McPullish outta Texas releases 2015 “Journey” recording of late and great Judah Eskender Tafari featuring steppers anthem cut and fitting “niyacoustic” mix meditation mix in limited color sleeve 300 7″ vinyl.
From press release:
Judah Eskender Tafari’s musical journey began at Studio One (Jamaica) in 1978, voicing now-classic songs such as “Danger in Your Eyes,” “Rastafari Tell You,” “Jah Light,” “Always Trying” and many others. He worked with many producers and musicians over the course of his impressive music career.
In 2015 Judah traveled to Austin, TX to perform and work with McPullish at his Dubhaus studio. “Journey” is a co-production between these two friends that has stood the test of time and become a favorite, beginning or ending almost every McPullish live dub set in recent years. Judah was not only a great singer but a genuine and caring person who mentored McPullish and many others, always willing to share his musical knowledge and kind spirit with whoever he met. Judah Eskender Tafari passed away in 2020 and is greatly missed, celebrated by his many friends, family and fans.
In 2022 McPullish reached out to Dan I Locks (musician, producer and operator of Deng Deng Hi Fi in Sweden) to record Niyabinghi drums and percussion for a more acoustic version of the song which is featured as the B side.
The Nyabingi movement, influential in southwestern Uganda from 1850 to 1950, was centred around a woman healer, Muhumusa, who was possessed by the spirit of Nyabingi, a legendary “Amazon Queen.” Muhumusa organized armed resistance against German colonialists and subsequently detained by the British in Kampala, Uganda from 1913 to her death in 1945. The spirit of Nyabingi possessed mostly women, but also men, who led uprisings against the British in 1916, 1919 and 1928 among the Kiga in Kigezi, along Uganda‘s borders with Congo and Ruanda. British occupation involved imposing foreign African Ganda intermediaries on the egalitarian, patrilocal Kiga agriculturalists. The Ganda’s exactions of land, labour, food and money for poll tax galvanized the Nyabingi movement to rebel both against European and Ganda men and win major concessions. Nyabingi was a woman-led movement against oppression of all the community but specifically of women who did the farming and food preparation and hence were directly affected by colonial demands.
British efforts to crush Nyabingi involved criminalizing it as witchcraft through the Witchcraft Ordinance of 1912, promoting Christianity and encouraging other indigenous anti- Nyabingi cults. In labelling Nyabingi ‘witchcraft’ the British were resuscitating the witch burnings of 1500-1650 that were central in the move from pre-capitalist to capitalist relations in Europe. In this move, the power of women, especially over reproductive sciences, had to be crushed .
Christianity produced Kiga men who replaced Ganda Agents as British intermediaries by the 1930s and who enforced colonial exactions from Kiga women and men. A capitalist male deal was struck between Christianized Kiga men and British colonialists for their mutual aggrandizement. This rise of the male deal was effective in forcing the woman-centred Nyabingi movement underground and depriving Kiga and other African peoples of their autonomy and wealth.
With the emergence of colonial class relations, women suffered disempowerment to a much greater degree than men. Land loss reduced women’s food self-sufficiency
and trading capacities while the anti witchcraft campaign delegitimized Nyabingi women’s work as healers and seers.
Ironically, out of the colonial schools and churches rose male African nationalists who through a campaign against racism, challenged not the system of capitalist exploitation but the European men’s exclusive privileges within it. In the Kigezi area of Uganda, church schools produced the ‘Twice Born,” who like Nyabingi were proscribed as seditious by the British and led two revolts in the 1940s.
Ultimately the nationalist men formalized a class arrangement with the departing British which included a capitalist male deal giving land ownership to men, not women and which centralized political power in the hands of men.
Nyabingi remained powerful in Kigezi, Uganda throughout the 1930s, where resistance involved arson. In Jamaica in 1937 it was reported that the Nyabingi spirit moved on to Ethiopia and possessed Haile Selassi who fought Mussolini’s fascist invasion.
Found in –
Women, Rastafari and the New Society: Caribbean and East African roots of a popular movement against structural adjustment By Terisa E. Turner
Source: Labour, Capital and Society / Travail, capital et société, Vol. 24, No. 1 (April / avril 1991)
It was in the late 1930s that the Rastafarians began to gain a significant presence in Kingston, and by this time the pre-Rasta Burru peoples (a culture of people in rural Jamaica who were known for their drumming rituals a century ago) had fully settled in the slums.
Unlike the scenario in America, drumming in the Jamaican plantation system was officially tolerated, and the Burru-men, in addition to their role as timekeepers for slave labor, were keepers of African sound. In their search for “anciency” and cultural roots, the Rastafari knelt at the feet of the Burrus, appropriated their looks, style, and musics and, in return, imparted to them a political theology of race. But what was most important to this union of the Burrus and the early Rastafari were the rituals of sound that both communities instituted in the colonial ghettos of Kingston.
Saakana has traced the Burru drumming ritual back to a Ghanaian ceremony that took place around Christmastime. In the 1930s, the ritual of drumming was a customary way of welcoming discharged prisoners back into the folds of the ghetto community.
When the Rastafarians took over the ritual, they modified it, adding their own thematic obsessions to the African songs of insult and praise. From this came the ritual of the nyabinghi, which was said to mean “death to black and white oppressors” and became a term also used to describe the most orthodox members of the Rastafarian creed. In the sacred space of ritual, members of the faith meditated, reasoned with each other, debated Old Testament doctrine, and soundly criticized the exploitative and racist system they were living in. And they beat the drums, chanting down Babylon and conjuring up an alternate space of black community called “Africa.“
They did this in the yards of West Kingston, the same spaces that decades later would provide the genesis of the Jamaican sound systems.
Found in Bass History from
The Sound of Culture: Dread Discourse and Jamaican Sound Systems by LOUIS CHUDE-SOKEI
(Language, Rhythm, and Sound: Black Popular Cultures into the Twenty-first Century, 1997)