Convergence In Party Manifestos On Cultural Issues

Without knowledge of our history, we are bound to repeat the mistakes of the past. For if we don't know from whence we came, how then can we know where we are going and how to get there?

I monitored the media and their analyses of the two manifestos and reviews of the debates, but came away with the sad feeling that unfortunately, the fourth estate is totally caught up with the moment. It is well and good to compare the PNP with the JLP, in terms of their manifestos and statements on issues. Doing this by itself, however, devoid of any historical perspective or context is weak analysis and a recipe for running the danger of lateral development. In other words, we may keep moving left, then moving right, and left again, but not moving forward.

Although this may be an anathema to the pragmatists, and garbled gibberish to those of a neo-colonial mentality, these must be measured against the goals which our leaders set 88 years ago. This reveals what we have accomplished from the vision and programmes which underpinned the philosophy of those leaders who instigated and initiated the modern struggle for self-determination; economic, social and cultural development of the Jamaican (masses of) people.

We will then be better able to answer the question of whether those views are still relevant, or whether that vision has been achieved or short-circuited by our current crop of leaders, thereby diluting our drive for maximising our people's potential and creativity.

In Chapter 12 of Professor Rupert Lewis' book, Marcus Garvey, Anti-Colonial Champion, he records that in 1929 "On September 9 - a Monday night - Garvey held a public meeting in Cross Roads where he spelt out the PPP's political programme. the public meeting. became historically important. It was the first time that a political party defending the interests of the masses, though loosely organised, had been launched in the island".

Furthermore, as Professor Lewis goes on to tell us, (pp. 213) "this manifesto was the first of its kind in the island's electoral history. It represented a break with traditional practice where individual merchants, planters and pen keepers were returned to the legislature, not on the basis of a programme, but on their ability to hand out patronage to the voters".

In a recent conversation, Lewis gave a good contextual view of the social environment of the time. He says, "Colonial plantation politics was so different from what it is now, no one thought in terms of party, much less manifesto. Planters owned half or more of a parish and the composition of the legislative council was based on 14 members, one for each parish. The franchise was under 10 per cent of the population, a propertied, tax-paying minority. So Garvey was pioneering at the time, in simply posing the notion of party and manifesto. We now take this for granted."

The main cultural areas of Garvey's platform were: a Jamaican university and polytechnic; a national opera house, with an academy of music and art and the beautifying and creating of the Kingston Race Course into a national park, similar to Hyde Park in London. Garvey also called for the establishment of government high schools and public libraries in each parish.

We should take note, especially of his call for a national opera house with an academy of music and art, because 88 years later, Jamaica is yet to establish sophisticated venues and institutions for the staging of musical events and comprehensive training of creative talent. In fact, both current manifestos implicitly confirm this by pledging to "provide incentives for the establishment of large and medium-sized entertainment venues" (JLP, pp 45) or "fast-track a programme of construction and rehabilitation of event venues" (PNP, pp 38). It seems that the PNP is committing to spend public funds for this purpose while the JLP is prepared to give tax breaks to private sector initiatives in this area.

There is significant convergence in how both manifestos address other cultural issues. For instance, the JLP manifesto, in a more narrow focus, pledges to "support the staging and promotion of new and existing music festivals with a view to making Jamaica one of the world's premier music festival destinations". The PNP, on the other hand, commits to "establish a Major Events Attraction Programme (MEAP) that would aggressively locate Jamaica as a major events destination".

Conversely, as it relates to incentives for the entertainment industry, the JLP promises to "enact an Entertainment Industry Encouragement Act to provide incentives for the promotion and commercial development of Jamaican music, art, dance, drama, writing and publishing, fashion, craft and local cuisine". The PNP, for its part, says it will "extend the Attractions Incentives Act to the construction, development and upgrading of event facilities". On this point, the JLP's incentives would certainly benefit a wider range of activities within the sector.

Regarding sector co-ordination, the JLP says it will "establish a single agency to co-ordinate developments in the entertainment sector". The PNP's manifesto signals that it will "establish the Cultural Industries Council that will co-ordinate the development of the various processes that are critical to the value chain of producing cultural products". It goes further into specific terms of reference to state that this council will have responsibility to develop the enabling policy framework for the growth and development of the creative industries and facilitate appropriate marketing and promotion mechanisms for the creative industries.

Marcus Garvey said "why should we give opportunity to native talent? There is one thing that is native to the Negro and that is that he can sing. I do not care where you take him from. Take him from the backyard, take him from the kitchen, the Negro sings his music just the same. He can sing his. music and I believe that such native talent should be encouraged and the only way you encourage it is to have a national theatre [movement] in Jamaica".

The PNP manifesto goes on to propose that they will "transform the Edna Manley College into a world-class tertiary institution serving the creative industries". They also promise to "incorporate the cultural arts, including music, entertainment and drama, into the curriculum in all levels of the education system".

The PNP manifesto addresses the filmmaking sub-sector with a promise to increase the quantity and quality of Jamaican film productions by facilitating Jamaican filmmakers' access to UK and Canadian film industries' expertise and technology, establishing a film production centre and equipment clearing house and developing training facilities in music, film and other creative industries". How the latter will relate to the transformed Edna Manley College is not explained, but there should be some sort of virtual integration. Maybe then, Marcus' dream of a national academy of music and art may finally come to realisation.

There are two other points in the PNP manifesto worth mentioning. They say they will ensure that Jamaica Trade and Invest, as well as other agencies, strengthen the production, marketing and promotion infrastructure for the creative industries. Most importantly, they also promise to pursue the provision of a dedicated credit facility for practitioners and entrepreneurs, who are active in the creative and cultural industries, including the provision of seed investments as part of public/private partnerships to stimulate the expansion of enterprise in the creative and cultural industries.

In his book, Lewis says of Garvey, "his contribution to cultural development and his active promotion of artists in Jamaica have been neglected areas of attention and appreciation. From 1919, Edelweiss Park became the most significant cultural-political centre for Black people in the history of the island at a time when the arts were dominated by expatriates".

In April 1931, Garvey launched the Edelweiss Amusement Company, which formed the organisational foundation for a very varied cultural programme which ranged from dramatic productions, choral singing, elocution contests, vaudeville shows, movies and boxing. Dancing took place every night to the music of quadrille players and bands specialising in the contemporary music of the time.

Edelweiss Park was the centre for the development of a number of creative artistes, including Una Marson, poet/playwright; Randolph 'Ranny' Williams, an outstanding comedian of the theatre and radio; comedians E M Cupidon; duos, Kid Harold and Trim; and Racca and Sandy. Poems in dialect and Standard English were composed and recited by Garveyites. Iris Patterson, Stennet Kerr-Coombs and George McCormack wrote and performed in Standard English. An important Jamaican sculptor also encouraged was Alvin Marriott.

In a discussion of art at the 1934 UNIA convention in Kingston, Garvey described it as the highest form of human intelligence and pointed to the need for a dynamic concept of art through which contemporary experience and values could be projected. He said "as much as we are trying to develop ourselves in business, religion, politics and so on, we have to build up ourselves in art". He asked profoundly, "Are we going to build up a civilisation without those things that go to make up the culture of the civilisation?"

Lewis largely answers this in comments to me on August 15, 2007. "I think Jamaica has gained enormous cultural confidence since the colonial era and the experience we have with manifesto creation is now over 60 years and 45 years as an independent state, running what we have created with the evolution of cultural policy. Moreover [unlike Garvey's time], attention [by the political class] has to be paid to the mass of the population.

