dUb

Stalawa ft Nazizi – Ukiangalia

Scotch Bonnet Records spice up tings with something completely different from Stalawa’s kitchen. A nice soul food meal well steamed for over 3 years. Take heed and listen!

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Dub Disinfo Department, Higher Learning

ON REGGAE RASTA

 

Reggae, the music synonymous with Rastafari and its icon. Bob Marley, was created from the blending of African, neo-African, and African-American musical styles. The Rastafaris were chiefly responsible for introducing the African and neo-African elements into reggae music. Linking reggae and the culture of Rastafari to Africa, Mervyn Alleyne argues that reggae, because of its strong connections to Rastafari and its socially and politically conscious lyrics, is representative of the “traditional African fusion of the secular and religious and the symbiotic interaction of religion (including music and dance) and politics.” Janet DeCosmo also contends that reggae can be seen as a modern continuation of social commentary that is expressed in the oral traditions of African culture.

These African elements tend to underscore the fact that some of the Caribbean musical styles have strong links to an African musical past. As Neil Savishinsky  put it, “reggae, along with other forms of African-American and Caribbean music, may in fact, represent a kind of ‘re-Africanisation’ process….”

More importantly, however, is the fact that reggae music, in addition to being a powerful medium of communicating the message and spirit of Rastafari, has also provided Rastafaris with a distinct identity. It [reggae] is now regarded as “one of the most essential elements of religious expression and shared group identity”.

Found in  Reafricanizing the Caribbean: Black Power and Rastafari Styles.

From:  Resistance, Essentialism, and Empowerment in Black Nationalist Discourse in the African Diaspora: A Comparison of the Back to Africa, Black Power, and Rastafari Movements.

By:  Simboonath Singh in  Journal of African American Studies, Winter 2004, Vol. 8, No. 3, pp. 18-36.

Bob Marley Wallpapeer by HH735

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Babylon Report, dUb, Higher Learning

ON BABYLON AS ANANCY REGIMES

Rastafarians apply the theory of Babylon to Jamaican society as well as to the rest of the world. In Jamaica Babylon encompasses the concerted efforts of various agencies representing the power structure, those who have a stronghold on available resources. One of the most important characteristics of this group is that it excessively emulates Western culture. The culture of the oppressed, consequently, is relegated to a second-class status. Western culture is seen as the measuring rod to demarcate that which is superior. Babylon in this sense entails “part of a world view and cultural perceptions” which degrades anything African. Transcending such perceptions, the Rastafari idealize Africa.
The Rastafarian critique of Babylon transcends Jamaican society and includes denouncing capitalistic systems as well as certain communistic regimes.
Rastafarians refer to these systems as “anancy regimes”, oppressive systems based on shrewdness. International Babylon is represented by the industrialized nations of the world, spearheaded by the United States, as well as key religious institutions such as the Vatican. According to the Rastafari, international Babylon has a long history with a succession of oppressive eras. They note that oppressive regimes such as those of the Persians, Greeks, Romans, British, and Americans have dominated world history. From the Rastafarian perspective, all of these regimes were inspired by the activities of “Nebuchadnezzar, the infamous king of the Biblical Babylon“. It is within this
overall historical context that the Rastafarians explain their experience and ultimate mission, the overcoming of the oppression of Blacks and humanity at large.

From:

Social Movement Endurance: Collective Identity and the Rastafari 

by  Alem Seghed Kebede, Thomas E. Shriver, J. David Knottnerus.

in  Sociological Inquiry, Vol. 70, No. 3, Summer 2000, 313-37

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dUb

CHASKELE RIDDIM – SELEKTA KING REBEL/REBEL LIBERATION RECORDS

Chaskele Riddim outta Nairobi, Kenya with some mad styles produced by Selekta King Rebel for Rebel Liberation Sounds/Records.

“Chaskele is a game played with an empty milk can, a stick and a car tire or basket. The objective is for the one player to try to throw the milk can into the tire/basket while the other players objective is to strike the can as its being thrown.”

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Dub Disinfo Department, Higher Learning

THE COURT MUSIC

CHEIK
CHEIK 2

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