black kink – in particular BDSM – offers

opportunities for Black folks to create alternate realities.

(Goddess Honey B & Kharyshi Wiginton, 2022)

I was asked to do something that would give a sense of what to expect from

the JUMBIE performance at the Transform 21-22 launch. I got people to

write down what they desire – their kinks and naughty things they have

done – anonymously on notes. A lot of these are scattered throughout the

book. They’re so juicy. These things were either something they have done,

something they have thought of doing, something they know someone

has done or something completely made up. I hope you read the naughty

notes and think about your desires and kinks.

I can appreciate that my ideas may not make sense to everyone, although

one could say that about someone’s kink. Maybe my thoughts and

ideas are just too provocative for some. In a sense, I was using the Jumbie

dance to encourage people to not be afraid of sharing their kinks. Because

one day your ancestors could reveal your kink to people when you at least

expect it. Our ancestors are always present. And the reason that we’re here is

because they were having sex. That shouldn’t be a shocking reminder. Some

people may not know what you are into, but your ancestors already do.

Regardless, keep on having fun! Never be afraid to experiment. Stay

kinky... or vanilla!

22 | Jamal Gerald

Image: Ajamu X


‘Minimising the White Space I’ by Liv Will

Auntie Terri

My maternal grandmother currently

has eight children and thirteen

grandchildren. She is the oldest. Her

mother (my great-grandmother) was

the oldest. Her daughter (my mother) is the oldest

and I am also the oldest. I’m the first child and the first

grandchild. After my mother comes my Auntie Arlene

and then my Auntie Terri. I have a big family, and this is

only one small part of it. A lot of my maternal side grew

up in Trials, Montserrat. In 1995, there was a volcanic

eruption that covered half the island with crimson

lava and buried the areas where my ancestors once

danced for theirs.

My Auntie Terri came to England in 1997 as a

teenager. She has a degree in Chemistry and is someone

I go to for advice when it comes to health due to

her experience as a pharmacist. We mostly get on, but

when I was a child I was rude and we would often clash.

Since I have matured, she can’t get enough of me.


Growing up in a Caribbean household, she was raised a Christian,

but there was a time my Auntie Terri didn’t believe in God. When she was

nineteen, she started to engage in what she describes as ‘fake new ageism’.

She even called my grandmother once when she was at university to tell her

she no longer believed in God. My grandmother didn’t have time for her

chupitness. New ageism deals with crystal alternative therapies. She thinks

it’s nonsense now. She said:

I thought this would bring healing, peace and other benefits to my life

but what I received was a multitude of curses and blockages. Looking

back, I had to go through this to show me the truth and who had the

real power. When I’m low, worried, I receive peace, guidance, divine

protection and joy that I have never had before, going from someone

who did not sleep well, haunted and attacked.

My Auntie Terri has now been saved and walks with the blood of

Jesus. During Christmas, she is the one that usually says grace, while our

family closes our eyes and bow our heads. She does a great job. I’m often left

moved once we say amen.

I told Auntie Terri that I was going to resurrect the Jumbie dance. She

thought the idea for the show was demonic and believed that there would be

consequences for engaging in Jumbie dance ceremonies. A lot of things are

demonic to my Auntie, even meditation. The whole idea of people dancing

around a sick person she finds to be weird. She thinks they should just go to

the hospital, and that there is no point leaving offerings for your ancestors

because they’re dead.

A few people believe that the jumbies are the Devil taking the form of

familiar ancestors; others believe they are “stragglers” who have been

refused entry to Paradise because of their deeds in life.


My Auntie claims to have seen things when she was younger. It seems

to be a recurring theme in my family. She remembers a time when a Jumbie

chased after her: he was a man with red eyes. It must’ve been terrifying.

26 | Jamal Gerald

There was also a time she was at our Aunt Teresa’s house and she saw a man

through the window. She told Aunt Teresa this but Aunt Teresa couldn’t see

him. Aunt Teresa moved out of her house two weeks later. Although my

Auntie Terri has her way of thinking – the Lord’s way or no way – I still value

her. She has so many great stories to tell, even if she is always trying to get

me to give my life to Jesus.

She also said to me that God came to her in a dream and told her to

warn me about the sins I committed. He’s a very jealous God. Here is the

message she received from Him:

Be warned. Jamal, what you’re doing is not of me.

You are treading in perilous waters.

I am the LORD thy God. Idolatry is not of me.

You are worshipping demons, not your ancestors.

They are of the devil. There will be a time when there is nothing I can do to save you.

Heed my warning. I am your LORD thy God.

No man can speak for you. Your Auntie can’t take away your sins.

Seek me and you shall find me.

After my Auntie read this to me, I didn’t feel much. I’ve become

numb to religious rhetoric after growing up Catholic and being raised by

an extremely homophobic mother who used to say things like: ‘If my son

were gay, I would kill him!’ My mother and I both exchange stories about

men now. So, it’s all good. However, I don’t think my Auntie made up this

message. God probably did send it. She doesn’t mind me writing about her

just as long as I don’t do anything to upset Him. Well, I already take dick and

I love it, so hey ho! That’s not me mocking God. I love and believe in Him.

But I’ve accepted going to Hell since I was a teen.

Do you believe in Hell? Do you believe you’re going there?

If so, I’ll see you all there. Ha!

Even though my Auntie was against what I was doing, she still had an

interest. I once told her about an idea which included speaking in tongues,

and she started crying. This is because she felt if I spoke in tongues I would

be invoking a demon. She’s so afraid of God and is worried about how much

I’m going to upset Him.


And then the JUMBIE process happened. I decided to cancel the

JUMBIE performances on the 12 th March 2022. That’s my Aunt’s birthday.

Five days before, it was meant to premiere – a birthday gift. My Auntie must

be a biblical mystic because she did warn me. To be brutally honest, with

all the drama that happened in the process, I did think a lot about some of

the things my Auntie said. Things I worked so hard to unlearn seemed to be

creeping back into my psyche. The colonised mind is a bitch.

Dascal (2007:1) defines the colonisation of the mind as subtle

manifestations of political, economic, cultural and religious beliefs taking

possession of and control of victims’ minds by the colonisers.

(Kgatla, 2018, pp. 147)

28 | Jamal Gerald

Image: Ajamu X


Ancestors

Write a list of ancestral names. Light some candles. Burn some sage and

incense. Read the names out loud and give thanks, in whatever way feels

right to you. Include things your ancestors would or could love. Pour a drop

of libation (water or rum) after each name.

Ancestors by Lee Affen

30 | Jamal Gerald

Fus fo’ dee jumbie

Clement Alexander

Redford Morris Daley/John West

Ben Gerald

Frances ‘Nana’ Gerald

Henrietta ‘Pris/Toli’ Gerald

Irene Gerald

James Gerald

John Gerald

Ronald Eustace Herbert

Jane Anne Meade

Quasi Meade

Twelve Meade

Cynthia ‘Kate/Katy’ Peters

Miss Biddy

Henry Devil

Bo Miles

Daniel Morson

Black Sam

Miss Shy

Tom White

Jack…

Egun Mojuba

(The ancestors, I give respect)

Modupe lopolopo

(Unto you, I give many thanks)

Ase Ase Ase.

(May it be so.)


Image: Ajamu X

32 | Jamal Gerald

Letter to Ben Gerald

Dear Ben Gerald,

I want to start off by thanking you for the part you played in the

Jumbie dance ceremonies.

I’m inspired by and love the retaining of our ancestral practice. Even

so, the Jumbie dance may no longer physically exist. It exists within my

DNA. Thanks to you and to others for playing the woowoo drum and to

those that danced to its glittery vibration.

Although you’re a part of my ancestral list, this will be the first time

that I speak to you directly.

I remember the thrill of excitement I got when I came across your

name in the book, Gallery Montserrat: Some Prominent People in Our

History by Howard Fergus.

You know, Montserrat being a small island and all, the chances of us

not being related are slim. So, I’m grateful to have found a family member

that was heavily involved in dee dance.

I imagined improvising to your tempos created by your gifted palms.

Pulling and throwing away generational curses. I can see you creating a

shield of protection from a cycle of inherited trauma. Get me to tun and

take over my ecstatic dancing.


I believe it is you, and our lineage, that were guiding my freedom of

movement throughout the JUMBIE rehearsals. I could feel your joy and

hear you playing Kongo rhythms from the spirit realm.

My fellow Gerald, I appreciate your part in showcasing our heritage

throughout the villages in Montserrat. And I will continue to do the same. I

will keep on sharing what sits in my DNA.

A unique DNA. An eccentric DNA. A rebellious kind of DNA.

Let’s do dee dance. Let’s do dee dance. Let’s do dee dance.

And praise the ones that came before us, and support the ones that

will come after us.

Your loving descendant,

Jamal

Gerald’s,

Montserrat,

July 2022

34 | Jamal Gerald

17 th March 2022 was the day that JUMBIE was meant to

premiere. Yet the history behind this day completely

slipped my mind.

While the indentured Irish could work their way to

land ownership and rights after seven years, enslaved

Africans could not. On St. Patrick’s Day in 1768, a

group of enslaved people planned to take advantage of

the plantation owners’ and overseers’ holiday drunkenness

and revolt across the island. But word got out

and the rebellion failed. Nine rebels, including leader

Cudjoe, were hanged.

(Toy, 2021)

Although the rebellion was unsuccessful, the courage

of the enslaved people is what’s celebrated every year

during St. Patrick’s Day. A part of me is slightly gutted

that things didn’t work out with JUMBIE. A premiere of

a resurrection of the Jumbie dance in line with the same

day my ancestors engaged in an act of resistance.

What a moment this could’ve been.

It is a creativity born of opposition,

resistance, and perhaps even rebellion.