"Where Garvey is relevant is his insistence that we take on the challenges of cultural development and problem solving head-on."

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Tables Are Turned?

"Slave driver, the table is turn; (catch a fire)
Catch a fire, so you can get burn, now. (catch a fire)
Slave driver, the table is turn; (catch a fire)
Catch a fire: gonna get burn. (catch a fire) Wo, now!

Ev'rytime I hear the crack of a whip,
My blood runs cold.
I remember on the slave ship,
How they brutalise the very souls.
Today they say that we are free,
Only to be chained in poverty.
Good God, I think it's illiteracy;
It's only a machine that makes money.

Bob Marley - Slave Driver from the Catch A Fire LP, circa 1973.

In view of the fact that this commentary comes on the penultimate day of our Emancipation/Independence celebrations, it is appropriate to dedicate some time to reflect on the process and achievements of these two epochal milestones in our journey as a people towards reclaiming our God-given right to self-determination.

In his study of European societies, Karl Marx postulates that their history demonstrates that any change in the political order usually leads to a blossoming of new and traditional art and cultural forms and activities. This in turn drives the new political movement in a dialectic relationship which sees multi-disciplinary cultural expressions redefining and giving the movement a broad philosophical framework and moorings through mass creativity and participation in exposing contradictions, projecting and critiquing solutions. To borrow a famous maxim, "a revolution without song and dance is not worth having".

In the case of Jamaica, I think we broke the mold. I proffer the theory that our cultural revolution preceded our political liberation. In the decades leading up to Emancipation in 1838, one of the critical developments in the forging of a Jamaican psyche was the evolution of an indigenous language and instruments which borrowed heavily from the African roots. This allowed us to communicate even in the presence of the massa and his surrogates without them fully understanding.

Our forefathers composed songs incorporating these words to surreptitiously communicate time-critical developments as well as morale-building and motivational messages to the people. In this scheme, Boxing Day, December 26, became a crucial social space for planning and organising activities which plotted their freedom. This was a day when the slaves were given the right to market their wares and produce in the local markets, but they also methodically used this opportunity to agitate amongst themselves for their eventual freedom. They even subverted the traditional masquerade by using the Jonkunnu bands to transport secret messages and even ammunition.

Two instruments especially, the repeater drum and the abeng, made from cow horn or conch shell, were both used throughout that period to rally the slavery-resistant vanguard, the troops and to report on the movements of enemy forces. The Maroons in particular always had a ceremonial dance in preparation for going into battle. This just goes to show that slavery and colonialism were never able to crush the indomitable spirit of our ancestors, as they continuously gave it sustenance through various cultural expressions.

1938 was the year in which we 'won' Universal Adult Suffrage and formally began the decolonisation process, which led to our Independence in 1962. However, this did not occur because of the benevolence of our colonial masters. The overlapping of and agitation by three cultural movements, at the turn of the 20th century, led by Bedward, Howell and Garvey, reinforced the determination of the black masses to throw off their colonial yolk and for self-rule.
These movements had largely captured the imagination of the people, became their bulwark, and the tipping point in their struggle. Playing upon the ignorance of the masses, each leader in turn was isolated and crushed by the establishment and their local lackeys. Bedward and Howell were declared insane and locked up in the asylum, while Garvey was hounded into exile, but they left their footprints. Leaders out of these movements, like Dr J Robert Love and St William Grant, continued to influence the masses through the broader national movement, which was (in a sense) founded to counter or blunt the radical and far-reaching positions being promoted by the trio.

While their movements took different forms, a closer examination of the three will illuminate how they employed various cultural genres to propagate their philosophies among their people. The cultural programme of Garvey's UNIA was the most extensive. He produced regular concerts, plays, poetry readings, while his news publications Negro World, Daily Negro Times, Black Man and New Jamaican ran short stories and history lessons among other things.

Whereas one could plausibly reason that we went into 1938 a relatively united people, through the machinations of the colonial order, by 1942, the country began its insidious split into two main tribes. This has stymied our development ever since and turned all of our tentative steps towards self-determination, including Independence and our existing constitution into unresolved controversies, as the rule of thumb for each constituent group, sector, class or political party is to project and protect its self-interest above the national interest.

Since that time, the most reliable source of inspiration in Jamaica has been the unifying and liberating influence of our cultural prognosticators; our cultural icons, workers, artists, 'singers and players of instruments', who have not failed to lay bare for all to see, the society's hypocrisy, double standards and retention of colonially imposed sanctions, outdated norms, systems and standards.

Yet, they have also foretold a brighter future for us all. Many have used their lives as living testaments of the success which continues to elude us collectively, but can be achieved through pride, dignity, training, hard work, prudence and perseverance. From time to time their exploits have allowed us to temporarily unite and soar beneath their wings. Today, therefore, we should take time out to pay respect and honour the works of forerunners like Ranny Williams, the Hon Louise Bennett, Eric Coverley, Roger Mais, Claude McKay, Herb McKinley, Donald Quarry, Merlene Ottey, Olive Lewin, Rex Nettleford, Trevor Rhone, Lorna Goodison, Bunny Goodison, Barbara Gloudon, Oliver Samuels, Perry Henzell, Bob Marley, Peter Tosh and all our cultural ambassadors who have helped to define us, for ourselves and the rest of the world.

Incidentally, speaking of tables turning, our politicians, who are always criticising Dancehall lyrics, found themselves on the receiving end of some stinging lyrics recently. I was heartened by the comments at Sumfest 2007 by those Dancehall artistes who spoke up against "dutty politics" [Beenie Man] and political violence ("why are we fighting each other over this thing? I am tired of this Black on Black violence" - Chuck Fender). I find the calls for a peaceful election by Wayne Marshall and Shane-O timely. To quote Shane-O, "don't go out and fight each other for politicians, because the politicians are not fighting each other". This was in true tradition of our musical heritage and I hope their words fall on fertile ground rather than on deaf ears.

My Independence wish is that after 45 years of apprenticeship for our Independence, it is time to fulfil our ancestors' cry for "full-free" by finally getting rid of the last symbolic vestiges of colonialism like retaining the Queen as our head of state and seeing our judges dressed up in those ridiculous wigs. Happy Independence!

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Cultural Impulses in Political Campaigns

In one of his regular commentaries on Sunday, July15, published in the Gleaner, Mr. Edward Seaga restated the well known historical fact that Jamaica is not a literary society; it is an oral one, passing on information by the spoken word". In reference to the political platform (stage show) he says, "language has to be tailored to the level of understanding of the people. This means using catch phrases, buzz words and street language." In the music industry, many artistes, including Bob Marley and Tanya Stephens, provide us with excellent examples in their works. Later in his article, Seaga adds, "songs are also used to liven campaign meetings (stage shows), based on the lyrics, melodies and rhythms."

If I may use a bit of literary licence without quoting him out of context, I wish to deliberately juggle the sequence of some other profound statements contained in the rest of Seaga's article, so as to substantiate my viewpoint on the subject of today's commentary. I do this because upon reflection, after reading the article, I thought that they offer incisive insights into the Jamaican cultural landscape and could be applied to the music fraternity by providing useful lessons to a young lyric writer embarking on a career and wishing to succeed in the Reggae/Dancehall market. For this purpose, although I do not intend to confuse you I have put some alternate words in brackets, so while reading this, starting from the top, if one were to replace the words electioneering with lyrics, campaign message simply with message, political/campaign meetings with the words stage show, electoral system with consumers and electorate with people whenever they appear, I am sure you will quite easily agree with me.

