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Showing posts with label Jamacian. Show all posts
Showing posts with label Jamacian. Show all posts

Saturday, October 26, 2013

Marcus Garvey is still relevant today

Why Marcus Garvey is still Relevant Today



BY MELODY CAMMOCK-GAYLE


Marcus Garvey

"WE must canonise our own saints, create our own martyrs, and elevate to positions of fame and honour black men and women who have made their distinct contributions to our racial history."

As the National Heroes' Day celebrations take centre stage, and our heroes are brought to the fore, I thought this a fitting time as any to explain why for me, Marcus Garvey is as relevant today as he was 80 years ago, albeit in a different time and social context.

And I'm not suggesting that the achievements and contributions of our other heroes and heroine are less significant, because undoubtedly each, in his/her own right, has done much for our development as a people and a country.

And no, I'm not a racist, nor do I believe in emigrating to Africa. In fact, I see past colour and I do try to judge each person on the content of his/her character.  I am a Jamaican and the world is my oyster.  But Garvey stands out, because many of the dreams he wanted for the black race in the 1900s, I want for Jamaica today.

"The ends you serve that are selfish will take you no further than yourself, but the ends you serve that are for all, in common, will take you into eternity."

Born in St Ann, in 1887, Marcus Mosiah Garvey is celebrated as the first black man to lead and develop a mass movement of people. He was the first man, on a mass scale, to give millions of blacks a sense of dignity and destiny.  He was a visionary, whose teachings and philosophies are as relevant today as they were a century ago, especially for a country with a 90 per cent population of black people, though in a totally different time.

Among the main tenets of his teachings were: a sense of pride in self, as a black race; respect for each other and the idea of black enterprise and entrepreneurship.  If we would get these right, then Jamaica and the conceptual framework referred to as Brand Jamaica would be unstoppable.

Garvey taught self-belief, positive self-esteem and self-respect to black people at a time when the black race was considered less than second-class citizens.  Such a concept was revolutionary then, and in some ways still revolutionary now.

He emphasised education, and an awareness and appreciation of our rich African heritage, as avenues to locate a deep sense of self-identity, which engenders personal and national growth.  To achieve greatness, Garvey believed that a people needed to believe in themselves, understand history and arm themselves with the knowledge of how to move forward co-operatively.

"The black skin is not a badge of shame, but rather a glorious symbol of national greatness."

It is therefore surprising that, more than 70 years after Marcus Garvey's death, we are still struggling with issues of love for our black self, so much so that skin-bleaching is a near epidemic. As Jamaicans, we need to draw pride from somewhere; pride in ourselves, pride in our country, pride in our achievements. Thus my strong belief is that Garveyism should be taught in schools from the primary level. Too many of our youth have little sense of identity, no idea of their past, and no interest in their future.

Understanding that the theoretical construct of national identity is about collectivity and connectivity, Garvey's teaching will help to provide that cognitive, moral, and emotional connection, which must be made between an individual and his/her broader community or category.  With this in place, we would have created a system of meaning which allows people to feel a sense of oneness, security, inclusion, and belonging.

Collective identity guides individual action, provides a moral compass and emotional connection with other people who share similar interests and ideologies in a broader community. Self-belief affects self-image, which affects nation development. A people who love themselves don't deface their skin.  A people who love their nation don't deface national symbols, throw garbage on roads or in gullies, or urinate at every street corner or display blatant disregard for law and order.

Pride in self must overflow to respect for each other.  A people working together for the development of self and nation have no time to annihilate the brother working beside him.
 
"The Negro will have to build his own government, industry, art, science, literature and culture, before the world will stop to consider him."

Garvey also believed in economic self-sufficiency and financial independence, seeing this as the black race's only protection against discrimination.  Once this economic foundation was created, they could then move on to social and political pursuits.  Still, 50 years after Independence, Jamaica has neither economic self-sufficiency nor financial independence.

Sadly, we have not been able to curb spending, while our taste for everything foreign continues to drive us deeper into debt.  Last year the food import bill alone stood at US$959 million.  Despite the Government's campaign to 'Eat what we grow; Grow what we eat' there has been little overall traction in encouraging demand for locally produced products or injecting enthusiasm in local manufacturing. But, this is where we need to look if we are to experience any economic success as a nation. Garvey truly got it right.

So, as the great visionary Marcus Garvey said: "We Are arbiters of our own destiny. God and nature first made us what we are, and then out of our own creative genius we make ourselves what we want to be." So, I guess the question is what do we want to be?

"Intelligence rules the world, ignorance carries the burden."

Melody Cammock-Gayle is the director — business development and marketing at Communications & Business Solutions (CBS) Limited. cbsmarketingja@gmail.com

October 21, 2013

 Jamaica Observer

Sunday, January 15, 2012

Even with the present upsurge of the dancehall beat, authentic reggae remains a dominant force and continues to be such even up to the present day... The importance of the reggae phenomenon has led music administrators to designate July 1 as international reggae day each year


Reggae Music<b></b>

The Emergence Of Reggae



jamaica-gleaner

Jamaica, W.I.