Certainly, the Montserratian folk

religion is another case negating that

difficult-to-kill myth of passivity in the

face of slavery and colonialism. Where

Montserratian police and court records

show dances and obeah to be punished

by raids, floggings, imprisonment,

fine, and even an arrest as late as 1961,

the jombee religion persisted. Denied

political voice and social status in the

past, the Blacks of Montserrat expressed

their resistance in the domain of

religion. The jombee religion expressed

and still expresses the creativity of the

suppressed and exploited.

(Dobbin, 1986, pp. 153)

36 | Jamal Gerald

Image: Ajamu X


‘I went to a Jumbie dance in 1977

in Windy Hill. A villager turned

from Windy Hill to the cemetery

and back.

He never

spoke

again.’

Soufrière Hills,

Montserrat,

May 2019

Cudjoe Head,

Montserrat,

May 2019

Engaging

with My

People

I love my people. When I say my people, I’m talking about my fellow

Montserratians. Outside of my family, I engaged with Montserratian

people via Montserrat Connection: a group on Facebook for those with a

connection to the island. I couldn’t wait to gain different perspectives on

the Jumbie dance. One comment can make such a big difference to one’s

research. I enjoyed talking to my people the most when it came to the

research process, especially with those who speak in patois (Montserrat

Creole/dialect) unapologetically.

I posted two different posts in the group. The first was on the 20 th

November 2019, and then again on the 27 th February 2021 after successfully

receiving some funding from Arts Council England. The first post was to


make conversation about the Jumbie dance due to the lack of discussion

around it. Even so, it’s an important part of our ancestry. The comments on

this post were positive, and I learnt the names of people associated with the

Jumbie dance that were not mentioned in The Jombee Dance of Montserrat.

Initially, I was told about the musicians. The names that came up first and

then again throughout my research were Black Sam and Henry Devil.

Samuel Aymer, aka Black Sam, was a sort of prophet-like figure when

it came to the Jumbie dance. I was told by his son, Leroy Greenaway, aka

Padio, that during his funeral there was an abundance of people standing

outside the church. It’s key to note that once Black Sam passed in 1978, the

decline of the Jumbie dance became more apparent.

With Daniel Morson, Ben Gerald, Bo Miles and Henry Devil, Sam

played for Jumbie dances in every village of the island, lifting obeah

spells, getting dancers to turn and prognosticate on healings; they

also played at weddings and christenings to invoke the favour of dead

ancestors on newlyweds and newborns.

(Fergus, 1996, pp. 18)

A relative of Black Sam called Melrose White told me a story: ‘A girl saw a

Jumbie and told people and her eyesight was taken away. Black Sam went into

the spirit world to bring it back. He was a gifted man, not an Obeah man.’ I

love the slight shade of Obeah there. But if I were to unpack that, it would be a

whole other book. There is good and bad Obeah. Not everyone who practices

it does it for evil purposes. Nonetheless, I was joyous to have been told about

Black Sam; he sounded special. I appreciate some of his family taking the time

to tell me about him and what they know or were told about the Jumbie dance.

In the second post, there was more engagement. Some thought I was

doing great work, but unfortunately there was also a lot of negativity. Some

were condescending and said I needed to do more research. I wanted to

learn the steps from the Montserrat Masquerade, as they are similar to those

of the Jumbie dance. One person said, ‘Masquerade and Jumbie dance are

totally different, jumbie dance is a voodoo dance, saw it as a youngster! Very

scary.’ And yes, there are differences, but from the reading I have done, it

seemed relevant.

40 | Jamal Gerald

In her 2015 St. Patrick’s Day lecture, Dr. Vernie Clarice Barnes

mentioned that, traditionally, women performed the “jumbie” (ghost)

dance in homes and men performed masquerades in the streets,

differentiating between private and public performances of the same

ritual (Barnes 2015). The dance has virtually disappeared, but I was

told that it incorporates many of the same rhythms and quadrille sets

as the masquerades.

(Spanos, 2017, pp. 74)


I thought that having the Masquerade dance in my body would be

helpful before I started to make the JUMBIE performance. In a sense, the

Masquerade was a way to mask the Jumbie dance. It was done for entertainment

and does not include the divination and healing elements of the

trance ritual. I have been told about people who “tun/turn” (when a Jumbie

takes over a dancer) while doing the Masquerade. This is due to the similar

rhythms that are played by musicians during both Jumbie and Masquerade

dances. Although the woowoo drum isn’t used in the Masquerade, it is vital

in the Jumbie dance.

Sometimes called French reels, the larger is also called the woowoo and

the smaller, the bobla. Both instruments are practically identical with

the Irish bodhran both in shape and the way they are played with the

back of the hand and the thumb (Messenger: personal communication).

(Dobbin, 1986, pp. 52–53)

Willy Kinny had offered to teach me some steps, but he was going to

have surgery and needed time to recover. I then came across two different

people who said that they would help. It turned out that they were both

former students of Willy. One man said he would drive from Nottingham

to Leeds to teach me. The lesson was pencilled in. I was buzzing! I had a

thrilling sensation from my pupils to my toes. I couldn’t wait to be taught

how to do a heel-and-toe polka.

The day before our lesson arrived I checked in to see if we were still

good to meet. Ah whey, he dey? No reply. Nothing. Sigh. Okay. It was time

for me to find another person.

I had lovely conversations with this woman who was going to teach

me some steps. However, she seemed pretty nervous about teaching me

anything. Then, suddenly, she stopped replying to my messages. It was time

to move on again but this time I accepted that maybe I was not meant to be

taught the steps and I had to work with the knowledge I had.

Did they waste my time? It felt so. I feel those who went AWOL did

so due to some potential fear of engaging in the Jumbie dance. There are

still people who think that it is something rooted in evil. They didn’t say

this: it’s my speculation. On the Montserrat Connection group page, there

42 | Jamal Gerald

was a man who was a character. He said he had information and knew

where to find Peter, who is Henry Devil’s son. I thought this was great.

I would’ve loved to speak to Peter since he has personally experienced a

Jumbie dance being focused on him. He was the one that couldn’t walk

when he was young, and then a Jumbie dance was held for him.

This man, who claims to be a street pastor and a motivational

speaker, told me that he wouldn’t give out Peter’s information just like

that. Fair enough. Yet, he kept commenting on the post after he had

clarified that he wouldn’t be of any use to me. I kept it real with him; I

didn’t understand why he was wasting his time. He then started to attack

me verbally. This street pastor went on to call me an auntie man, which

is a homophobic slur. He then called me a coon. He said that if anyone

was going to speak to me, I should pay them £50k for their time. That

I was a con artist if I didn’t pay them that amount. The motivational

speaker also accused me of not being Montserratian and being a sell-out.

He questioned why I didn’t contact the Maroons in Jamaica. I wish I was

making all of this stuff up.

I defended myself and said, ‘This auntie man does MMA, and he’ll

fuck you up.’ I know violence isn’t the answer, but he was trying me. That only

made matters worse. The man’s cousin then came along and said, ‘You need to

tell your mother if she’s dead or alive, that you have a pussy under you.’ Why

is she bringing my mother into this? I replied, ‘If I had a pussy, it would be

better than yours.’ Ha! I don’t think he and she were ready for me. I got bored

of the back and forth and left him to continue to comment on the post where

he was posting memes, some of Egyptian statues saying, ‘Would racists still

say amen if they knew he was Black?’ He was giving hotep. He also said that

Jesus never existed. This was puzzling since he’s a street pastor. But I digress.

There is a saying: ‘Jumbie no who dem bang a dark night.’ It’s referring

to bullies that only attack the weak and not the strong. He used the saying in

one of his comments. How ironic.

A woman, let’s call she Tina, reacted to the back and forth by laughing

at the comments.

She went on to say that she had her own Jumbie dance. ‘Wha?!’ I

added her on Facebook and messaged her. She accepted and then deleted

me, but we connected on Instagram.


I received this message:

Blessed Day

I DON’T just add people like that so FIRST off I am

an orthodox RASTAFARI so negativity ain’t ME no1

ARE you A trans? There is a reason why I asked

because I don’t MIX up INNA fally

I love how she contradicted herself in the space of a sentence. She

probably didn’t even realise it. I replied:

Blessed day to you, too. Oh okay – that makes sense as

to why you deleted me from Facebook, haha. No, I’m

not trans.

She responded:

No I deleted you off Facebook because I don’t need

people tracking ME down twice ITS one or the other

Instagram or FB.

People usually add people to look news on PEOPLE

THATS ALL

I thought this was the beginning of a conversation I would never

forget. Listening back to the recordings, I was cracking up. She wasn’t trying

to be funny, but she was a comedian.

She wanted me to clarify why I was wearing dresses on Instagram and

eventually got the sense that I work in the arts. My last name, Gerald, is very

Montserratian, and it turns out she knows some of my family.

She goes on to tell me about the Jumbie dance, and how it has gone

on for centuries.

There would be festivals – mostly in the east of Montserrat in Harris

village. She tells me the story about her Jumbie dance: she was going to get

evicted from her home, even though she already signed a new contract for

it, but the landlord lied and said a new contract wasn’t given. She was scared.

44 | Jamal Gerald

And after a period of stress, she decides to go see a friend in a market. Tina

and the friend begin to have some fun to try and put her at ease.

A reminder: a woowoo drum is vital for a Jumbie dance. However, the

friend didn’t have one but was making the woowoo sound from his mouth.

Willy Kinny had done the same for me, so I could get a sense of the rhythm.

The woowoo drum is what would put dancers into a trance. From other stories

that have been told, it’s a vibrative sound that travels and is very hypnotic.

Tina and her friend called on the names of their ancestors, and they

made a circle. Poured drinks such as bush rum for them and danced. Freedom

of movement and heel-and-toe for about four hours. It seems as though

they just felt the woowoo sound within their improvised movements. She

described hearing the woowoo sound and it raising every single hair on her

body. I could hear the delight in Tina telling this story. She went to court the

next day and could sense that she was about to get some good luck.