The following six quotes are also taken from Mr. Seaga's article. "Each social class group in Jamaica has its own cultural preference as to how they understand and what they understand. These differences make up the cultural mix of our electoral system (consumers)." He also says, "Of course it is partly because of class snobbery why those who can handle the written word sneer at the alternative methods used by others who digest information in a different manner." Could this explain the source of many of the criticisms of Reggae/Dancehall lyrics? Again, Mr. Seaga says "many persons who are generally from a background where information can be appreciated and understood without mixing it with entertainment or reducing it to slogans or catch phrases, condemn this type of electioneering (lyrics) and form of communication. They are undoubtedly ignorant of the power of popular culture." I think Mr. Seaga gives those groups too little credit, and that the reverse is closer to the truth. After all, our most successful local marketing experts have exploited that fact for decades to effectively promote their clients products. No, I rather think that contemptuously they wish to keep the real political debate above the heads of the ordinary citizen, because there is this continuing belief of the middle class in Jamaica that they are the natural masters of the freedom and independence that was fought for by all our heroes and that the only legitimate culture is that which springs from them. As Mr. Seaga states therefore, "the most effective means of transmitting any (here Mr. Seaga has the word campaign) message is through music and slogans". He goes on, "perhaps this is a good reason for keeping the electorate (people) ignorant." No two people have the same luck. When I said on June 24 (Sunday Observer, Trivialities and Banalities) that our leaders are "keeping the masses ignorant of their proud heritage and persisting in the perpetuation of their mendicant mentality which plays right into the hands of the politicians", both sides of the political divide were upset. However, if fish come from river bottom and seh it go so, if it nuh go so, it nearly go so. Seaga concludes, "If the people are ignorant of issues, they can easily be duped into misplacing their support by entertaining and enticing them into 'feel good' situations which have a short-term impact." Now I ask, isn't this exactly what some misguided Dancehall artistes are so often accused of doing? That is, the promotion of instant gratification, and are- to a large extent- guilty of. But yet, as in all election campaigns since 1983, we are now seeing and hearing from the various political platforms, the same trite messages from many of the same persons who stigmatise everything coming out of the Dancehall.

In her article on homosexuality (Sunday Observe, July 8), Petre Williams quoted sociologist Dr. Orville Taylor "when you take on the Dancehall culture, you take on almost an entire population. And it is the Dancehall population that wins and loses elections. And the politicians know this." As a cautionary note to the PNP, conversely or consequently, you ignore Dancehall at your own peril. I have been listening to your advertisements that have now begun airing and I find their music slightly tepid. While they portray positive and patriotic images, in some, the music sounds like it is more appropriate for some English election campaign. Your other ads are supposedly buttressed by what essentially is rehashed Mento background music that harkens back to the 70s. I suggest that someone in charge of your promotional campaign review the tapes of your Half Way Tree rally so as to compare the response of the live audience to your new campaign tunes with the overwhelming cheers and singing the moment Mavado's music began playing from the public address system for a clear example of my point. While it is very obvious to me that you are specifically targeting Christians, with those religious strains in your music, and no doubt, based on some initial feedback, this will be effective for those groups, you should know that the G2K has produced some very effective ads using the Dancehall genre, especially the one with an artiste that sounds just like Shabba Ranks. These are the songs that I seem to hear being sung most frequently by people in general and youths in particular, all over the country.

But don't take my word as gospel, just look at the difference in public support now being generated by the newly formatted JCDC popular song contest- starting last year, and obviously further fine tuned this year. This contest had slowly become irrelevant because it got stuck for some time with the Mento rhythm long after it went out of vogue. However, the approach was revamped to incorporate new (Dancehall) rhythms and styles and is beginning once again to reclaim its lost status in the entertainment circuit. I watched the Portland leg of the competition on tv recently, and it was like a breath of fresh air. I was impressed with the excellent talents and developed skills of the contestants, and even more so with the visual presentation and orchestration including the introduction of standardised backing harmony vocals, produced by JCDC. The lesson here is, do not get stuck in the past. This is a very dynamic industry and you must remain current to maximise your national appeal.

Before closing, I must also comment about the results of the new focus on singers of this year's Rising Stars talent competition. The competition has exposed an extremely gifted set of contestants. With what has been unearthed so far, the judges jobs will be a pleasant one this year.

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On Portland Jerk and the Egypto-Nubian Element

In this new world of the 21st century, where knowledge trumps, it is high time we as Caribbean people disabuse ourselves of the notion that our history began with enslavement in North and South America.

One of the Caribbean's most accomplished scholars and authors, Guyana-born Ivan Van Sertima, along with some colleagues, has done tremendous research and published volumes to demonstrate the Egypto-Nubian element in pre-Columbian Meso-America and their leading influence on the existing inhabitants and cultures, especially the formative Olmec culture. The Olmecs, of course, built the first true pyramids and amphitheatres in the New World.

A section of the crowd at last Sunday's Portland Jerk festival at Folly

In fact, another anthro-photo journalist, Wayne Chandler, based on extensive research, including skeletal types excavated, posits the theory that blacks were a major sub-group and influence on the Shang culture which literally laid the cornerstone of early Chinese civilisation.

Significantly, Chandler demonstrates a fusion of the Shang Culture with the Egypto-Nubian and Meso-American at La Venta, Mexico , the capital of the Olmec culture of early America from around 1100 BC, which became pervasive in Guatemala , Honduras , Mexico , Costa Rico and Panama .
This is all intriguing stuff which should be used to inspire our youths, build their ambition and character and create productive citizens. But before you wonder where I am going with all this, please let me explain.

It is funny that these thoughts came to me while attending the Portland Jerk Festival on Sunday, July 1. I am sure everyone who enjoyed this year's edition of the festival would endorse my congratulations to the promoters, for the most impressive facilities, infrastructure and organisation yet. Certainly, the police presence and effective traffic control all the way through Port Antonio to the car park entrance at Folly was the best I have seen in all the years - and a welcoming relief for motorists.

The playfield at Folly was used for parking and was sufficiently large to accommodate most of the vehicular traffic. Thanks to some efficient attendants, there was no hassle on entering or leaving the car park. The festival itself was staged on the plateau above, however, the organisers wisely established ticketing operations at the edge of the car park, creating for themselves a sterile, controlled environment on the entire trek up the hill. On the bough of the hill, we came upon orderly entry gates with appropriate signage and personnel.

Even the slight downpour as we were entering did not disrupt the procedures. The security team in charge of the event displayed throughout the benefit of training and experience in this area of the business. Inside the festival area, it was obvious that some thought had gone into the layout because it enhanced the crowd flow management. We were able to browse and shop quite comfortably.

Sometimes, one of the side effects of the growth of events such as these, is the dilution of themes and standards. Primarily, this is because of the challenging responsibilities of coordinating and managing the input of independent operators, especially concessionaires and merchandisers. In many instances, this is where quality control is compromised and themes get diffused.

For the most part however, this festival's independent operators have remained fairly true to the concept of using the jerk seasoning and methods in the preparation of the foods sold, so the festival scores high marks for this. Many of the original herbs and spices used in our traditional jerk recipes did not originate in the Caribbean, but were introduced by the first and second waves of African migrants into the New World.

