Nine-Night, also known as Dead Yard, is a funerary tradition originating in West Africa and practiced in Caribbean countries (primarily Jamaica, Belize, Antigua, Grenada, Dominica, Dominican Republic, Guyana, Trinidad, and Haiti). It is an extended wake that lasts for several days, with roots in certain West African religious traditions. During this time, friends and family come together to the home of the deceased. They share their condolences and memories while singing hymns and eating food together.
Nine-Nights are no longer a time to mourn, but a time to celebrate since the loved one is no longer suffering in life. When friends come they do not come with just condolences, instead they come with food, drink and music; this is after all a celebration. True to its name this celebration lasts nine nights and days with the ninth and final night being the night before the church service (Though some modern Islanders only celebrate for seven days and seven nights). On the ninth night the family prepares the food for all who come.
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As tradition has it, on the ninth night the spirit of the deceased passes through the party gathering food and saying goodbye before continuing on to its resting place. Out of all the nights this night is the most revered since it is the end of the celebration. Stories about the deceased and the fondest memories are shared, along with prayers. Games, such as dominoes, are played and there is the singing of hymns, which is also done on the other nights as well.
On the ninth night a table is set up under a tent with food for the loved one, though no one is allowed to eat from it before midnight, which is believed to be the time when the spirit passes through. Along with the food are drinks, most often Jamaican rum with no less than 100 proof. The types of food on the table can vary from one celebration to the next, but typically fried fish and bammy or bread are the main foods on the table. This time is very important to the family because it gives them the opportunity to celebrate the life of their loved one and to be able to say their goodbyes. This celebration is done with an ancestral practice in Jamaica called Kumina.
In order for the deceased to move on there is a process that must happen. First, there is the "seeing". This is when someone looks at a doorway and sees the spirit. They then tell someone and that person tells someone and so on. The leader of the ceremony greets the duppy (spirit) and then the night song begins. This is a song played for the duppy while he or she is told stories by the elders. Traditionally on the ninth night of the deceased's death their bed and mattress are turned up against the wall, in order to encourage the spirit (Jamaican patois "duppy") to leave the house and enter the grave. Then the leader of the ceremony uses a piece of white chalk to draw a cross over the exit that the spirit used to leave, allowing the spirit to never return.[1]sky
In Trinidad and Tobago many Christians participate in a "wake" in the days leading up to the funeral service which resembles the 'nine night' traditions of other islands. In this country, Christians celebrate the "nine-night" service nine days after the death of the deceased which may coincide with a few days after the funeral service and burial.
Nine night is a separate event to the funeral itself. It's like the Irish wake and takes place nine days after the death of the person. You have a celebration of their life at the point at which their spirit traditionally leaves the body. It's a Jamaican practice with roots in an African tradition.
Whether it's solemn or happy varies from family to family. I went to one recently that was a few friends and prayers at their house. At another, a lot of people might turn up for a party with lots of music.
The nine nights for my grandmothers were both in Jamaica. Both were different experiences as one was in the town and the other was in the countryside. The one in the countryside was very different to others I'd been to. Up until then, all the nine nights I'd attended were in community halls or homes in London. Going to one in rural Jamaica helped me see the links to the ancient traditions. I remember thinking: "Ah, that's why they do it that way."
Traditionally, people would be people coming from various villages for the nine night, and there would be something called a 'set-up' which means people bring food and stay with the family. Where I live in London, you see that less because people haven't needed to travel so far, though it does still happen.
One old tradition was to move furniture around the room in order to confuse the spirit before it left, and people would change their clothes. More religious nine nights would have no music, but readings from the bible instead.
In general, when parents speak to their kids they will tell them if they want a big nine night or not. It's such a part of our culture, you just know that the family will organise something for you after you die. As a community, it's one of the last things that's still going, that we still do as the Jamaican diaspora.
My wife's family come from Barbados, and it is not a tradition that they practice there. But where there is a mixture of Caribbean communities, the tradition has spread to communities from other islands as they see the Jamaican families doing it.