Tina’s barrister was up all night looking for something to help with

her case. Luckily, he found a lady from 1915 who had a similar case to Tina,

which helped to get Tina’s case thrown out. She believes it’s due to doing a

Jumbie dance the night before. She then went and told her friend and gave

thanks to this lady from 1915.

Tina starts to drop a list of her qualifications and accolades. Yasss!

Hello! Résumé! It was impressive. She said she likes my vibes and would love

to work collaboratively with me someday. She’s a talented individual, ah so

she say. This talented individual also wanted me to help her write a book –

on mysticism. I was flattered. I paid her for sharing some of her experiences

and knowledge with me. I had a lot of fun talking to her but later I realised

that she had unfollowed me on Instagram. Wha?! Yes, but we move.

I told my anonymous cousin about my conversation with Tina and

they reacted with amazement.

They then went on to have a conversation with Dr. Anthony Richards.

He is from Antigua and has an interest in ethnobotany (how plants are used in

different cultures), especially in the Caribbean. My anonymous cousin shared

the dialogue:

Had a long discussion with Jamal yesterday. He found out that a UK

Jumbie dance was done outdoors. I questioned because dances were


said to be done indoors as the wooden floor is essential to the stamping

sound which aids “turning”. Jamal went back to his informant who

insisted that they did their UK dance outside because that is the tradition.

She recalled witnessing an outdoor dance when aged nine.

I have followed up by asking a woman in her early fifties from the area

(Harris Village). She confirmed the practice and told me about Jumbie

dance sites. It appears that the Harris site was at a crossroad and

so was one at Look Out. One at Blake’s is interesting because I have

heard it mentioned as a mystical site very much like Congo Ground on

Broderick’s where a story is told of Africans who danced in a chalk

circle and were transmigrated to Africa. It appears that there was possibly

more than one practice distinguished by oral and rural locations.

(2021)

There was a mention of a chalk circle in the conversation between

Richards and my anonymous cousin.

Chalk is also used in other African diaspora religions such as Haitian

Vodou. It is used when a vévé is drawn on the ground.

Vévés are sacred ritual symbols of Voodoo spirits. Most of the spirits

have their own unique symbols that act as conduits through which the

spirit manifests in ritual. The symbol defines sacred space and serves as

a loa’s representation during a ritual.

(Alvardo, 2020, pp. 96)

Through a conversation, Dr. Anthony Richards shared some knowledge

surrounding Kongo cosmology with me. I did some digging and I

found out: ‘The “turn in the path”, i.e., the crossroads, remains an indelible

concept in the Kongo-Atlantic world, as the point of intersection between

the ancestors and the living’ (Janzen and MacGaffey, 1974, pp. 34).

The Kongo cosmogram or yowa is a circle with one half being the

physical world and the other being the spiritual world. Was this the circle

that my anonymous cousin was referring to? Potentially. Tina also mentioned

creating a circle during her Jumbie dance.

46 | Jamal Gerald

Kongo cosmogram.

Illustration: tobias c. van Veen

I instantly then thought of the Orisha, Eshu, from the Yoruba religion of

Ifá, and its syncretic versions, Canbomblé and Santería. So, when I read

‘crossroad’, I screamed! He’s the Orisha of chaos, trickery and crossroads,

and the one who guards our free will. Whenever you do a ritual, you have to

address Eshu first and ask him to open the doors.

Eshu consequently came to be regarded as the very embodiment of the

crossroads. Eshu-Elegbara is also the messenger of the gods, not only

carrying sacrifices, deposited at crucial points of intersection, to the

goddesses and the gods, but sometimes bearing the crossroads to us in

verbal form, in messages that test our wisdom and compassion.

(Thompson, 1984, pp. 370)


I’m already familiar with Orisha through my time in Trinidad and my show,

Idol. I love when I find connections between African diaspora religions.

I first believed that the Jumbie dance was derived more from the Ashanti

people in West Africa. This was due to some of what Jay D. Dobbin talks about

in his book and also the hints of things on the island that show connections

to the people. He states, ‘The strong presence of obeah in the jombee dance

also points to an African heritage’ (1986, pp. 145). Dobbin also refers to

Joseph J. Williams when discussing the word ‘Obeah’ and where it is derived

from: Williams ‘cites the Ashanti term Obayifo, which means a witch, or hag

or a wizard, as the root word’ (1970, pp. 120).

There is also a place in Montserrat called Cudjoe Head, and the name

Cudjoe is a Twi (Akan dialect) word meaning a boy born on Monday in

Ghana. The story behind Cudjoe is that he was an enslaved man who tried

to escape, but unfortunately his head was chopped off by a plantation owner.

Then his head was hung up to show the other enslaved people what would

happen if they tried to escape. That’s why there is a place in Montserrat called

Cudjoe Head. Although I am sure there are other interpretations and stories

around the name of this place. A poem about the legend that is Black Sam,

written by Howard Fergus, also references the Ashanti people of Ghana.

Black Sam black fife black drum

Caroling de hum of de living

Hum of de dead

Jumbies’ laureate

Black Sam

Africa in yuh eyes

Ashanti melodies in yuh feet

Fife and fibres in accord

Recording ancient memories.

(1996, pp. 19)

I then believed it may have also been

derived from the Igbo people. This is

because the abolitionist Olaudah Equiano

was an Igbo man. He was enslaved in

48 | Jamal Gerald

Montserrat where he eventually bought his freedom and went on to do his

abolition work in the UK. Therefore, this also shows the Igbo influence on the

island, since they were taken to Montserrat. Equiano speaks about his experience

in his book, The Interesting Narrative of The Life of Olaudah Equiano:

We set sail once more for Montserrat, and arrived there safe; but much

out of humour with our friend silversmith. When we had unladen the

vessel, I had sold my venture, finding myself master of about fortyseven

pounds, I consulted my true friend, the Captain, how I should

proceed in offering my master the money for my freedom.

(1789, pp. 181)

Because of all of this, I thought there was a combination of practices

in the Jumbie dance from different people who came from Central and

West Africa. Considering that the incorporation of quadrilles in both the

Jumbie dance and Masquerade dance suggest European influences, that

is still a possibility: ‘Caribbean masquerade quadrilles are reminiscent of

European set dances, but they have undergone a creolization process with

African dance forms that distinguishes them substantially from European

traditions’ (Spanos, 2017, pp. 77). The Jumbie dance may have been a syncretic

religion. Furthermore, it turns out that the Jumbie dance was much

more Kongo in its origins. Some people believe the term Jumbie is derived

from the Kongo word ‘nzambi’, which means ‘god.’ There are endless layers

and possibilities. I learnt so much about the Jumbie dance by engaging

with my people. Way more than from any book or journal. Some people

are for the Jumbie dance, and some people are against it. I feel personally

honoured to take on this research.

This is a Kongolese lament found in Montserrat, with similar ones

found in other Caribbean islands, such as Trinidad and Tobago. This shows

evidence of the presence of the Kongo people: I love it.

One day, one day, Kongo tey

A go dung a bay, Kongo tey.


May 2019

Little Bay,

Montserrat,

50 | Jamal Gerald

‘Safe Word’ by Liv Will


JUMBIE OUTLINE

Before the making process of JUMBIE started, this is what I shared with the

creative team:

NOTHING IS FIXED

SOME THINGS WILL STAY

SOME THINGS WILL GO

This document is something that was created just so everyone could get it.

Something for us to work from. This doesn’t necessarily mean it’ll

be the exact shape of JUMBIE.

WE’RE PUSHING AGAINST

A CONVENTIONAL STRUCTURE

Open to any ideas you all have, as I acknowledge that the majority of

the ideas at the moment are mine. And I want you all to feel like you’ve

contributed something and that this is a collaboration. If I left any

thoughts or ideas out, feel free to add them. Everyone needs to think of

this work as a ritual. And everything needs to be considered. Regardless of

whatever you believe, I need you to believe whilst making this work.

LET’S CREATE CHAOS! YAY!

52 | Jamal Gerald

JUMBIE

The Intention: Overall it is to embrace and normalise chaos in a

Western context. To get the audience leaving thinking what the

fuck just happened? I want people waking up the next day trying

to unpack what they witnessed.

The Feeling: An experience that may or may not make sense. It’s

not too clear what’s going to happen next. For the audience to be

on edge but also intrigued.

The Why: To resurrect the Jumbie dance from a contemporary

and queer perspective. To archive an essential part of Montserratian

heritage and to not conform to British ways of making

performance.

3 different moods could come into the shape of JUMBIE

at any point. This is a way of highlighting what certain moments/

movements are in terms of their mood.

This isn’t an order of how things will happen,

it’s just about giving everyone

purpose and clarity.

Plus, it’ll make JUMBIE more exciting if certain things

could happen at any point e.g. not waiting

for the sex dungeon elements to only happen later on.


PARTY

The Intention: I like the thought of the piece at first appearing to

be self-indulgent. Let’s take a break from the trauma. A showcase of

Black queer joy. That’s it. If an audience member or members have an

issue with that, there’s probably an issue within them that needs work.

The Feeling: Just vibing and pure fun.

Th e W h y: We as Black queer people should be allowed to have fun

and for it to be showcased. And people are just going to have to sit

with it for a bit.

Moments/Movements

• Pour a shot and drink. Party begins.

• Freedom of movement (woowoo drum rhythm).

• 1–5 quadrilles (a dance in pairs, rotating around each

other. Each quadrille is a different speed). Change

partners. Only one pair is central at a time. Happens

throughout the piece.

• Skirts (cover skirts overhead).

• “Wuthering Heights” (contemporary dance/wannabe

ballerinas).