However there is one inherent problem, the level of organisation and efficiency of some of the longstanding concessionaires. It seems that this skill has not grown apace with the festival over the years. Maybe, some organisation like the Ministry of Health would consider doing some workshops to assist in upgrading their ability to manage. The sponsors could deepen their involvement in this festival by providing some educational stalls, giving patrons some ethno-historical context, demonstrating the preparatory and cooking methods, even putting the herbs and spices on display and for sale.

Access to the seaside was a managed affair, as is only proper, given the severe erosion of the beach area at Folly. Security was posted at the access point which leads to the old great house and down to the beach. Patrons wishing to visit either of these were issued with armbands allowing re-entry after.

Having toured the park a couple times, visited the great house and the beach, we chose jerk seafood for lunch and enjoyed it in the shade of trees on the great house grounds. By the time our meal was over at about 2:30 pm, there were already about 2000 patrons present. So far, from the stage, we had been entertained by gospel artistes including DJ Nicholas, whose band played a popular Morgan Heritage tune which buoyed his testimonial about his previous life as an 'extreme rasta' and his conversion to Christianity as the only vehicle to salvation and God.

In the midst of this, the chorus of his song seemed to imply that those who still seek their inspiration and solitude through the teachings of Rastafari are worshipping the devil. If my interpretation is correct, may I appeal to DJ Nicholas for a little religious tolerance on his part, jumping from one extreme to another portrays immaturity and less than a full grasp of the teachings of either religion.

By the way, whereas the blacks I initially referred to came to the Americas between 1500 BC and 980 AD, those who came in the second wave between 980 AD and the 1600, including the Mandingos, were in the main from Islamic countries. But shhhhhh! Please, don't tell George Bush and his cronies, because they may intensify the search for terrorist cells (sic) in our DNA.

Back at the Jerk Festival, our focus was now on the stage as we watched GI, a local (Portland) artiste give us a credible version of Tarrus Riley's She's Royal, having too, seen a Rising Stars contestant perform the same song on TV recently, it is worthy of note that when other artistes begin to sing your songs, it is a measure of confirming your arrival as a popular artiste.

So anyway, here we are standing at the back of the audience, facing the stage. We look around to see that the place is nicely terraced to form a natural amphitheatre. However, the stage has been 'misplaced' on the highest ridge, rather than at the lowest point of the slope. This would facilitate the maximum line of vision for patrons from all sections of the grounds. This was when the thoughts aforementioned came to me, as I reflected how we had lost so much of our African heritage that something as intrinsic and integral to our long history of designing and managing mass events, was not immediately obvious to the organisers.

During the next band change, in preparation for Byron's Dragonaires, the sound system, Purple Love, again took over and made it very obvious that among dancehall fans, this summer belongs to Munga Honorebel. As his hits flowed, most patrons were dancing up a storm.

When the Dragonaires struck up their infectious Caribbean beats however, their impact was immediate and totally coalesced the festive spirit into a sea of waving flags, in a musical tribute to the still largely illusive Caribbean integration, necessary to give us a soft landing in the new world of the 21st century.

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Trivialities And Banalities

UNFORTUNATELY, this is what our political culture has been reduced to. It's the silly season and the politicians are certainly living up to that label. In the current general elections campaign, our lives have been disrupted – bombarded by politicians on all sides, especially through the media, selling us trinkets. It sometimes leaves one to lament the waste of our freedom which the two generations that have led the country since Independence have engineered through glorious promises for the future and a litany of pedantic achievements each election cycle.

Meanwhile, as usual, it has slowed down the economic, commercial and cultural life of the country. Unless the elections are called in July (and even then), it will also impact negatively on our summer tourism season. I have so many overseas-based Jamaicans telling me they are not coming until after the elections. The country has literally been put on election watch, for two long years, since the ruthless, acrimonious removal and replacement of the JLP leader followed by t h e protracted, deleterious presidential election campaign in the PNP. Our third generation of leadership is now at the helm of both parties, and one would have thought that by now we would have learnt from the experiences of others in our post-independence history.

The worst aspect of this chapter of our political life is the dismal lack of long-term vision for the nation gleaned from the speeches and promises from both sides. What we have been fed with daily are merely trivialities and banalities, examples of which I do not need to repeat ad nauseam, because they are doing such a good job of it themselves.

Not since the days of Marcus Garvey's UNIA movement in Jamaica have the majority of people been given a vision of themselves and their future potential based on our African ancestry and glorious history, including the significant achievements and contributions to civilised mankind the world over. This started in the Nile Valley and along the banks of the Niger River from about 2500 BC and diffused throughout Asia, America and Europe over time.

Although Garvey was made our first national hero in 1965, so far this has been but a formal gesture. I am convinced that there is a deliberate attempt to resist the dissemination of his teachings, principles and philosophies throughout the educational system. Thereby keeping the masses ignorant of their proud heritage and persisting the perpetuation of their mendicant mentality which plays right into the hands of the politicians.

To a large extent what the average Jamaican knows about Marcus Garvey and where they glimpse snippets of their unadulterated cultural essence is from songs written and performed by reggae artistes like Burning Spear, Bob Marley, Culture and others, who were inspired by Rastafari. Marley popularised Garvey's mandate to us to "emancipate yourself from mental slavery, none but our selves can free our minds". It is good to be reminded of that lesson during these times. All elements within the entertainment sector should unite in calling for a comprehensive statement on cultural policy and objectives, as a central plank in the manifestos of all competing parties. I suggest this with some amount of cynicism, having read the Honourable Edward Seaga's piece, detailing empirical data which demonstrate that manifestos in the past have not been worth the paper they were written on because without exception, in practice they were mostly defaulted on. Old time people have a saying: "man have nuttin fi do go seaside go plait sand throw inna breeze".

On the entertainment circuit, I wish to add my commendations to the operators of Christopher's at the Quad in New Kingston and Village Café in Liguanea for their ongoing series of live shows on Tuesdays and Thursdays. They have certainly added quality and diversity to the live entertainment circuit in the corporate area and provided a launching pad for the careers of people like Rootz Underground. I have been attending some of these since January and had the opportunity to casually observe a new generation of acts honing their craft just under the radar of inevitable public acclaim. Both the Tuesday Nite Live series at Village as well as the live shows at Christopher's on Tuesday and Thursday are excellently produced technically and organisationally. This allows the budding talent on display a sophisticated environment in which to further develop their entertaining skills.

In this context, the high commitment and contribution of Dean Fraser to the creative development of this new generation of artistes continues to impress me. Throughout his three decades-plus of involvement in the Jamaican music industry, this gentleman (by nature) has gained such a high personal standard and knowledge while sustaining throughout an enormous level of energy and participation in developing, arranging and grooming other artistes that the entire entertainment sector owes him a massive debt of gratitude. For instance, in both series referred to above, Dean is presently working with some of the best young artistes who have appeared. In recent times I have seen two of these which I single out for mention.

Some weeks ago Christopher's had the group HUSH performing on one of their Thursday editions. The group demonstrated that individually they had good voices which through training, practice and continuous rehearsal they have honed to harmonise exquisitely. While their personal repertoire is still evolving, they showed a mastery of current and past popular songs which had the crowd raving for more. They even went into folk and Negro spiritual renditions and displayed the results of good training from the Edna Manley College of the Visual and Performing Arts through their stage craft, dancing skills, audience rapport and eloquent introductions of their songs. On top of all of this, the influence of Dean was not only obvious, but seemed to have been well learnt. This group has a bright future if they continue in the same vein.

