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Performers formed a procession which paraded in the streets, entertaining spectators. The celebrations usually began on Christmas Eve and continued until New Years Day. After the abolition of slavery, there were a few changes in the practice; however, the main change that occurred was in the purpose of the celebration which shifted from being mainly for fund-raising but for entertaining and socializing instead. The main characters in Buru include Horse-Head, Donkey and Madder Lundy. However, over time, other characters were introduced such as Cow-Head and Doctor. These characters were all generally played by men as it was considered vulgar for women to lift their skirts the way in which the dance movements required. Masks were used as part of the costumes in order to hide the identity of the wearer. This was necessary as often times, the Buru characters poked fun at individuals or events in the society through song, so the activity served as a sort of social commentary. The Buru characters are always accompanied by musicians. There are at least three drummers and other musicians who use scrapers, rattles and other percussion instruments. The drums used are the funded, the repeater and the bass, the same drums that are now used by the Nyahbinghi Rastafarians. Some researchers even argue that present-day Nyahbinghi music is a fusion of early Buru and Kumina drumming styles. Traditional Buru songs were topical and told stories or related events that happened in the community during the previous year. Therefore, as a means of spreading local gossip, new songs were created each year. As a result, persons within the community were always mindful of the fact that if they participated in any scandalous activity or displayed similar behaviour, it is possible that they could ecome the topic of a Buru song. As with most, if not all African-derived traditions, dancing generally accompanies singing in Buru. The dance movements place a lot of emphasis on hip movements as well as contact with the earth. The main dance movement is one which is flat-footed so as to maintain contact with the earth, in which ancestral spirits reside. T he hip movements are often times exaggerated and as such the dance is often seen as being very suggestive. However, practitioners say that the dance is a celebration of fertility, similar to many dances still practised in Africa. In Jamaica, Buru is currently practised in Old Harbour Bay, St. Catherine and in Clarendon in communities such as Bowens and Hayes. However, the tradition, like many others, is dying due to the lack of interest on the part of the young people in these communities. Buru thrived in a time when the younger generation was willing to learn the traditions of their forefathers and when entire communities participated in the spirit of Buru; this is no longer the case. Jamaican Drum Feel the Beat Traditional Jamaican drum types have predominantly African origins. During slavery, drumming was often banned because the whites were irked by the heathen sound of the drum, and feared its power. The drum was used by the slaves to communicate in ways the whites could not understand, and so could be used to incite unrest and cause revolt. But no amount of prohibition could permanently silence the sound of the Jamaican drum. Drumming played a vital part in the slaves recreation, in their worship, in their celebrations. When necessary, drums would be dismantled after use to avoid detection by the authorities. Popular music in Jamaica today often uses the traditional Jamaican drum alongside American style drum kits and computerised drum machines. It is in the area of folk music and our traditional folk forms that African derived drums and drumming have retained their supremacy. Let us take a look at the major African Jamaican drum types and their uses. The Harp: Bass, Funde, Keteh These three drums originated in Buru music a recreational dance and drumming style derived from Africa. Buru has had a great influence nRastafarian nyabinghi drumming, in which the three drums are collectively known as The Harp. The Bass drum (also called Thunder) is a double-headed drum, played with a padded stick. It underpins the music with a steady, regular stroke on the 1st and 3rd beat. The bass player will occasionally syncopate the stroke. The Funde (fundeh) is a cylindrical single-headed drum, played with the hands. It carries the heartbeat rhythm which is the essence of Nyabinghi music. Because of the importance of keeping the heartbeat rhythm going, the fundeh player does not improvise much. The Keteh (or Repeater) is the smallest of the three, and the highest in pitch. It too is a single-sided cylindrical drum played with the hands. The keteh player plays on the 2nd and 4th beat, and does a lot of improvisation. Gumbeh (Goombay) The Gumbeh is a single-sided square Jamaican drum on legs, used mainly by the Maroons. It is built with a smaller drum hidden inside (called The Inner Baby). The Gumbeh is played with the hands. The Maroons also use Bass and Repeater drums their repeater is round, and is played with sticks. And heres a Maroon Bass Kumina Drums: Kbandu and Playing Kyas Kumina is considered to be the most African of all the Jamaican folk forms. It is a dance ritual that has both sacred and secular elements. On its sacred side, it focuses on communication with ancestral spirits, with spirit possession being a manifestation of this communication. The Kumina tradition is strongest in the parish of St. Thomas, where it was originally practised by African indentured labourers who came to Jamaica after the abolition of slavery. Before Kumina drums are made, libations of rum are poured to appease the spirits of the wood and the goat skin. Newly made drums are consecrated by rubbing rum (and sometimes sugar water) into the drum skin. Drummers sit astride the drums, and use their heels (well as fingers and hands) to change the pitch and tone of the drums. A second player sits at the back of the drum and plays a different rhythm on the side of the drum with sticks known as katta tick. The Kbandu (pronounced bandoo) is considered to be a male drum. It is about 20 inches long, and about 14 inches in diameter. It is a single sided drum played with the hands. The Playin Kyas is considered female, and is higher in pitch. It resembles the Kbandu, but is a bit smaller. The player executes more complex rhythms than those of the Kbandu. The rhythms of the Playin Kyas are used to summon the spirits generally, and also to communicate with specific spirits. Different rhythms will call different spirits. Tambu In former times the Tambu drum functioned similarly to Kumina drums it was used to communicate with ancestors long gone. The drum gave its name to dance music in the parish of Trelawney, where indentured Africans also settled. Kumina and Tambu both seem to share Congo origins, but Tambu is now done mostly for entertainment. The main player sites astride the drum, uses the heel to vary pitch while playing with the hands, while another player beats katta sticks on the side of the drum. Djembe, Bongo, Conga These drums are found widely throughout the Caribbean. The Djembe (prounounced jimbeh) is shaped like a goblet, is single-headed, and comes in different sizes. Bongo drums are played in pairs, held between the knees. Conga drums are tall cylindrical drums, open at one end. All are played with the hands. Congas are sometimes played in twos or threes, with sticks. The Jamaican drum has come a long way in terms of being accepted by society. Traditional drums are now widely used to accompany singing in Roman Catholic and Anglican (formerly Church of England) services. That would have been absolute heresy in colonial times! I have to tell you, I find the rhythms of our traditional drums mesmerising. They take me somewhere that feels slightly outside of myself a great feeling, but a little scary! No drugs needed, high from the beat.