• “Run Wid It” (song and action)

• A score that includes multiple elements from the

entire piece...

54 | Jamal Gerald

RITUAL

The Intention: Invoking and honouring ancestors. Making parallels

between the Jumbie dance and the church. Challenging the bullshit

rhetoric of how one is holy and the other is demonic.

The Feeling: Spiritual but spooky. Cold but warm. WTF. I also want it

to feel like a Sunday service but with a ritual twist. And then CHAOS!

Th e W h y :Acknowledging how being taken over by spirit has stayed

with Black people, regardless of colonialism and enslavement.

Moments/Movements

• Pouring libation (ancestors’ soundscape).

• Tun/turning/spirit taking over us/Kirk Franklin.

• Speaking in tongues.

• Confrontational/preachy/angry?

• Holding and supporting when someone is taken by

spirit. Also, some clothing is thrown on them. I’m also

thinking about dramatic moments and church when a

pastor hits someone over the head.

• Tiptoes (heel-and-toe polka).

• Stamping.

• Someone in here… (touching the aura of audience

members).

• Chaos is happening, and one person is not fazed by any

of it. Appears to be very normal to them and should not

affect whatever they are doing.


SEX DUNGEON

The Intention: To explore our fantasies and pleasures and to bring

them into space.

The Feeling: Naughty, playful and consensual.

Th e W h y :It’ll be the first time I see a bunch of Black queer people

on stage being sexually liberated in whatever way that means to them

individually.

Moments/Movements

• Consent.

• Rope/shibari.

• Flogging (scaring away evil spirits).

• A performer spanking Jamal (different

reactions). Warms up and teases me.

Count to five. Call me a slut! ‘You

fucking slut!’

• Moaning through the microphone

whilst being spanked. Is there an

echo?

• Roleplay?

• Touching ourselves.

• Cuddles and tickling.

• What does each performer find

pleasurable?

• What is their fantasy?

• Jamal dancing naked (that’s freedom

to him!).

• What is freedom to the other

performers? What is freedom to you?

56 | Jamal Gerald

Alycia: Bar & Grill,

Cudjoe Head,

Montserrat,

July 2022

Jumbies love their rum!

JUMBIE R&D, Leeds Playhouse, May 2021 Image: Baile Ali, Sable Studio

Dissertation Excerpt

Only total masters of their bodies can dare subject themselves to such

a disorganised range of movements.

(Dewar, 1977)

I read an excerpt from a dissertation by Ann Marie Dewar that focuses on the

Jumbie dance, which was shared on Facebook by David Edgecombe on the

26 th of September 2021. It made me even more excited to create something

inspired by the ritual. It was

written in 1977 for Dewar’s

BA at the University of the

West Indies, before Jay

D. Dobbin’s book which was published in 1986.

A Black woman’s perspective. Yay!

58 | Jamal Gerald

Image: Ajamu X


‘The Church had a lot to

do with the decline of

the Dance. Methodists

who wanted to have

one would call the

Dance in the house of a

non-Methodist.

A dance which lasted

twenty-four hours

led to the woman who

called it receiving a visit

from her priest who

threatened her with

excommunication.’

‘Someone Reading This...’ by Liv Will


62 | Jamal Gerald

Watch skirt!

JUMBIE Rehearsals, Open Source Arts, March 2022 Image: Ray Young


The Jumbie dance, like the Masquerade, was danced in

the form of a quadrille, though it served a very different

function because it was organised to discern the cause

of illnesses. Jumbies, as spirits of the dead, could be

invoked to help diagnose the source of anguish. In an

example when several children suffered pains, an expert

woman was brought in to perform a Jumbie dance to

diagnose the cause of the children’s ailment. During

the ritual she “threw her dress on her head” as she

danced the polka until she discerned the cause of the

misfortune – which she identifed as the “obeah stuff”

buried near the house. The family promptly removed the

offending materials. Clothing reversals, in Masquerade

and in other rituals like the Jumbie dance, signalled

carnivalesque transformations by which performing

the inside-out and upside-down effectively returned

the world to its proper configuration.

(Sturtz, 2016, pp. 234)

64 | Jamal Gerald

Image: Ajamu X


66 | Jamal Gerald

Montserrat, 2022

Bla_k Soundtrack

Khadijah Ibrahiim

Obeah crossed the [Black] Atlantic with enslaved Africans as rituals buried

in the body as memory, played out as survival by extension – as cultural

[interpreted] performance. The work of Live Artist Jamal Gerald captures

[Black conceptual thought] as a metaphor to explore Montserrat’s Jumbie

dance as a performance interrogation and installation.

Jumbie [duppy] as folklore or performance can take on varied narratives.

The body as spirit [the art of breath] is the realm between reality and

the fantastic – manifestation and transformation: ‘the visible shape of the

body is a powerful sign…’ (Viveiros de Castro, 1998). However, exploring

the scale of Caribbean spiritual practice can be complex, as is burying oneself

in the textured narratives of [kinfolk] and its people.

…I packed fragments of childhood memories,

carrying what I know, some

things are forgotten when I am awake…


My research, entitled ‘Dead & Wake’, is a multifaceted, poetic journey

that shifts time and place, connecting/reconnecting to an African

Caribbean soundtrack of [Nine Night] wakes and burial rites [Night

Visual Frequencies]. It is a deliberate act of lamentation [Black thought]

and representation that inhabits a Black architectural universe.

…water carries the ashes of Grandma’s body

She said one day we’ll all fly away home...

Black bodies fly in the imagination, in real-time; self-creation is our own

way to survive the contradictions of what Black is/to map new possibilities.

Spirit is breath transformation, a way to dream into generational space

and time. The agency to see into the otherness of belief – the orality of

supernatural forces that comprises [flight] spirits, Jumbie, [Obeah] and the

iconography embodied. We are often in a semi-conscious state, knowing the

aesthetic [the intersectionality] of inherited traditions which survived in the

diaspora and in our bodies.

…The ambient breath unconquered

sonic cords recur

mourner spread arms in remembrance…

If we are to celebrate what is ours without prejudice, we must acknowledge

the magic of the past, mapping the present [beyond] and ‘In the Black

fantastic’ knowing that life is neither linear nor restricted – but rather a

circular flow of recurring happenings. At the centre of this work is grief and

loss; or as Sharpe states: ‘Wake: the track left on water’s surface by ships…

it is the air currents behind the body in flight…’ (Sharpe, 2016). Spirit

procession [Jumbie/duppy] manifestation combined with the rhythms of

remembrance – rewinding – crisscrossing [Black] culture into rituals and

rites of passage. As such the poetic stanzas presented aim to give space

for collective thought; reclaim [mystical trance] as performance and as a

creative mode of language, body and metaphysics of space.

68 | Khadijah Ibrahiim

… hear it deh

dis/dis…

deep/deep dub/tion/

breath/prancing flute-like

red/flags waving [across time]

humming wind chimes/iron

burnt Black feet drilling

prancing/body

body/prancing

dusty copper red ground

the maroon woman minister

the crossing between the dividing bridge…

Soundtrac\ing

Obeah – Obay-ifo – Obeye

Hoodoo

Orisha

Candomblé

Santería

Regla de Ocha

Regla Lucum

Palo

Myal

Kumina

60 Order Revival Zion

61 Order Pocomania

The cosmos is…/Bla_k/space/

The abstraction…/body/memory

The presence…/traverse


water/

The beat of night/shadows and breath

Bla_k future

composed the fantastic

unseen guest/ conjured by breath…

Witch/Wizard/

[hold hands say way]

Bush Doctor/Wanga man/

Scientists/Professor/

Madame/ Pundit/ Maraj/

Work-man/woman/

Practitioners/

Quimboiseurs/ Sorciers/ Gadé zaffés

Dem a de chief oracle in all affairs

Could da/peace or war

veneration/ Igbo yam deity/ Njoku Ji

Ashanti/Koromantic

Nanny/Maroon/croton leaves and the

kitchen bitch/clear de opening/pathway


Some of dem/are Priest/ess

…and when Mas dancer

Body is…

Altar/Yoruba/divinities/Ifá/bush baths/healing

plants/herbalist/night/vision


Junkanoo/Jab Jab black oil slick blue devil/

Moko/Jumbie/ride de air/juju/

Trance is…

70 | Khadijah Ibrahiim

J’ouvert/manifestation/tape measure

the soul

summoned spirit and resistance

Composed the fantastic

Bla_k wake

colonized/bodies/ship hold/

water/the movement [mapping]

into hell/plantation/cane field/overseer/outlaw practice/

out of fear/criminalised the body

dip into absence

laden with Christ


‘Minimising the White Space II’

by Liv Will

Woowoo Drum Rhythm

I got Willy Kinny to make the woowoo drum rhythm from his mouth, which

I recorded and then shared with Lee Affen, the sound designer for JUMBIE.

He then went on to make this beautiful composition. I’m obsessed. During

rehearsals, it was the track I couldn’t wait to dance to the most. I feel like it

does a good job of showing the ritual aspect of the JUMBIE performance.

The Bodhran (closest

woowoo drum). Voice

played on the conga

drums were

by conga and

of it and

for the rest).

and full

rhythms

Bongos

Note, the

resonant like

drums (conga

It has a

and is held in the

and djembe carry

this track.

sound I could find to the

note rhythms throughout

and Bodhran. Other

added (recorded

djembe for some

programmed

Gets busy

with lots of

and variations.

are also used.

Bodhran isn’t

barrel-shaped

etc).

goatskin cover

hand. The conga

the most resonance in

Lee Affen

Play it

and dance

for your

ancestors!


‘One year a woman

didn’t do up the

Jumbie table for

Christmas for her

dead husband,

and she was

never to be seen

again after that.’