In the summer of 2004, I first saw Tarrus Riley perform at Weekenz on their Improv series. It was clear from then that this artiste had inherited the sonorous voice of father Jimmy Riley and further possessed that kind of quiet charm and charisma which enhanced Dennis Brown's singing skills and helped to pivot him to stardom. Although his onstage projection was somewhat tentative that night (a trait that he has obviously overcome), the empress predicted correctly that the future was his to grasp because his music was already making waves in influential concentric circles. Of course, since then, his career has blossomed and I might add thanks in no small part to Dean for the quality of the arrangements and music behind Tarrus Riley's lyrics and singing. It is clear that his work with Dean has polished the diamond in the rough, as his performances nowadays are dynamic, intense and inspiring affairs. In my view Riley and Richie Spice are head of the next wave of acts that the world will soon be clamouring for. Let's continue to nurture them. 'The higher monkey climb, the more him expose.'

Rules Of Engagement

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By: Charles H.E. Campbell

Sunday, June 10, 2007

Addressing the delegates at the 64th annual conference in Trelawny on Wednesday, May 30, 2007, chairman of the Police Federation, Corporal Raymond Wilson, recommended to the Police Commissioner "that our members stop working for free at [public] events.

We further suggest that in order to bring some form of order, a core group be formed with members of the various representative bodies, to identify and resolve policing needs at these events, but most importantly to discuss pay and welfare issues".

Speaking as a producer/promoter of special events since the early 1970's, I have always supported the view that the official Jamaican approach to the use of our police in security operations at privately organised public functions is neocolonial and backward; inhibiting efficiency and growth in the sector.

I wish, therefore, to endorse the principle that all working police officers at a public functions, should be specially compensated for their services by the relevant promoters, be it private or public. In certain cities of the US, as a promoter, I am allowed to directly employ the services of the police and they perform many functions done locally by private security guards. This allows for closer coordination and greater efficiency.

That said, however, it is imperative that the terms of engagement be entirely redefined and managed. Corporal Wilson's call therefore, for a study to identify and resolve policing needs by a group representing the various interests is more than laudable. It is an urgent, burning need within the sector.

Since the Federation has put this issue squarely in the public domain for discussion, I am no longer constrained to maintain my silence in the perpetuation of the public hypocrisy that endures in this regard.

Before addressing the present scenario, let me trace the evolution that brought us to the current situation.

Traditionally in Jamaica, public events were mainly staged by the government, local schools and churches, who mostly organised family-type events like fairs, picnics and concerts. Other than the May Day fairs or the Augus' Mawnin' jamborees, most of these events were either staged indoors, or on the compound of the school or church. Dances began to emerge in the late 50s and 60s, but this phenomenon was an urban one, mostly concentrated in Kingston.

As a country boy growing up on the North Coast in the 50s and 60s, the beach or the roving bands of jonkunnu and mento music were our recreational sources and outlets. As we got older, there were clubs like Banana Boat in Montego Bay, where the Blues Busters regularly performed.

In St Ann you had Altery Beach, owned by the Strand family, where they played their sound system and Maracas night club in Ocho Rios where I first heard King Tubby's play. Places like Playboy Hotel and Sheila Bay Hotel filled out our coastal entertainment circuit.

The islandwide festival song tours staged in the 60s and 70s, along with Michael Manley's musical band wagon (1971-72) were the first organised attempts to incorporate contemporary popular music and performers into dispersed live events. Up to this point, concerts were mainly staged in cinemas, theatres, church halls and school auditoriums.

This was true even of the annual festival competition up until then. The musical bandwagon however, broke this trend by presenting popular artistes like Bob Marley and the Wailers, Junior Byles, Clancy Eccles, Judy Mowatt, Freddy McKay, Tommy Cowan, and Inner Circle, live and free in town squares. The turnouts were as massive as the musical messages were potent, popular and boosted Manley's image among the masses. Many came because it was their first opportunity to see their real stars. (Since then, both parties have employed this tactic to attract a broader audience to their rallies.)

Realising the enormous potential of the music to connect with working people, the government of the 70s promoted many concerts around the country on Labour Day, Heroes' Day, Independence Day and other special occasions, including Nina Simone/Junior Walker, Marvin Gaye/Bob Marley, Jackson Five and Harry Belafonte's first local concerts. In the mid-70s, Tommy Cowan promoted a series of live, open air concerts called Fun, Sun and Ting and this became the prototype of Reggae Sunsplash, quickly followed by a slew of publicly and privately organised events in the 80s that have mushroomed to the dynamic cultural calendar which presently obtains.

During the years Sunsplash was held in Montego Bay, Synergy Productions actively promoted and staged many other live events in the city, including televised boxing, professional wrestling, circuses, large Coney Island-type amusement parks and concerts involving artistes like Third World.

We also staged some of the largest dances during that time. Since then, I have had the responsibility for coordinating the input of security and personnel for these and many other live events promoted by us and other people across Jamaica, including festival events, national football matches at the National Stadium, Sting and many other events too numerous to list.

The contribution of the police to the operational success of these events is critical and every experienced promoter or producer should welcome the opportunity to collaboratively define policing needs at their public events.

The discussions will need to be frank and in-depth, remembering there is no need to reinvent the wheel. Any promoter worth his salt can tell you in an instant what these needs are. What has to be addressed to advance the mutual interests, is the multiple breaches of protocol and discipline by the ranks assigned to these events.

I remember Reggae Sunsplash Dancehall Night 1988. Because of a seer's premonition that the Bob Marley Centre was going to sink, people waited until after midnight before entering the park. The rumour ironically, had swollen the crowd beyond projections, thereby overwhelming our ticketing infrastructure. Long lines were formed as never before with agitators and pickpockets at the back pushing the patrons forward to create confusion.

Soon, someone at the front reacted violently by throwing a stone randomly towards the back of the line. A hail of stones was returned to the front and pandemonium broke out. The police all abandoned their posts, leaving a few security officers and me to regain order. In the midst of this I glanced into one of our tickets offices just in time to see a police officer who had installed himself, barefacedly removing money from the cash pans and stuffing it into his pockets. In disbelief, I asked him 'officer, wha dat?" To which his response was "Better me, dan dem".

Unfortunately, I could fill a book of such atrocities experienced over the years, and maybe one day I will, as I now find them quite humorous.

Some of the issues that need to be addressed, however, are 1) The tendency of the police to abandon their posts halfway through an event and/or congregate in front of the stage, thereby weakening strategic areas, managing traffic control and the orderly processing of patrons through the gates. 2) The abusive use of police vehicles to illegally traffic civilians through entry gates, bypassing normal procedures and eroding revenue. 3) Parading inside venues with rifles and shotguns. Operationally, this is an impractical, intimidatory and unnecessary tactic, which is more applicable on the perimeter to guard against miscreants trying to scale fences or walls. 4) The abuse of police identification by off-duty police officers to intimidate gate men into giving them free access and/or to bypass body searches, gaining access with firearms, which they discharge in gun salutes for the artiste of their choice. 5) The practice where each officer working thinks it is his/her right to have spouse or friends attend free of cost.

