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

DR. DAS ON POLITICS OF DUB BASS

Describe the politics you feel are inherent in dub bass.

It relates to the general attitude which states that bassists are just there to do a job and hold down the rhythm, whereas vocalists and guitarists are the ones responsible for serious expression. To me, the bass has always been just as emotive as any other instrument. Dub music proves that’s so because it represents an inversion of clichéd perspectives about bass. With dub, the bass line is the hook of the song and the guitar is often there backing it up. The bass line also offers a low frequency melody that carries the key emotional content. The challenge in being a dub bassist though is you’ve got to do all of that using as few notes as possible. However, your brief is the same as it is for any other instrument—ensuring how you feel about the world is reflected back into your playing.

From Dr. Das – The politics of dub bass
by Anil Prasad 2007.

PETAR MLAKAR ON GOD

AM: You write a great deal about God. How do you see God?

PM: God is God. The absolute of the absolute. Pure transcendence. Beyond Nothing and Being. Yes, even Nothing is after him. He is before it, but not in a sense of Being. Everything is inside, under or above Him. For Him we cannot say whether things are or are not. Once I wrote: ‘Because infinitively more of this, that Earth is round, is God God.’ Neither any fact of experience, nor any science can give us anything more truthful than this, that God is God. This is an extreme, radical term; more accurately, Non-term in Non-world with No-life and Non-logic.

From 3am Interview: ART AND POLITICS – AN INTERVIEW WITH PETER MLAKAR OF THE NSK