74 | Jamal Gerald

The Jumbie Table is set for the ancestors during Jumbie dance

ceremonies and Christmas with different food offerings. Food that is

standard on the table include items such as rum, cake, cassava bread,

as well as other food that the ancestors liked.

(Cabey, 2022, pp. 62)

Aunt Teresa’s

Jumbie Table, Christmas 2020


JUMBIE R&D, 2021

Set Design: Jumbie Table by Rosie Elnile

76 | Jamal Gerald

JUMBIE @ CLAY: Centre for Live Art Yorkshire, 2022

Set Design: Jumbie Table by Rosie Elnile


Jumbies don’t like

bright lights!

That’s why there

is photography

in black and white

taken by the legendary

Ajamu X.

Image: Ajamu X


‘I have heard

Jumbie Dance

stories, it’s some

pretty serious

stuff. Devil work

Mum used to say...

You may want

to leave it alone,

don’t give that

kind of stuff any

energy…’

Always ask for consent, babes. Always ask for consent, babes. Always

ask for consent, babes. Always ask for consent, babes. Always ask

for consent, babes. Always ask for consent, babes. Always ask for

consent, babes. Always ask for consent, babes. Always ask for consent,

babes. Always ask for consent, babes. Always ask for consent, babes.




























for consent, babes. Always ask for consent, babes. Always ask

for consent, babes. Always ask for consent, babes. Always

ask for consent, babes. Always ask for consent, babes.

Someone reading this touched someone’s crotch

without their consent.

Liv Will

82 | Jamal Gerald

Image: Ajamu X


‘The church council even

tried to stop a simple

drum ceremony last year

or so. They’d be freaking

right out if they thought

someone was going to do

a Jumbie dance. Given

the laws against Obeah it

might even be illegal.

I think people should have

a right to believe what they

want to believe as long as

they aren’t hurting other

people. Some folks need to

stay out of other people’s

business. lol’

When children were born in Montserrat,

they would be given nicknames (Jumbie

names) after ancestors, based on similar

characteristics. My grandma was named

Money, after her Aunt (father side).

My aunt was named Tarteen, after her

mother’s mother. Other Jumbie names in

my family were and are Ackie and Nana.

Nana is Ashanti and means

“Queen”.

Liv Will


Ooh, this tea is piping hot! Maybe someday someone will

take this book and adapt it. I can see it being a TV

drama or a revenge horror flick. Ooh, this tea is piping

hot! Maybe someday someone will take this book and adapt

it. I can see it being a TV drama or a revenge horror

flick. Ooh, this tea is piping hot! Maybe someday someone

will take this book and adapt it. I can see it being a TV





























90 | Jamal Gerald

Image: Ajamu X

So, we were exploring Black queer rage. Screaming to ‘Killing

in the Name’ by Rage Againat the Machine.

And I guess I got carried

away. I did a pushkick against

the wall. Oops! What can I say?

That ancestral power is strong.

JUMBIE Rehearsals, CLAY: Centre for Live Art Yorkshire, February 2022 Image: mandla rae


I’ve been a naughty boy, hehe. And my ancestors say I need to be

punished. I need to take accountability. Would anyone reading this be

willing to spank me? Here’s the flogger. I’m ready whenever you are.












willing to spank I need to take accountability.

reading me? this

Here’s the flogger. I’m ready whenever you are.





















I’ve been a naughty boy, hehe. And my ancestors say I need

to be punished.

Would anyone be willing to spank me?

Here’s the flogger.

I’m ready whenever you are.

Image: Ajamu X


‘If my memory

serve me right

someone in the

village was sick

and some people

came from East

one night.

When me hear de

music tek me fass

self an go peep in

what a sight

Gyal me never fass

ogain ’

TUN

For this element of JUMBIE, I thought about showcasing what happens or

could happen before someone would “tun”. I wanted to highlight the process

of ecstatic dancing into a trance. As connecting with spirit does not happen

after a couple of minutes, it usually would take hours.

I wanted to explore how my Auntie Terri would say that someone

who would “tun” is invoking a demon. Although, she most likely wouldn’t

have a problem with someone catching the Holy Spirit (religious ecstasy).

Even so, members of Black churches only engage with the Holy Spirit

because their ancestors were doing it through ancestral veneration. It’s

crucial to appreciate this.

I wanted Lee to consider all of this and to mix it with ‘Revolution’ by

Kirk Franklin & The Family. Who doesn’t love a bit of gospel? This was to

show the differences between “tun” and someone catching the Holy Spirit,

but also the similarities. Unfortunately, due to copyright infringement, you

won’t be able to hear what Lee originally created. But here’s another version

that’s still great. Listen and let the Jumbie take over you!

A constant pulse and seemingly random and hypnotic top beat.

Screams throughout.

A rising wall of the sound!!! A track to get lost in.

Lee Affen


Ah fam de la bush

Sha masha fu la ee

Eh beshu da kum

Plah, ee mashe he

Kafa eh me da ish

Mmmda may teet

Day jah ma lou kay

Zyumd wan

B

Da da fum rah keh

Tanda za za

May fa koom

Prando ehso noko

Asha

Mmm fu la

Fay lay s

Foo hoo Ium la ba

Asha somk ee

Pa qusa feena kan

Dekeeb goon goon

Blum pa fe ku la mé

Rakudum

Asha modumplumfa Mi ah gat coo

fu lay een

lay shandun

Del ye kasha fe juy

‘FELT’ by Mele Broomes

98 | Jamal Gerald

‘FELT’ by Mele Broomes


R&D Freewrite

Don’t forget about condoms and lube. PrEP doesn’t protect you from

everything. You don’t want a burning fanny or cocky, do you? Trust me, you

don’t; I’ve been there.

During the JUMBIE R&D in Manchester, I woke up to a leaky and

stinging dick. Not the first time it happened. But this time I thought maybe

the jumbies (my ancestors) were punishing me for continuing to sleep with

the coloniser.

You know, the white man? You would think I would’ve learnt my

lesson by now. It took me getting urethritis in my penis, gonorrhoea in my

throat and an injection in my ass to get the hint.

I have used condoms and still got STIs. Bacteria loves to travel. I’m

used to it. I have lost the fear of contracting anything. Does me saying that

put you on edge? I have a friend that thinks she’ll never get an STI/D. I swear

straight people are so delusional.

Maybe, I’m delusional for thinking my ancestors are punishing me.

It’s probably just a coincidence. Or maybe I still have some of my colonised

mind to work through?

100 | Jamal Gerald

Image: Ajamu X


‘A woman who

“tun” went up

to the attic and

jumped off the

roof. Hit the

floor and she

was okay.’

Kenep,

Carr’s Bay,

Montserrat,

July 2022

Ginger Rock Barzey’s,

Montserrat,

July 2022

Jumbie beads protect you from evil.

Jumbie Beads,

The National Museum of Montserrat,

July 2022

Someone reading this sucked a dick for a commission.

And no, it wasn’t me. Even though I do give great

head. Someone reading this sucked a dick for a

commission. And no, it wasn’t me. Even though I do give

great head. Someone reading this sucked a dick for a


















great head. Someone reading this sucked a dick for

a commission. And no, it wasn’t me. Even though I do

give great head. Someone reading this sucked a dick

for a commission. And no, it wasn’t me. Even though

I do give great head. Someone reading this sucked

a dick for a commission. And no, it wasn’t me. Even

though I do give great head. Someone reading this

sucked a dick for a commission. And no, it wasn’t me.

Even though I do give great head. Someone reading

this sucked a dick for a commission. And no, it wasn’t

me. Even though I do give great head. Someone

reading this sucked a dick for a commission. And

no, it wasn’t me. Even though I do give great head.

Image: Ajamu X


Image: Ajamu X

106 | Jamal Gerald


108 | Jamal Gerald


Image: Ajamu X

110 | Jamal Gerald

A Conversation

I posted a 30-second clip from the JUMBIE R&D on my social media of

myself and fellow performers playing with floggers and displaying Black

queer joy. The following day, 22nd October 2022 at 7.25 am, I received an

Instagram message from a woman, let’s call she “Patricia”.

Patricia wanted to understand why the performers and I were using

floggers. As a Black woman, she felt uncomfortable watching Black bodies

engaging with whips as those acts reminded her of the torture and enslavement

of Black people.

In my response, I said:

I think that we can get lost in trauma and forget about

some pleasures. You may not think someone getting

spanked is pleasurable, but some other Black people

might. I am not interested in whiteness. I’m more

interested in what Black queer people desire and letting

them be free with it, without judgment.

Also, I would say slavery is more so white European

history than Black history. In the work, we’re exploring


BDSM (Bondage and Discipline, Dominance and Submission,

Sadism and Masochism). Which is consensual. I

acknowledge that the lash was used as a form of punishment

by white people, but what we’re doing has nothing

to do with that.

The Jumbie dance used whips as a form of punishment

(if the ancestors asked for someone to be punished) or as

a part of healing. In the Montserrat Masquerade dance,

the whip is used to scare away evil spirits and to keep

the audience at bay. I do think there are misconceptions

when it comes to BDSM as many people don’t know

about it.

I will keep in mind that a lot of Black people will mostly

think of slavery when seeing whips and floggers. I get

that slavery and colonialism are impacting society

today. However, I think it can be dangerous to constantly

connect everything to it. Some things are not always

that deep.

112 | Jamal Gerald

Image: Ajamu X


In Montserrat, the national dish is GoAt

WaTeR. There is a spiritual connection to

this because not everyone has been blessed

with the gift of being able to make good

GoAtWaTeR. My grandmother, ‘MoNeY’, who

is a phenomenal cook, is afraid of attempting

to make it. She believes that you have to have a

special hand. And she is a critic when it comes

to this stew. I remember her talking about

some that she didn’t approve of and she said,

‘DiS Ah

gOaT

wAtEr

sIsTa!’