Finally, there is a need to rationalise a) the total number of officers required and b) their role, versus that of the private security company; so as to correct the present situation where the promoter has to pay two parallel entities for the same operational tasks. Most promoters would rather not use police men at their gates, because they seem to find ingenious ways of recycling tickets, even when they are being paid.

I know that since the 1984 Sly and Robbie 10th anniversary show, almost every promotion I have done or worked on has in some form or another paid for the police's input. I will admit being told from time to time that this does not trickle down to the people actually performing the task.

So after a while, we changed our strategy and began negotiating directly with the officers who were assigned until last year, when in one instance we dealt directly with the Police Federation. Obviously, from what I have now heard from Chairman Wilson, about other promoters getting these services free, a resolution of these matters will go some way to levelling the playing field in terms of required overheads for this aspect of staging public events. Nuff said.

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A Longing For Self Worth

Sunday, May 27, 2007

Without a doubt, forty years of minimal economic growth in the formal sector of the economy, contraction of agriculture and the consequent erosion of rural economies and communities, injustice, unemployment, social displacement, the lack of infrastructure which facilitates integration, the destruction of quality family life, urban squalor and continuous political and gang violence have left psychological scars on our young people tantamount to ictus.

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Sizzla

Under the circumstances, the fundamental point I made in my last commentary is that in order to change the lyrics and orientation of the dancehall artistes, the society has to begin to repair the oppressively brutal underlying social conditions and stimuli which [de]motivates and inspires their work.

Concurrently, for those of us who may consider ourselves a part of the cultural industry, the best way to counter the decadence and degradation promoted in some aspects and music of the Dancehall is not censorship but the deliberate projection of quality works of artistes who seek to carry on in the vein of the musical style and positive- even in protest- messages of self worth of the founders like Bob Marley, Peter Tosh, Jimmy Cliff, Toots Hibbert, Burning Spear and Culture.

I am referring to recording artistes/performers who have successfully adapted the reggae form and messages to make it appealing to this generation and get good responses in the dancehall sphere when their songs are played. Let us remember that there was a time in the 90s when roots music and artistes were relegated to the back burner. Their songs were not promoted on radio, their records did not sell and even when these artistes appeared on stage shows, patrons barely tolerated them- impatient for the appearance of the more raunchy acts.

Dub poetry, with its more intellectual, anti-colonial Black Power and Rastafarian bias, all but disappeared. This was the heyday of Buju Banton and Capleton in their secular personas and at their rawest.
Then came along Garnett Silk, Tony Rebel and a slew of acts mainly from the Middlesex county including Everton Blender, Uton Green and a resurgent Cocoa Tea.

They represent a renaissance in the Rastafari movement followed more recently by Luciano, Sizzla, Morgan Heritage, Bushman, Richie Spice, Junior Kelly, Tarrus Riley, Jah Cure, Turbulence, Natty King, Warrior King and Chezidek. In some instances, they updated and rearranged popular rhythms from as far back as the 60s, overlaid with new melodies and potent, uplifting lyrics. After a while, they gained prominence in the dancehalls and on stage shows and began getting their share of media headlines.

The tide began to turn as more and more artistes 'sight up Rasta', spurred by the conversion of Buju Banton and Capleton at the peak of their careers and consciously changed the subject of their creative works to commentary on the social ills of society, lamenting the alienation of the inner cities, poor and youths.

The Jamaican establishment however, still has a problem with the Rastafari lifestyle and tenets, especially from those who display a new found sense of self-worth. Rather than embracing this trend, therefore, it has instead sought to demonise them. While I am not here condoning the anarchic or dangerous antics displayed by a few megalomaniacs and budding pyromaniacs, it is true to say that one of the effective strategies used is to ostracise and further alienate these social rebels as deviants or zealots. Unwittingly, this has only given some of the artistes more notoriety, legitimacy and fame within dancehall and among their international fans, while reinforcing their estrangement and rejection of societal norms.

I read with great interest the article in the Sunday Observer (May 13) by the Suffragan bishop of Montego Bay, proposing direct dialogue with the local homosexual community. There were two insightful statements in the body of the article which I wish to highlight and discuss in regards to the Rastafarian experience. Referring to the significantly organised homosexual community present in Jamaica, he said, "it is the outcome of an agenda which has been pursued with political astuteness and strategising and which has outmanoeuvred the opposition."

Also, quoting an unnamed writer, he proffers the maxim, "perhaps our (mankind's) greatest hunger is a longing for self-worth. You go to great lengths to feel good about yourself, but often your efforts don't pay off in self-acceptance or approval from others. This need goes deeper than the yearning for parental approval as urgent as that may be. Neither a job promotion nor an exalted social position can confer this worth upon you. The need is deeper." The writer goes on to assert that "all these efforts to find a sense of worth will ultimately fail", unless "this search finds its ultimate fulfillment in God."

"Ah nuh bex dem bex, ah just surprise dem surprise when dem realise seh Rasta still deh bout." (Rasta Still Deh Bout by Luton Fyah and Josie Mel)

As distasteful as it might seem to them at first glance, in reflecting on the initial statement quoted above, it may be expedient for the Rastafarian community to learn and adopt some of the political strategies pursued by the homosexuals. After all, when the prime minister points out that "cultural industries represent Jamaica's natural competitive advantage" ask yourself, who are the main contributors to these industries, be it Jamaican art, craft, music and even literature.

It is, of course, Rastafarians and their culture that has caught the attention and is appealing to the world. This has become such an essential calling card that many participants (and some homosexuals too) who do not even subscribe to the faith, wear the dreadlocks hairstyle simply to get ahead. Judgement Yard, David House, Bobos and other sub-groups need to put aside their petty differences and factional in-fighting, come together, organise and unite with their own agenda, under one banner to hold further discussions with the Government and other special interest groups, like civic and religious organisations, on the way forward.

"Rise to the occasion, look at yourself you know you're strong, no one can stop you." (Rise To The Occasion by Sizzla Kalonji)
On the subject of self-worth, over the last seventy years no other segment of the local community or group of Jamaicans has consistently done more to re-establish, promote and defend our self-worth in the international arena. Their contributions to cultural preservation and development is legendary, yet the establishment continues an opportunistic love/hate relationship with Rastafarians. We use the Rasta man's image to promote our tourism, our music, art and craft, but official approval remains illusive.

These days, we are very quick to identify with and even trumpet their personal achievements, but this was not always so. Just check the stories of Bob Marley, The Skatalites and others who had to go abroad to gain recognition. The other side of this coin is that- quoting Kwame Dawes in reference to the main character of Roger Mais' second novel, Brother Man, from time to time "Jamaicans find him [Rasta] a suitable object of their frustration, their self-loathing, and ultimately, their fear"

"Tell me how come here in Jamaica so many people still a fight Rasta." (How Come by Morgan Heritage)
Isn't it paradoxical that the Mormons - who, up until 1978, did not believe that black people could go all the way to heaven, but the good ones would have to settle for some sort of halfway house, because to them, we were not fully human - now operate as a thriving church in Jamaica with the full sanction of our Parliament?

This is the same Parliament which up until now refuses to recognise Rastafari as a religion, even though the rest of the world has. Isn't ironic that Bishop Gregory is now calling for direct dialogue with the homosexual community, to facilitate their search for self-worth, yet neither the Anglican Church nor the Council of Churches has ever come to terms, much less sincerely begun a dialogue with the Rastafarian community?

