In 1966 Emperor Haile Selassie I of Ethiopia visited Jamaica – an important moment for the religious movement Rastafari which saw him as the messiah – 100,000 Jamaicans turned out to see him.
This link with Rastafarian culture would become a vital strand of reggae.
During the late 1960’s, Jamaica was on the brink of civil war, with political unrest, poverty and volatile streets.
Reggae with the bass taking charge, and drums as part of the melody, reflected this new Jamaica.
Lyrics became more conscious and words of protest and revolution changed the vibe and identity of the sound.
Roots reggae concerned itself with the everyday life and hopes of Africans, led by the Rastafarian belief and it was this genre that Bob Marley and the Wailers took global.
Marley sang of the past oppressions of slavery and the future hopes of unity.
Sub genres such as dub also formed, consisting of recycled and remixed rocksteady and ska tunes, incorporating a toaster, essentially an MC, who spoke over the song with Rastafarian messages.
The dancehall genre also emerged using digital reggae influenced rhythms.
By 1978 a failing economy and political unease was at its peak and political issues along with the musical tradition all came together in reggae to form strong lyrics with an uplifting sound to empower.
Reggae’s presence can still be felt today, influencing genres such as punk, hip hop and rock through artists such as Eric Clapton, Sean Paul, Rihanna, Protoje and Chronixx.
Through time, Jamaicans have constantly mirrored their environment through music, creating an authentic reflection of the nation.
The power of reggae, built on a foundation of history with the spirit of the Jamaican people and messages of a better future, became a notion with universal appreciation.
Reggae, A Force for Dialogue
September 2012, No. 3 Vol. XLIX 2012, Dialogue among Civilizations
Reggae music blew up with a bang to the resistance movement against imperialism in the 1960s. It started in Kingston, Jamaica, and has conquered the world and acquired an emblematic Rastafarian character, but an understanding of its fundamental nature is still lacking.
At each phase of its evolution, music inescapably matches the biographies of those who make it and those who respond to it. Nonetheless, not too long ago, reggae music was condemned to the precarious periphery, almost out of the social sphere. The anthropologist, Claude Lévi-Strauss1 firmly defended the idea that music prevails upon the core of mythology and, therefore, composes a capital societal aspect. In this sense, the function of music simultaneously epitomizes a relevant form of prediction and communication. Hence, here is an outlook on reggae music, which has flowed out of Jamaica for about 50 years, as a vigorous force for dialogue.
The underpinnings of reggae are of a unique sensibility and broadcast an unprecedented state of mind, harshly opposed to despotic prejudice and race riots.
Reggae resonates with Rastafari, a spiritual resistance nucleus and Back-to-Africa identity which has been a triggering factor for the music. However, at the twilight of decolonization in the 1960s, reggae matured in the Kingston ghettos from a synthesis of poignant sounds of African and Afro-Caribbean rhythms.
Originating in Jamaica in the 1930s, Rastafari thrived as a popular protest of the black cultural resistance movement and flourished in later decades. It has been strongly nourished by the guidance of messianic preachers, such as Leonard Howell, and the pathfinder, Pan-African Marcus Mosiah Garvey. Rastafari pledges a response to African heirs to recover and rebuild their culture, which was suppressed by brutal, stultifying European domination. It is an attempt for the survival of African culture and an upfront anti-slavery, anti-colonial and anti-imperialist struggle.
Rastafari is derived from Ras Tafari Makonnen, the pre-regnal title of Haile Selassie I before his coronation in 1930, when he became the last Emperor of Ethiopia, Elect of God, known as Jah. The Rastafari movement began with his crowning, and was deemed as the fulfilment of a prophecy of deliverance. It has since evolved into a philosophy and way of life rather than a strictly organized religion pertaining to the Old Testament.
Although the pugnacious Rastafari resistance is emblematic of the strong social and cultural attributes that characterize Jamaica, it did not confine itself but flew throughout the Caribbean and Diasporas, notably, into England with the Jamaican exodus. Thus, its origin reveals itself to be secondary to the vital role it is playing.
The abolition of slavery did not launch the end of colonialism and, in itself, did not upgrade conditions of life. The exploitation and dominion merely took on new dimensions. Struggles have been changing the dynam.ics of fights for rights and battles for freedom. These fresh, unusual developments have brought to light the people’s demands for self-recognition, socio-economic upliftment and political determination. Reggae music has been set up to exteriorize these discontents.
Music asserts a social stance. Each style is connected to the particular cultural location of its origin. Rastafari has swayed reggae, itself heir to the way in which the oppressed people use music to escape their affliction. It turned out to be a stunning trademark, well known in the 1970s, reacting to the bygone socio-political realities of unemployment, lack of national identity and poverty. Reggae is thus mainly a socio-political avenue used to transmit ideas, affirm values and express expectations. It blatantly highlights the bitter questions of discrimination, humiliation and subordination, and provides an opportunity to combat villainy.
Proclaiming to be Rasta, most reggae artists personify the symbols of the anti-prejudice process in all its forms. In denouncing unfair enslavement, racial intolerance and miserable life conditions, these musicians appear as living witnesses of popular memories, historical narratives, contemporary revolts and expected transformations. They are producers and products of their own culture. They hold a great ability to renew, transmit, revitalize, and recharge their style. In this sense, reggae accredits the means by which it promulgates an identity and implants a distinct view between groups: us and them. Each sets limits to leave a decisive mark and forge distance from others. The mutual recognition goes together with thinking of oneself and others, consequently enabling the articulation of differences and expectancy.
The Reggae Express
10:00 PM Pacific Time: Tuesdays
Go with the flow reggae music mix. Traditionally the program begins with the Bob Marley Roadblock, a live recording of Marley music because you know anywhere you went to see B.M. there was going to be a roadblock. Hosted by Spliff Skankin and Tony Moses (alternating weeks) with DJ Ivier.