Goat Water, Little Bay, Montserrat, July 2022

‘Thank goodness

it’s outlawed.

At least in

Montserrat.’

For David Edgecombe

4 th February 1952–19 th November 2021

David was writing a play on the Jumbie dance, around the same time I

was working on JUMBIE. Although, he was researching the Jumbie dance

for years before I was. Both of our works were going to premiere on 17 th

March 2022, St Patrick’s Day. It’s sad and poetic that we both were making

something based on the Jumbie dance, but audiences didn’t get to see it. He

wanted us to chat. Our numbers were exchanged, thanks to my anonymous

cousin. I was thrilled to connect with a fellow Montserratian with similar

interests, but unfortunately he passed away. I’m including this story that was

shared with me in honour of him. I can feel that our conversation would’ve

been so magical. It turns out he was a fellow Aquarius, too. What are the

chances? Our birthdays were a week apart. For those of you who don’t know,

the Aquarius sign loves to rebel. Even though I didn’t know him, I can feel

his spirit. I get emotional thinking about it.

My cousin, Mrs. Daisy Nanton, who will be ninety-six early next

year, called to say she knows about the jumbie dance. Here’s her

story: ‘Shortly after I got married eighty-one years ago, we lived at

Victoria Village next to the Cabey’s. Their house was the Centre for

116 | Jamal Gerald

jumbie dance. Jumbie dances that went on all the time and could

last for up to two days. Sometimes it would be for a Christening or

wedding but mostly it was for people who were sick. I had a woman

from Dominica who was helping me look after my first child, Patty.

One day she took Patty over to the dance and I quickly ran after

them because I didn’t want my child there without me.

The music was going and going. Through the window I saw

a woman dancing with a glass of water on her head. The session

was run by Sally Heifer and Henry Devil who used to go all over

the island for the jumbie dance. The woman danced and danced till

the glass fell off her head. It fell through the window to the ground

outside. And there was no grass to cushion it. It was stony ground.

And I’m telling you, David, not a drop of water was spilled from that

glass. And that’s not all.

The drumming continued to a frenzy till a young man in the

band “tun” (this mean was possessed by a spirit). It was like he was

in a trance, fluttering around until they brought him to the door and

pushed him outside to the ground. Outside they doused him down

with water, but no response. Somebody shouted, “Get some hibiscus,

get hibiscus!” And they slapped him with hibiscus leaves till he came

back to himself. But David, why all this sudden interest in jumbie

dance?’

I told her I’m working on a play for next Heroes Day (St

Patrick’s Day) and want to have an authentic jumbie dance in it.

She said, ‘That’s very good. If you need any more jumbie dance stories

just call me.’

In addition to the stories I need to know the procedure, the

songs, the music, the instruments etc. I appreciate all the information

you can give. And do keep the jumbie dance stories coming.

(Edgecombe, 2021)


118 | Jamal Gerald

Carr’s Bay,

Montserrat,

July 2022


their colonised mind their colonised mind their colonised

mind their colonised mind their colonised mind their

colonised mind their colonised mind their colonised mind










their colonised is mind comfortable their colonised with their mind their colonised


















their colonised mind their colonised mind their colonised mind





Someone reading this

But

will wank

over me later and then repent.

colonised mind.

Image: Ajamu X


BREAKING

122 | Jamal Gerald

POINT


3 rd March 2022

‘Hey, All,

I hope you’re good.

Just wanted to say something, I’m currently in a place

where I don’t want to continue with JUMBIE after the process

is over. I need some peace in my life. So, it is now or never.

I acknowledge that people are ill, however, at any point,

someone else could get ill and continue to be. And I hate the

thought of there not being any performances of JUMBIE.

My main intention for this work was to resurrect the

Jumbie dance and to showcase Black queer joy. To me, that’s

the most important thing. At this point, I don’t care about

making the “perfect” show.

I know there are talks about potential cancellations,

however, I don’t feel completely comfortable with that, as I’m

thinking about Black queer people who have already bought

tickets. Young Black queer people will potentially be inspired by

seeing Black queer people being joyous and sexually liberated

(I don’t mean to suck my dick, haha).

But I also want to make sure everyone’s hard work is

showcased. So, whatever we end up with by the time it is to

present at Transform, is what we end up with. That’s all I have

to say.

Thanks for everything you have all contributed to the

process.

Big Love!

J x’

124 | Jamal Gerald

I would call myself a recovering perfectionist.

I do have my relapses, though. But I’m in

a place where I don’t care too much about

making “the perfect show”. More so interested

in exploring things that I’m passionate about.

I have given Black excellence. Therefore,

people should be ready to accept my Black

mediocrity, or even me just being Black and

doing what the fuck I want. I’m not giving

Black excellence all the time because it’s

exhausting. I know some people will feel

some type of way about that, and that’s cool.

But I’m not interested in dancing for Massa.

I’m interested in dancing for my ancestors.


Image: Ajamu X

126 | Jamal Gerald

#BlackExcellence

Hello, my name is Jamal and I am a perfectionist.

I am addicted to being exceptional. Making errors is never an option.

This hasn’t been easy, but I have finally started to make some progress. I

want to dismantle white supremacy. Nevertheless, I often forget that perfectionism

is a product of it.

The article ‘White Supremacy Culture’ by Kenneth Jones and Tema

Okun (1999), highlights perfectionism to be a characteristic. It states, ‘often

internally felt, in other words, the perfectionist fails to appreciate her own

good work, more often pointing out his faults or “failures”, focusing on inadequacies

and mistakes rather than learning from them; the person works

with a harsh and constant inner critic.’ This was me to the T.

I used to write #BlackExcellence whenever I achieved something. Yet,

I was cuddling with anxiety. Overthinking that whatever I was working on

wouldn’t be a success. This stems from being bullied. Wanting to show my

bullies that I’m no longer that person that they once picked on for being gay.

After Idol, my autobiographical show which explored Black representation

in religion and pop culture with live music and Orisha practice,

I decided to not put myself through all that stress again. It was a show I

created for Black audiences. However, it was also a show I made to prove to


myself and to the world that I’m great. It wasn’t worth it, as I have realised

validation from others wasn’t needed. I am proud of Idol, although I don’t

think I needed to work as hard as I did.

I wanted to make JUMBIE without putting too much pressure on

myself to be perfect. Throughout my time making performance work, I

always felt I had to explain myself. I had to write a thesis. I got a distinction

on it, and it still was not enough. Why is resurrecting a dance that’s important

to my heritage and ancestry not enough?

After a nightmare of a process, I decided to cancel the JUMBIE

performances. I was leading a team of sixteen people, and there were some

others I had to deal with. I hate when a plan doesn’t go to plan. Perfectionist!

I don’t know how I could have prepared for all that took place. There were

two COVID cases, someone with long COVID, someone with a long-term

illness who needed surgery, an injury, a dental emergency and someone’s

family member passing away during the process. Plus, there was so much

more. All this in five weeks.

The doors to the spiritual world were opened. I wonder what the

ancestors were saying. I have never had any issues when connecting with my

ancestors. Nonetheless, when other people’s ancestors were invoked, there

could have been a clash between them. There was also the element of people

not feeling comfortable with what the work was exploring. This probably

intensified all of the energies clashing in the room.

It put me off doing any ancestral work for months. When I eventually

reconnected, I felt grounded and safe. Was the show cursed? In the third

grade, when I was living in Boston, Massachusetts, a boy that was in the fifth

grade tried to kill me by strangling me to death in the toilets. I have had a

near-death experience and the JUMBIE process was way worse.

To me, it seemed like half of the team wanted a best friend, a

therapist, a father figure, an ego stroker and a leader. I couldn’t be all of

those things. It was jarring to be told by collaborators that they were upset

because I didn’t show enough appreciation by complimenting them. Yes,

I could have given more praise and attention. I mentally checked out; I

couldn’t take the process anymore. With all that happened, one would think

being complimented would be the last thing on someone’s mind.

There was a point in the process where I cried to two of my collab-

128 | Jamal Gerald

orators because I was afraid of failing. A relapse of perfectionism. I have a

bad habit of working until I make myself sick. I don’t recommend it. During

a conversation, I shared with the performers that I had sobbed due to the

pressure of everything, and they were surprised. I wish I could see the

version of myself that my collaborators had painted of me.

After creating JUMBIE, I have no interest in making a performance

again. That might change, but at this moment making live work is a hard

pass. Working with spirit can be such a supernatural experience. If the team

didn’t believe in spirit before, they believe in spirit now.

In April 2022, I wrote a blog called ‘50 Things I Learned About

Leading A Big Team’. This was to share the true reasons why JUMBIE was

cancelled. After my blog, I had several Black artists share their experiences

with me. Not everyone is comfortable speaking openly about what they have

been through, so they all admired my courage. Here are some comments:

Indeed, Black artists and their creative process/work suffer so much

due to the lack of honest support... and too often we have to be resistant

and resilient even more so…

I empathise completely. Especially being in a position of leadership as

a Black male. Often there’s a pushback that’s unconscious. Often the

pushback may feel warranted but is drenched in a colonised mind. Ears

are open and patience is afforded to white leaders.

Leadership is hard, especially amongst the Black community. We

are so used to having white male leaders in charge and have become

accustomed to this!

I also received messages and spoke to people of different genders and races,

and they shared that they could relate. I was relieved to know I wasn’t

alone. A bittersweet reassurance. An older Black woman told me a story

of how she was falsely accused of stealing money at her workplace. An arts

organisation. She described the moment to be a modern-day lynching. It

was heart-wrenching to have been told this, as it was for her to be told what

I went through with JUMBIE.


I received some support but not much happened. I guess I wanted

some sort of justice. I kept being told, ‘but you’re the lead artist, you need

to keep it together.’ Black excellence isn’t something that should be expected

from Black artists. I and other Black artists deserve grace. Some chance for

us to learn, experiment and fail. Yes, we deserve these things, however, that

doesn’t stop the pressures of #BlackExcellence, especially if you’re someone

who is ambitious and wants to level up like me.