Did you know that in his 15 years as Prime Minister, PJ Patterson never once formally met with the Rastafarian community leadership to discuss issues concerning them? Did you know that one of our leading banks forbids the wearing of the dreadlocks hairstyle even by its female staff? It is no wonder then, that when a Rastafarian woman wins the Miss Jamaica Universe contest, it becomes 'earth shattering news'.

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The Imus Effect?

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By: Charles H.E. Campbell

Sunday, May 13, 2007

The recent firing of the bigoted shock-jock Don Imus, and the cancellation of his simulcast radio/tv programme on CBS and MSNBC for his blatantly racist remarks have precipitated another round of public discussion - mostly among black Americans.

On one side, led by people of stature in that community like Oprah Winfrey and Rev Al Sharpton, sections of the public are demanding of the rap industry a review of some of the language used and images promoted in rap music. Specifically, the terms 'niggas', 'hoes' and 'bitches' are particularly offensive to the average black American, yet rap artistes often use these terms to describe one another.

Another issue is the exploitative, explicit exposure and portrayal of women in rap lyrics and videos - as one commentator puts it, "for the first time in the long history of mankind, an entire genre of music promotes the denigration and destruction of dignity and the very race that creates the music".

The discussions sometimes referred to alternatively as the Imus Effect or Factor, depending on the direction of the particular debate, usually have on the opponents' side leaders (read: apologists) of the rap industry like Russell Simmons and Spike Lee (who infamously said, it's alright for black people to call themselves niggas!). Maybe if America didn't presently have a credible black presidential candidate, Imus would still be in his job and a Mormon would be ushered into the White House. At least, however, the discussion is taking place in a civilised atmosphere and even seems to be going somewhere (the empress predicts it will soon blow away like a nine-day wonder).

Instructively, some proponents have suggested the targeted boycott of large corporations who market rap music or use it and its stars to market their products. In the North American marketplace, this could be a very effective strategy, since the business environment is so structured. Somehow though, I do not think it would work in the Jamaican context because our marketplace is skewed towards live performances as opposed to records sales.

In the drive to apply pressure for change, a number of commentaries in the media caught my attention over the last fortnight. Recently, CNN broadcast an exposé of these negative themes and images in rap and dancehall music. The programme concentrated some focus on the predominant promotion of misogyny by dancehall artistes.

From time to time, this issue has been raised by our own public commentators, among others. For example, in a letter to the editor on Wednesday, May 2, David Dacosta writes from Toronto, Ontario, "in the light of the recent Don Imus controversy in America, and hip hop lyrics being blamed for those said remarks, it has reminded me of the steady increase in the use of the dreaded n-word in dancehall music. Over the last five years or so, I have heard some of the biggest names in dancehall incorporate this hate-filled word in their lyrics."

He goes on to decry as outrageous the "notion that blacks can somehow erase the sting of this word's history by using it as a term of endearment", and suggests that "we have no need to copy individuals from other countries especially when what is being imitated is poisonous". Then on Friday, May 4, Basil Walters quoted Minister Aloun Assamba as saying, "one of the areas of challenge to the safety and security of the Jamaican family is to be found within the entertainment fraternity". "I am referring to.the blight and lewd, illicit so-called lyrics that some uncreative miscreants are seeking to pass off as entertainment". "sometimes I feel like we are a voice crying in the wilderness".

This is because, locally, these discussions go nowhere, remaining largely as the minister herself is quoted as saying "as consultation with practitioners in the entertainment sector". Unfortunately, it does not filter down to the average citizen, much less impact the artiste and as to the dancehall fans, they are totally oblivious to the debate.

In an attempt to provoke reflection in her school district of Torrance, California, on the fundamental question "with what is your child living?", in 1959 Dorothy Law Nolte (PhD) composed a poem of allegories called Children Learn What they Live. Although the poem has been fine-tuned over the years, the universal truth to the collection of phrases remains constant. It juxtaposes the ideal with the temporal, as in, "if children live with criticism, they learn to condemn", conversely, "if children live with tolerance, encouragement and praise, they learn to be patient, confident and appreciative".

Another example: "If children live with hostility, fear, pity and jealousy, they learn to fight, to be apprehensive, to feel sorry for themselves and to feel envy." On the other hand, "If they live with acceptance, approval, fairness, kindness and consideration, they learn to love, to like themselves, they learn justice and respect."

Crucially, if children live with security, they learn to have faith in themselves and in those about them. Given then, that education raises one's cultural level, it is not far-fetched to assume that as products of their social environment, the approach of our artistes to these issues are in some part, influenced by poor education and deficient socialisation.
I learnt a profound statistic from Dr Samms-Vaughn speaking on News Talk 93's Breakfast Club.

She stated that a recent survey revealed that by the time they are six years old, 30% of our children living in the inner cities of Kingston and St Andrew had witnessed a death by violent means. This goes a far way in rationalising Mavado's mantra "my father was a gangster in the streets", from the track Dying on the Pitch Point riddim.

In order to be objective, any comprehensive analysis of the evolution of our music and in looking at its social backdrop, must make comparisons with different eras. For instance, ska was highly influenced by jazz phrases and the big band orchestras of the 50s. The level of sophistication attained, however, was due in great part to what was inculcated at Alpha Boys School and Home, which did much more than simply train some musicians. Those nuns also imparted other critical social skills, so much so, that ska and reggae became the driving force behind a social revolution in Jamaica which began in the 1960s and continued through the 1970s.

Today there is now no such parallel institution intensively honing the aptitude and skills of the underprivileged. Now the art form could essentially be termed intuitive art (lacking formal training). For inspiration therefore, there is an overdependence on daily occurrences in their social environment, which nuh pretty.

An even more controversial subconscious, kinetic connection might be that between the continuous firing of guns in the ghetto and the staccato sounds of dancehall. Another is the dancehall norm of playing tracks for less than 30 seconds. Is this a manifestation of concentration-deficiency due to a lack of formal training normally received through years of continuous education? Let's even examine the structure of our lyrics.

Nowadays, deejays and lyricists seem to believe that a well-constructed song is one where every consecutive line rhymes with the one before, (just like nursery rhymes!) even though oftentimes it really doesn't make much sense - words used out of context, etc. A recent repartee between Vybz Kartel and Spragga Benz began with Kartel describing himself as a "p.y pathologist". Spragga's witty retort was "dat mean seh yuh deal wid dead p.y".

Given the above background, the recently announced Cultural Industries Council could be catalytic in the transformation of the entertainment product if it sufficiently lives up to its mandate, especially in the areas of training and product development. The proposed cultural industries labour market survey and development fund are long overdue and sorely needed to better inform public policy and provide reasonable dedicated equity financing to the sector.

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One Love Artically

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Charles Campbell Wednesday, March 21, 2007

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Vybz Kartel and Mavado

Bembe, one of Kingston's hottest weekly dances, takes place at Weekenz on Constant Spring Road, every Thursday night.

On March 1, deejaying duo Razz and Biggy alternated with Tony Matterhorn in providing their own brand of dancehall and hip-hop music mixes. They were in a militant mood, because recently Biggy had been assaulted at Hellshire Beach by some 'fans' of Vybz Kartel after he played ten Mavado tunes consecutively. The irony is that the set had been preceded by nine of Vybz Kartel's songs. The incident occurred right at the cusp of the feud that had developed between Kartel and Mavado, after Kartel's public withdrawal from the Bounty Killer-led Alliance.

