Within African and Caribbean dance there are many similar stylistic features stemming from various places either being the background from where the dance evolved from or cultural significances. Within the essay there will be discussions about the movement language of the two styles. Cultural significance and the stylistic features of the dance will also be discussed. The two styles of dance from African that will be discussed are Muchongoyo and Kinka. Caribbean will be focussing on the Kumina and Dinkie-Minie. Originating from Congo in West Africa is the traditional ritual, Kumina. According to Carty, Kumina practitioners believe there are three ranks of spirits, this dance calls to the the Ancestral rank. The dance calls on the spirits to fulfil their wishes of good and evil, and is performed at different events including marriages, engagement, births, deaths and for political or social success. Also as stated by Carty it can be used to perform evil tasks such as making someone ill or wishing bad luck on their family. This is possible because the ancestors they call upon were also alive at one point so share their feelings on justice and revenge. (Carty, 1988. Pg 20-21) The ritual commonly begins at sundown and ends at sunrise and different colours are worn for different ceremonies. They dance round a central pole, also dressed in particular colours for the ritual. Within the group of dancers is also a King or Queen dancer who is the leader, this person will normally either be the best dancer in the group or will be the most knowledgable in the rituals and customs. (Cary, 1988. Pg 21) The Kumina has two main drums that are used, namely the Kbandu and the Playing Cast. The Kbandu is the male drum which is made from the skin of a ewe, stretched and sprayed with White Rum until the required pitch is acquired. The leading drum is the Playing cast, the female drum which speaks throughout the dance and leads the dancers through their brea