An article by Janice Gassam Asare (2021) highlights a quote from one of

my favourite TV shows, Scandal. The lead character, Olivia Pope (Kerry Washington),

and her father, Rowan Pope (Joe Morton), had a passionate discussion

about what Black people have to do to get ahead. ‘You have to be twice as good

as them to get half of what they have.’ Rowan said. Asare states, ‘What Rowan

was referring to is the idea that many Black people are taught at an early age –

they have to be twice as good as their white counterparts to be deemed equal.’

There was a period when I would see artwork that screamed white

privilege. I knew if I or any other Black artist were to present such work,

we would get slaughtered. Therefore, I wanted to push against that. Make

something that could potentially be a pile of shit. I was done with trying to

be #BlackExcellence all the time. Then here came the pushback. You would

think I was doing something blasphemous, although I already did that with

Idol. It seemed like the majority of the team wanted no part in something

experimental and wanted to play it safe.

Art is subjective. There are instances when some artists do take the piss.

I haven’t had the chance to get away with it fully yet. I believe we should give

everything the same energy. The energy you give my trauma you should also

give my joy. The energy you give my Black excellence, you should also give my

Black mediocrity.

Asare continues, ‘Black exceptionalism plays into the idea of respectability

politics—that if Black people act the “right way”, they are deserving

of decency and respect. Our obsession with Black exceptionalism does not

allow Black people to just be.’ I believe when making JUMBIE, I just wanted

to be. I wanted to try not to be exceptional for once. After a long period of

rage and reflection, and speaking about the JUMBIE process over and over

again with many people, here is what I concluded. I hope some of these

considerations will be useful.

130 | Jamal Gerald

What Went Wrong?

There was a lack of trust in the room. I didn’t trust all my collaborators,

and they sure as hell didn’t trust me. I have now been working with

people after the JUMBIE process, and it’s mostly been a breeze. Yes, I still

get stressed, but at no point do I want to chop off my locs. At no point

have I felt like people didn’t trust and believe in me and my vision. Trust

is essential.

What Would I Have Done Differently?

The UK arts sector is fucked. I knew this, but I have been reminded. We

were making a mid-scale show for a small-scale venue. I needed more

time, support, finance and the right venue for this to have been a smoother

process. There should have been a longer period of fundraising, researching

and creating the performance.

I would have spent more time finding the right team, doing workshops

and having more than one meeting with collaborators. JUMBIE

probably should’ve been a solo work or a duo piece. The work was ambitious,

and I needed people who were ready for that level of ambition and

risk. I would have collaborated with those who already have insight into

working with ritual, ancestry and BDSM. I know that would have been

difficult to find, but I have since come across people who would have been

more fitting for JUMBIE.

What Have I Learned?

On the 23 rd February 2022, I sent a WhatsApp message to a collaborator:

‘I hate the performers. I’m never working with them again. I come in

every day not wanting to be anywhere near them. And that’s bad. But with

everyone else, I’m fine.’ I don’t think I should have sent that message. I

should have kept thoughts like that to myself and not shared them with

anyone on the team.


I was such a dick! I can admit that. I killed half of the collaborators

with the silent treatment because I was annoyed from feeling undermined

by them. That was my insecurity, although I can tell when someone is

listening to me, and when they’re not. I also didn’t know how to engage with

some team members. I was told they felt I kept snapping at them. As you

know, I grew up in a Caribbean household and I’m used to bluntness. I have

acknowledged that not everyone is.

All my skin folk ain’t kinfolk.

(Zora Neale Hurston)

I learned that those who say that they have your back could let you down.

Your colleagues are not always your friends. People can change when they

get closer to others, and you may experience an episode of groupthink.

Someone may appear to be an ally but just want your shine.

The white liberal differs from the white conservative only in one way:

the liberal is more deceitful than the conservative. Both want power,

but the white liberal is the one who has perfected the art of posing as

the Negro’s friend and benefactor.

(Malcolm X, 1963)

What Do I Hope the Collaborators

Learn?

I did what I could to make the process safe by hiring an intimacy coordinator

and having conversations with the performers about their boundaries. I

also reminded everyone repeatedly that they didn’t have to do anything they

didn’t want to do. Regardless, I was unfairly compared to a man who was a

monster. A man who abused young men and boys in horrific ways. No one

defended me, even though they knew the accusation was defamatory and

incorrect. I can’t remember the last time I shed tears like that. My chest

ripped and bled with devastation. At this point of writing, I haven’t received

132 | Jamal Gerald

any apology from those who assassinated my character. Character assassination

is not constructive criticism.

If you are neutral in situations of injustice, you have chosen the

side of the oppressor.

(Tutu, 1984, pp. 19)

Final Thoughts

Since I was associated with a criminal, I started to believe I did do damaging

things to my collaborators. I thought it would be right to apologise for my

behaviour. Unfortunately, this led to a group session where I was ganged

up on by half of the team. I was curious to know if they were aware of what

they were saying and doing. One stood up and raised their voice at me like

they were about that street life. I was emotionally abused for hours. It was

a durational performance of psychological trauma. I cried and said sorry

multiple times. I also showed gratitude for all they contributed to JUMBIE.

They were not satisfied. I am not innocent, but I didn’t do anything that

warranted all that.

I wanted to be the perfect leader, the personification of #Black-

Excellence, and it was a goal I didn’t achieve. A relapse happened and it

could happen again someday. I now know that it’s okay not to be the perfect

leader. Maybe the jumbies, my ancestors, were trying to protect me. To

protect me, they needed to show me the types of people I was working with.

To protect me, they needed to remind me it’s okay to fail.

My Auntie Terri said that in Trials they have a saying: ‘Ya dead bad’ or

‘Ya dead wid eye open.’ Whatever bad things you do in this life will trickle

down in your family’s generations. So, I am finally in a place where I don’t

have any venom towards anyone. It took some time, but I wish them all the

best. I learnt a lot from making JUMBIE, as I’m sure they have, too. I have

been holding this grudge for long enough. I will never forget the pain they

caused me. However, I am now ready to release it and move on with my life.


I forgive them.

I forgive myself for not being perfect.

I forgive myself for not always being #BlackExcellence.

134 | Jamal Gerald

For me, forgiveness and compassion

are always linked: how do we hold

people accountable for wrongdoing

and yet at the same time remain in

touch with their humanity enough

to believe in their capacity to be

transformed?

(bell hooks, 1998)


Spotify Playlist

Enjoy!

Hot Hot Hot by Arrow

Dollar Wine by Colin Lucas

Pussy Ate by TT The Artist

Booo! by STICKY (feat. Ms. Dynamite)

Would You Mind by Janet Jackson

Wuthering Heights by Kate Bush

Haunted by Beyoncé

That’s What It’s Made For by Usher

One Man by Gaza Slim (feat. Vybz Kartel)

Killing In the Name by Rage Against the Machine

Talk Shit, Get Shot by Body Count

Touch Me (All Night Long) by Wish & Fonda Rae

Ride by Ciara

Run Wid It by Stadic & Mr Killa

In The Party by Flo Milli

Candy by Cameo

Johnny by Yemi Alade

If I Was Your Girlfriend by Prince

Revolution by Kirk Franklin & The Family

Love Triangle (Pum Pum) by Spice

136 | Jamal Gerald

With regard to my blog, 50 Things I Learned About

Leading A Big Team and #BlackExcellence…

‘I said

what I said,

and

I’m not

changing

on it.’

(Nene Leakes,

The Real Housewives of Atlanta,

Season 6 Reunion, Bravo, 2014)


Someone reading this is now pissed off. And the thought of my art

provoking someone really really really turns me on. Someone reading

this is now pissed off. And the thought of my art provoking someone

really really really turns me on. Someone reading this is now pissed

off. And the thought of my art provoking someone really really really

turns me on. Someone reading this is now pissed off. And the thought

of my art provoking someone really really really turns me on. Someone

reading this is now pissed off. And the thought of my art provoking

someone really really really turns me on. Someone reading this is now

pissed off. And the thought of my art provoking someone really really

really turns me on. Someone reading this is now pissed off. And the

thought of my art provoking someone really really really turns me on.












thought of my art provoking someone really really really turns me on.












Image: Ajamu X


Closing the Ritual

Once you open the doors to the spiritual world, you also have to close them.

Let’s close this ritual, and finally put an end to this chaos. In May 2023, I went

to Brazil to do an artist residency. I travelled from São Paulo, to Salvador, to

Cachoeira, and back. I explored Candomblé (Afro-Brazilian religion) and

Umbanda (Afro-Brazilian and Indigenous religion). Both have influences

from the Yoruba religion of Ifá, with Candomblé having other branches

such as Candomblé Bantu and Candomblé Jejé. As part of my research, I

got an Ifá divination reading by a Pai-de-Santo, also known as a babalorixá

(male priest), who practises Candomblé Ketu. I love divination: I engage

with tarot and oracle cards, but this was a different experience. There was

a throwing of búzios (shells), as well as the use of coins and stones. Ifá told

me about my past, present and future. Most things I already knew, of course.

However, I was so amazed by Ifá telling the Pai-de-Santo everything

that he needed to know. Reminding me of things I should consider for my

personal growth. One element in particular is the need to let things go. I

was also told something similar by a Caboclo (Indigenous) spirit during

an Umbanda ceremony where I received a reading and a blessing. It’s time

to release and finally embrace peace. Another thing said to me was that

linear storytelling is only for white people. This connects to everything that

140 | Jamal Gerald

I was trying to do with JUMBIE. Linear storytelling does not connect with

African diasporic religions.

During the Ifá divination reading, I was told who is my head Orisha.