Nobody says: "Here's the book on nine night, this is what we do now, and now". We have grown up seeing that tradition, it's just a part of life. If you hear that somebody has died, somebody will ask: "What time and where is the nine night?" When I die, I'd hope my family and friends would say: "Let's have a nine night for him".
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Kudiyattam performances are never short. In their natural form, they range from twelve hours to over one hundred and fifty hours. This summer I spent all of August in central Kerala with my Sanskrit and Malayalam students, witnessing one of the great compositions of this tradition, the so-called Anguliyankam, or Drama of the Ring, which went on for some 130 hours spread over twenty-nine nights.
For many centuries, Kudiyattam was largely a temple art; the performers, from the Cakyar and Nambyar communities (the former supplying the main actors, the latter the drummers, make-up artists, and actresses), were temple servants, living off the temple lands and performing for the benefit of the god and of a mostly elite audience familiar with Sanskrit and the arcane language of gestures. Their repertoire included a series of melodramatic one-act plays on themes taken mostly from the great epics or single acts extracted from much longer works, such as the seven-act Ascarya-cudamani, or Marvelous Jewel on the Head, by the great Kerala poet Saktibhadra (perhaps tenth century), who reworked the story of the Sanskrit epic Ramayana in highly original ways. In the Kudiyattam tradition, such single acts, disassembled from the original text, drastically rearranged and enormously expanded, are the main unit of performance.
Performances are demanding; the actor moves, dances, continuously weaves the hand gestures, and occasionally recites and sings in the tropical heat under the heavy burden of his costume. You cannot perform Kudiyattam, Margi Madhu says, without experiencing constant bodily pain. Still, despite the difficulties of training over many years, the physical and mental challenge of the performances themselves, and the battle for economic survival, I think that the tradition will go on into the next generation, however lonely the actors, and the gods they embody, may feel.
Although writer Chazz Mair never really got the chance to know many of his relatives, through the stories shared over nine night rituals, he could come to understand the people his family had loved, and lost.
If the family is involved with care for the dead body, it can completely transform how they feel about the death; they can feel empowered, they can feel connected and they can feel like they were there at the very end.
Jamaican funerals are typically not held immediately, and can be held up to a month later. Part of the reason is to allow the return of family members from abroad, but another reason seems to hearken to Afro-Jamaican beliefs about the time it takes for the spirit, or duppy to depart the body.
Nine night involves singing, dancing and drinking. In the very poor neighborhood of West Kingston, parishioners say that after a death, a street or alley may be blocked and lined with candles during the mourning period, and that the nine night celebration can be a major event, even for poor families.
Uptown and downtown, most people say disapprovingly that the practice has shifted from memory of the dead to excuse for a party and for drinking rum and forgetting their troubles. They also suggest that the balance has shifted from consoling the family, to adding burden to them, financially and otherwise. Others say that it is too often used as a way to display wealth, even among those who cannot afford it.
Ninety-Nine Nights attempts to mine the same ground that games like Koei's Dynasty Warriors and Phantagram's Kingdom Under Fire have covered in the past, but it does so with only a bare minimum of strategy. While you still have limited control over other troops, this game is all about running into a crowd of hundreds of enemies and slamming on the two attack buttons until everyone is dead. While those attack buttons produce some flashy combos, Ninety-Nine Nights is a very shallow game that gets old fast.
Ninety-Nine Nights tells the tale of a war between humans and foul creatures, such as goblins and frogmen. But it doesn't necessarily tell its story as one epic event. Instead, you're given the same story from multiple perspectives. You start out with only one character available, the 17-year-old Inphyy. Her story is one of vengeance, as she sets out with her army to destroy the goblins responsible for killing her father. You'll also play as Inphyy's older brother, Aspharr, and a mercenary named Myifee, as well as a few others. Each of the game's seven characters offers varying takes on events from both sides of the conflict, but a handful of missions flow through the same basic areas. So by playing through with every character, you'll notice a fair amount of repetition. Also, the campaigns of Inphyy and Aspharr are definitely the cornerstones of the game. Many of the other characters' stories are significantly shorter, though even the longer ones are only around six missions. Regardless, none of the characters have particularly compelling stories to tell, and the game's annoying English voice acting doesn't do a good job of conveying what little story there is. 152ee80cbc
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