“Talking with musicians, ganja traders and the rastafarian brethren.”

Tu Tangata, Issue 6, 1 June 1982, Page 26

“Talking with musicians, ganja traders and the rastafarian brethren.”

Kereama Reid

KUPU WHAKAATA/Reviews

“The Rastafarians” by Leonard Barrett. Heinemann. 256 pages $14.50 “Jah Music” by Sebastian Clarke. Heinemann. 216 pages. $16.50 “Reggae Bloodlines” by Stephen Davis and Peter Simon. Heinemann. 216 pages $16.50

Rastafariansim. For many the concept is synonymous with the alien subculture that many young people, particularly Maoris and Polynesians, have adopted over recent years. While no authoratitive study has been carried out as to why young people are attracted to the religion of Rastafarianism three books currently available offer an insight for the layman into the central tenets of this Jamaican cult.

Leonard Barretts “The Rastafarians: The Dreadlocks of Jamaica” is by far the most scholarly of the three. Barrett, a professor with special interests in religion, places Rastafarianism within the broader contexts of Jamaica’s social and political history. In his preface he outlines the aim of the book as being to show “the emergence and development of the Rastafarian cult from its inception in 1930 to the present.”

Dreadlock cult

To do this he opens with a brief but essential overview of Jamaica today, its geography, racial make-up, political climate and most importantly for an understanding of reggae and Rastafarian lyrics, the curious patois of the Jamaican language. Barretts style is distant for the most part which suits his academic intentions but occassionally leaves the reader wondering whether the author has any genuine feeling for the subject under his microscope.

His survey of significant political events, particularly the Maroon rebellion of the late 17th century and subsequent manipulations of the peace conditions are thorough if depressingly familiar to anyone who has studied the effects of colonialism. And to his credit, Barrett contributes a timely chapter to the growing body of literature on Ethiopianism in Jamaica.

However where the author is weakest is where the reader wishes he were stronger ... that is in discussing Rastafarianism today and specifically the music that has emerged from it.

Unsubstantiated comment

The author relies on too many unsubstantiated and unqualified appraisals of Rastafarian art, literature, sculpture and music to be convincing. The bulk of the section on “The Rastafarian Impact on Jamaican.

Culture” for example comes from quotes by Rastafarians themselves who could hardly be considered objective observers.

And “Rastafarian Music” sees the author considerably less articulate as he describes a Bob Marley concert that he “was privileged to hear” in April 1976. One gets the feeling that at this point the good professor may have been in out of his depth.

However, “The Rastafarians” provides genuinely interesting historical background and a good many clues as to why such a movement should exist.

For readers who are more directly interested in Jamaican music a later book (1980, Barrett 1977) by music journalist Sebastian Clarke “Jah Music” is of more interest.

Jah Music

Clarke outlines similar ground as Barrett although in a much less scholarly but more pithy manner. His interest is in folk-culture and his history is replete with quotes from folk songs, letters by early colonialists and newspapers columns of the day.

In later separate chapters the author deals with the most fascinating aspects of reggae music; Bob Marley and the early Wailers (Peter Tosh and Bunny Livingstone); the spontaneous talking sounds of the ‘toasters’, and the concept of dub music which is unique to Jamaica. For those unfamiliar with these facets of the music, Clarke speaks with authoritative clarity and affection.

UK rasta

His chapter on the British music scene is, as might be expected, both worthy but speculative. Little has been documented of the muscial culture following immigrants to the UK and Clarke brings together interviews, personal observations and research extremely well. “Jah Music” also includes a selective but comprehensive discography (with catalogue numbers) and brief biographical notes on over 100 musicians and producers.

The finest book available on reggae music and reggae/Rasta culture by its very layout explains much of the current fascination with things Jamaican. It comes from the pen of Stephen Davis, one-time associate editor of Rolling Stone magazine who visited Jamaica in 1976 with photographer Peter Simon.

Reggae Bloodlines

In their introduction Davis and Simon set the tenor for their lively, informal, digressive and anecdotal work, “...visiting and talking with some of these reggae master musicians as well as the producers, ganja traders, Rastafarian brethren and elders, and even a politician or two, we were trying to get a line on the force that sets the reggae cosmology into motion and keeps it spinning.”

And “Reggae Bloodline” spins through some remarkable events itself. A talk with Bob Marley where the late prince of reggae astounds with the simplicity of his logic in conversation and generous humour, a meeting with then Prime Minister Michael Manley, a drive to Kali mountain to harvest ganja and a kaleidoscope of conflicting views of Jamaica where there is “no truth only versions”.

And page after page of remarkable photographs. The infamous barbed wire Gun Court, The Playboy Club sharing a page with the hillside slums of Montego Bay, the House of Dread soccer team and many many photographs of wild haired righteous Rastas smoking massive spliffs.

As a glimpse through a tunnel at what reggae culture means “Reggae Bloodlines” is currently without parallel. With a discography and “Further Reading” section it offers the laymen and scholar alike a starting point for other research.

Final irony

And yet there is a final irony to all this. That is, in the end, to understand fully why reggae music and Rastafariansim has attracted so many young people, we must address ourselves to the music and not the literature.

For it is the music that has drawn legions of followers and in the music we can hear all the joys, frustrations, fears and anger of our own disillutioned people. Why so many young people are finding in Rastafariansim’s outlaw myth a substitute for their own cultures is the central question which we must try to answer.

And the answer will only be found if we listen to what the music is saying to them and what they are recognizing in its lyrics as being as true in the oppressive Jamaican society as it is in our own.