He is called Osain. He’s my father and my protector. The Orisha of the forest,

nature, magic, herbs and healing. He knows all the secrets and properties of

every herb and plant. No Orisha ceremony can happen without his herbs

and magic. He’s a wizard, and I wanted to be a wizard when I was younger.

I love being connected to him, although I will admit he wasn’t the

Orisha I wanted. I wanted Eshu, the messenger and trickster. The one that

likes to test people. I am a provocateur, so I always felt that it would be

fitting. I was told that Eshu is not mine, but he will always have my back.

Furthermore, the more I read about Osain, the more I understand

why he chose me. He’s mysterious, and not many people know much about

him. This resonates with me as I feel a lot of people think they know me

when in reality that’s not the case.

The Jumbie dance was a ritual for healing, and this book itself is my

healing. It makes me feel warm as things have come full circle. I used to live

on Spencer Place in Chapeltown, Leeds. Due to the close distance, I used

to walk to Gledhow Valley Woods often, and I felt comfortable sitting in

nature. Little did I know, I was sitting with Osain. Being at one with nature

and him. I trust Osain will be guiding my healing down the line.

To close this ritual, I’m in Gledhow Valley Woods. I’m on the wooden

swing chanting for Osain. Singing off-key loudly. I hope he doesn’t mind.

Whispers from the trees are calming the chaos. Nature’s scent sweeps my

stress and worries. Sweet shamrock leaves slowly mend my wounds. I feel

like the kid who wanted to be a wizard again. And Osain is pushing me on

the swing, so I can go higher and higher.

Baba Osain Mojuba. Modupe lopolopo. Thank you for protecting me.

Please continue to use your herbs and magic to cleanse my body and soul.

My father, I’m so happy to walk in the forest with you. Ase Ase Ase.


Get a shot of your choice.

Cheers to Dee Jumbie.

Acknowledgements

Special thanks to…

Olodumare Mojuba. Gbogbo Orisa Mojuba. Egun Mojuba.

My grandma (Mum), Delfina ‘Money’. My mummy, Winifred.

My siblings, Celeste, Déshaun and Seraiyah. Auntie Terri. Auntie Tarteen.

Aunt Teresa.

William ‘Willy Kinny’ O’Garro OM. Melrose White. Leroy ‘Padio’ Greenaway.

Every Montserratian who shared their perspective.

Chinasa Vivian Ezugha, Kadish Morris, Ajamu X, Olivia Williams,

Katie McLean, Fuad Abdi, Hannah Bentley, Dane Hurst, Steve Dearden,

Richard Warburton, Pauline Mayers, Zodwa Nyoni, Mayassa Rahman,

Ginalda Tavares-Manuel, Selina Thompson, Dr. Jonathan Skinner,

Rheima Robinson, Ric Watts, Matilya Njau, The Other Richard,

Dr. Anthony Richards, Andrew Crofts, Abigail Kessel, Simon Lee

Hardwick, Kevin Jamieson, Jessica Sweet, James Brining, Amy Leach,

Wesley Bennett-Pearce, Melonie Williams, Jamila Johnson-Small,

Melody Walker, Tyrrell Jones, Camilla Clarke, George Moody, Marie

Koehl, Isabella Carreras, Laurie Nuttall, Mic Pool, Amy Letman, Ali

Ford, Yusra Warsama, Mike Pony, Baile Ali, Dwayne Mactavious, Ann

Marie Dewar, Mele Broomes, Rosie Elnile, Khadijah Ibrahiim, Lee Affen,

tobias c. van Veen and Imprint Digital.

JUMBIE is a Dudaan and Transform co-production in association with

HOME. Commissioned by Transform and HOME Manchester. Coproduced

by Transform and supported by Arts Council England, Leeds

Playhouse, Theatre in the Mill and CLAY: Centre for Live Art Yorkshire.

Recipient of a Jerwood Arts’ Live Work Fund Award in 2021.


Contributors

L e eA ff e n is a multi-instrumentalist composer and sound designer

working with theatre, dance and film. Lee’s work includes composition

and sound design for Imagine If ’s Jadek, Fallen Angels’ collaboration with

Birmingham Royal Ballet for the show, The War Within, and John-Rwoth

Omack’s Fargone in association with Utopia Theatre.

Mele Broomes’ work embodies stories from the collective voice, creating

visceral and sensory collaborations. She is the director and founder of

Body Remedy, a [forming] ecology that centres on physical practice for

self-recovery for Black people and people of colour (BPOC). Her work

GRIN was presented at Battersea Art Centre, London, alongside the film

production which was also screened at Theatre Centre Canada and part of

Cultura Inglesa Festival in Brazil.

Rosie Elnile is an associate artist at the Gate Theatre in London and

winner of Best Designer at The Stage Debut Awards in 2017. Her credits

include Three Sisters (RashDash), The Ridiculous Darkness (The Gate

Theatre), The American Clock (The Old Vic) & Sound of the Underground

(Royal Court). Recipient of Jerwood Arts’ Live Work Fund in 2021.

Khadijah Ibrahiim is a literary activist, theatre maker and published

writer, who combines interdisciplinary art forms to re-imagine poetry as

performance theatre. Hailed as one of Yorkshire’s most prolific poets by

the BBC, her work appears in university journals and poetry anthologies.

Her collection, Another Crossing, was published by Peepal Tree Press

2014. Khadijah has performed and produced art programs in the USA,

Caribbean, Africa and Asia.

Ajamu X is an acclaimed fine art studio-based / darkroom-led

photographic artist and archive curator. His work, theoretical

provocations, and aesthetics unapologetically celebrate Black queer bodies,

144 | Jamal Gerald

the erotic, sex, desire, and the politics of pleasure. His black and white

images also pose the imagination, fiction and play in opposition to the

constant framing of our Black queer bodies and nuanced lived experiences

from within a sociological framework. His work has been shown in many

prestigious museums, galleries and alternative spaces around the world

and has been published in a wide variety of publications and critical

journals.


Artwork

5 Photograph by Ajamu X

8 Cudjoe Head, Montserrat, July 2022


17 Runaway Ghaut, Woodlands, Montserrat, July 2022

17 Runaway Ghaut, Woodlands, Montserrat, July 2022


24 ‘Minimising the White Space I’ by Liv Will



34 Gerald’s, Montserrat, July 2022

35 ‘Fun Fact’ by Liv Will


38 Soufrière Hills, Montserrat, May 2019

39 Cudjoe Head, Montserrat, May 2019

41 Jamal Gerald’s Second Post in Montserrat Connection (FB

Screenshot)

47 ‘Kongo cosmogram’ by tobias c. van Veen

48 The Interesting Narrative of the Life of Olaudah Equiano: or,

Gustavus Vassa, the African (Book Cover)

50 Little Bay, Montserrat, May 2019

51 ‘Safe Word’ by Liv Will

56 Alycia: Bar & Grill, Cudjoe Head, Montserrat, July 2022

57 JUMBIE R&D, Leeds Playhouse, May 2021. Image by Baile Ali,

Sable Studio


61 ‘Someone reading this…’ by Liv Will

62 Naughty Notes #1

63 JUMBIE Rehearsals, Open Source Arts, March 2022. Image by Ray

Young


66 Montserrat, 2022

146 | Jamal Gerald

72 ‘Minimising the White Space II’ by Liv Will

73 ‘Woowoo Drum’ by Liv Will

75 Aunt Teresa’s Jumbie Table, Christmas 2020

76 Set Design for JUMBIE R&D, 2021: ‘Jumbie Table’ by Rosie Elnile

77 Set Design JUMBIE @ CLAY: Centre for Live Art Yorkshire, 2022:

‘Jumbie Table’ by Rosie Elnile



82 ‘Is there anyone reading this?’ by Liv Will


85 Naughty Notes #2


87 ‘Someone reading this...’ by Liv Will

89 Naughty Notes #3


91 JUMBIE Rehearsals, CLAY: Centre for Live Art Yorkshire,

February 2022. Image by mandla rae


98 ‘FELT’ by Mele Broomes

99 ‘FELT’ by Mele Broomes


103 Kenep, Carr’s Bay, Montserrat, July 2022

103 Ginger Rock Barzey’s, Montserrat, July 2022

103 Jumbie Beads, The National Museum of Montserrat, July 2022



107 Naughty Notes #4

108 Naughty Notes #5

109 Jamal Gerald’s BDSM Test Results




114 Goat Water, Little Bay, Montserrat, July 2022

118 Carr’s Bay, Montserrat, July 2022

119 Carr’s Bay, Montserrat, July 2022





142 ‘Shot of Your Choice’ by Liv Will

148 | Jamal Gerald

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150 | Jamal Gerald

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Bio

Jamal Gerald is an artist and writer based in Leeds. His work is

conversational, unapologetic and provocative with a social message. Jamal’s

practice is currently exploring African diaspora religions through a queer

and pop culture viewpoint. He makes work that he wants to see, intending

to take up space as a Black queer person. He is the Artistic Director of

Dudaan (du-darn) – a Black queer enterprise set up in November 2021.

Dudaan produces Jamal’s work and creates opportunities, safe spaces and

support systems for Black queer artists in the North.

Jamal has undertaken research in Montserrat and Trinidad and Tobago

through support from Arts Council England. In 2023, he did an artist

residency with RISCO festival in São Paulo, Brazil. His work has also

been shown at Kampnagel, SPILL Festival of Performance, Royal Court,

Battersea Arts Centre and the Barbican.

Jamal is a Recipient of a Jerwood Arts’ Live Work Fund Award (2021),

Another Route Fellowship (2022) and was shortlisted for the Adopt A

Playwright Award (2023).

www.jamalgerald.com

@JamiBoii

#DeeJumbie

154 | Jamal Gerald

Dee Jumbie Dance: A Resurrection

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