The name reggae has come to be accepted by many as the generic name for all Jamaican popular music since about 1960. But to those of us who lived with the music and understand the changes it went through will know that reggae is only one of several types of Jamaican music.

It is different from ska, rocksteady and dancehall, and occupies a specific period which began in late 1967. Jamaican popular music, since 1960, can therefore be roughly divided into four eras, each of which had its particular beat: ska (1962-1966), rocksteady (1966-1967/68), and reggae (1968-1983). From 1983, the prevalent beat was reggae’s offspring, dancehall.

However, there is one period of Jamaican music that has consistently been overlooked by musicologists. It is a period I would choose to call the pre-ska era, the earlier part of which was dominated by Jamaican mento music (approximately 1951-1956) – a type of calypso-flavoured music said to be rooted in the Jamaican slave plantation system and which was indigenous to Jamaica.

Forced to get creative

Between 1957 and 1960, Jamaican music was dominated by rhythm and blues and boogie recordings patterned off the American blues, which was very popular in Jamaican dance halls in the mid to late 1950s.

When the American blues records began ‘drying up’ and disappeared from American record shelves, Jamaican producers, promoters and sound system operators had no alternative but to make and produce their own recordings with the same flavour as the American ones in order to keep their business alive. Recordings like Oh Mannie Oh, and How Can I Be Sure by Higgs and Wilson,Boogie In My Bones and Little Sheila by Laurel Aitken, Muriel by Alton and Eddy andLolipop Girl by The Jiving Juniors were examples of popular recordings during that period, which also marked the birth of the Jamaican recording industry.

The first shift in the Jamaican music beat away from the mento rhythms was observed when Bunny and Skully recorded a cut entitled Another Chance, which Skully himself claimed was done between 1953 and 1954. On the heels of this came the Jamaican rhythm and blues and boogies, which evolved into what became known as the ska beat.

Jamaican popular music then went through several changes, culminating with reggae and dancehall beats. These metamorphoses have impacted reggae music to the extent that it has become an international phenomenon
Bob Marley, Jimmy Cliff, Dennis Brown and Peter Tosh have played more than ordinary roles in establishing this phenomenon. As early as 1968, Marley’s Trench Town Rock and Brown’s No Man Is An Island a year later, signalled the direction in which the music was going. Cliff’s The Harder They Come helped to put Jamaica on the international music map when it appeared in a movie of the same name.

Possessing a sense of conviction, a lack of pretence and a natural intensity in the beat, reggae music grew by leaps and bounds across several continents during the 1970s, bolstered by more than half a dozen top-class albums by the reggae king Bob Marley for producer Chris Blackwell.

Many masters

At home, the initial impact was felt through recordings like The Cables’s Baby Why, The Heptones I Shall Be Released and Alton Ellis’s Breaking Up, among others.

What is most interesting is the many artistes and producers who lay claim to doing the first reggae recording and creating the reggae beat. For all intents and purposes, Toots Hibbert of the Maytals vocal group seemed to be the first to mention the name reggae in a song, although he never ever claimed to be the inventor.

Most musicologists, however, accept Larry and Alvin’s Nanny Goat, done for producer Clement Dodd in 1968, as the first recording with a true reggae feel. It was like the guitar on the delay meshed with an organ shuffle, one source claimed.

But in a sense, reggae combines all the previous forms of Jamaican popular music – the ska riff on top of a slowed down rocksteady bass line, with a touch of mento. Dodd, the producer of Nanny Goat, claims that he returned from England just before the reggae beat started with a few gadgets, like a delay, which influenced that Nanny Goat beat. Singer Stranger Cole, on the other hand, claims that his recording ofBangarang, done for producer Bunny Lee, was the first reggae song. Another record producer, Clancy Eccles, claims he started the beat.

Unsung legend

In the midst of all of this, there was a 1965 recording titled Heavenless by a Studio One aggregation that possessed a distinct reggae beat, yet no mention was ever made of this recording as being the first reggae song.

Many musicologists agree that the birth of reggae was a spontaneous act born out of experimentation with the existing rocksteady beat. Others claim it was a deliberate attempt by some musicians to change the beat from rocksteady to something that was more lively and exciting. The theory has also been advanced that new producers like Eccles, Lee Scratch Perry and Bunny Lee, couldn’t always get the regular musicians, who almost invariably worked for Dodd and Duke Reid, so they resorted to less-experienced musicians who tried something different and unwittingly created a completely new rhythm.

Even with the present upsurge of the dancehall beat, authentic reggae remains a dominant force and continues to be such even up to the present day. The importance of the reggae phenomenon has led music administrators to designate July 1 as international reggae day each year.

January 15, 2012