Like the very cause for this split, here is another example of the violent nature and the oftentimes petty adolescent behaviour displayed by many dancehall artistes and patrons.
When Tony Matterhorn took the microphone, he expressed his disgust at the behaviour of the culprits and declared that if any patrons tried that with him, they should be prepared to pay the ultimate price as he would go down fighting. This was of course, backed up by the appropriate 'battle cry' tunes from Mavado. The audience was driven into a frenzy. When Biggy took his turn at the consoles and microphone, he continued where Matterhorn had left off. While I totally abhor what happened to Biggy and sympathised with him, this is certainly not the way to seek redress for the obvious injustice meted out to him. It just further aggravates the looming conflict. That is the problem with the dancehall, everybody is a bad man and no one is willing to back down.

Then it was time to give away the usual prizes from Magnum Tonic Wine, the official sponsors of Bembe. The first prize was given to the fattest girl in the house. The second gift basket was given to the most successful bleacher. Finally the third went to a 'white girl' in the audience who, as it turned out, was a Japanese with a bleached blonde hair. We were exhorted to change the colour of our skin if we were not happy with our blackness. I was dismayed but I do not think that the present campaign by the Ministry of Health to discourage this trend will have much of an impact at all. Our society has for far too long perpetuated the colonial legacy that reinforces the social dominance of the white and brown castes. Hence, the psychological inferiority complex of our overwhelming black majority is born out in their daily interface with the establishment "if yuh white, yuh awright.if yuh brown, stick aroun'. if yuh black, yuh bettah stay back".

That unfortunately is the creed by which we live in Jamaica.
Therefore, as long as the middle and upper classes continue to ignore, to scorn and even trample upon the poor and not so poor black majority, it will be an uphill struggle for them to achieve self-awareness, much less pride in their blackness.
In this scenario and from their perspective, it is ambition that prompts them to bleach in order to move up the social ladder.
On to a much more progressive topic, the opening ceremony in Trelawny for World Cup Cricket was amazing, filling all of us I am sure with a sense of achievement and pride in our West Indian culture. Even Ragga, our resident cynic, expressed - however grudgingly - newly found patriotism.

Meanwhile, I was given the task of getting the One Love Jamaica Village in New Kingston organised and established. It opened on Monday, March 12 and will run through March 24, with the primary objective of "showcasing all things Jamaican. where Jamaican food, craft and entertainment are celebrated and presented in a commercial setting".
During the daytime, local private sector companies and individuals display and sell unique Jamaican products, such as jewellery and accessories, fashionable garments, paintings and pottery and all our famous Jamaican dishes. The cricket matches are broadcast live on a very big screen throughout the day and the social Development Commission coordinates a daily lunchtime concert.

On Tuesday and Wednesday, I was thoroughly thrilled by the Hagley Gap Duppy Band and the Llandewey Mento Band. On Thursday, Faith d'Aguilar compared the Best of Festival component including the Holy Childhood Steel Pan Band and Tivoli Gardens Dance Troupe. One of the night-time features is the after match Fever Pitch parties hosted by Coppershot, Renaissance, Stone Love, Colin Hinds, Jazzy T and Kurt Riley. All the above events are free to the public. As a part of the village, Pulse Investments Limited produced a series of concerts with such popular artistes as Richie Spice, Spragga Benz, Beenie Man, Shaggy, Assassin, Busy Signal, Bounty Killer and Sizzla. The events also featured the Miss Jamaica Universe 2007 swimsuit parade, Caribbean Fashion Week preview, Tessanne Chin, Tanya Stephens, Beres Hammond and Buju Banton.

Spragga Benz' performance on Wednesday, was x-rated and therefore inappropriate for what is advertised as a family-oriented event. With sufficient hits to his credit, one wonders why he chose to go this route, even when his lyrics elicited vocal disgust from significant section of his audience. His bitter words about his stalled career did nothing to further endear him to the patrons. This aside, the One Love Village is a worthwhile cultural exposition being undertaken by the Jamaica Cricket 2007 Ltd.

The venue is located behind Emancipation Park and next door to the National Housing Trust entrance. Over the period since its opening, I have had the golden opportunity of observing first hand the constant hub of activity at Emancipation Park, especially early in the morning and in the late afternoons and early evenings when joggers, lovers and sundry others converge in the park to advance their healthy lifestyles and intellectual pursuits. Given all the controversy, surrounding the conceptualisation and construction of this park, this level of interest and usage should be a signal lesson to the leaders of our country. Had the naysayers won the day in the initial stages, and the venture not come to fruition this facility that is now so popular would not have been available for the citizens of Jamaica.

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Literally Literary

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Charles Campbell Sunday, March 04, 2007

The third weekend in February was rich in spirit. Dean Fraser's and Chalice's performance at Symphony on the Saturday night on the eastern lawns of King's House were truly amazing. Although Dean's solo stint was short, his selections were carefully chosen to amply demonstrate his mastery of the tenor and soprano saxophones. Commencing with a medley skilfully interwoven with Ras Michael's None A Jah Jah Children No Cry, Dean followed up with Luther Vandross's Dance With My Father.

His range, phrasing and breath control were so enthralling that Dean had us all mesmerised and earned himself a spontaneous standing ovation from the audience. Without a doubt, Dean stands head and shoulders above the rest of our current local horn players and very few in the world of music can compare with his dexterity. While I have heard Dean play various genres and in many situations, numerous times over the years, this performance leaned heavily on his arranger skills and performance experiences and was nothing short of genius.

Chalice on the other hand was simply magical. I am sure they surpassed even their own and certainly the audience's expectations. From the first note, they struck a rapport with each other and the patrons that just continued to build from one song to the other raising to a crescendo that ended with the second standing ovation of the night. Chalice seemed fresh and relaxed.

The interaction of the band members and the witty and sometimes updated lyrics of most of their songs pulled their audience along on a nostalgic musical journey. Trevor Roper was a dynamic lead singer and many local bands never retain the same vibe when they change that up front personality. Chalice's new lead singer is certainly the exception - Dean Stevens not only fit the role, but added new dimensions to the part. He oozed magnetism and awed the audience.

On Sunday, February 18, we went to Fi Wi Sinting at Nature's Way, Buff Bay, Portland. Their promotional materials claim the festival promotes African heritage through food, art and craft and music.

The festival more than lived up to this claim. By way of local festivals, it is truly unique and authentically Jamaican. While many features were reminiscent of our traditional Jamaican country fairs, Fi Wi Sinting's central theme was homage to our ancestors, their traditions and our cultural accomplishments. We experienced simultaneous performances of Kumina, Jonkunnu and Nyahbinghi drumming and chanting in separate interactive settings and locations.

Meanwhile, Mutabaruka played appropriate African, Afro-American, Caribbean and Jamaican music. Dubbed the African Dance Party, many couples swayed, rocked and gyrated to the rhythms. At various intervals we were entertained by Akwaaba, poets, Amina Blackwood-Meeks' storytelling, drummers from the West African nation of Guinea along with New York-based dance group, Asoso, who presented an African dance class, which saw many members of the audience joining in. The entire concept was interactive participation of the patrons and entertainers. This brainchild of Sister P (Pauline Petinaud) demonstrated how we have adapted and woven our African heritage into our traditional and popular culture.

Most impressive was the high level of discipline and courtesy displayed and the audience mix. The event was family oriented, but it was still surprising to see for instance a retired senior resident magistrate, his wife and their friends, university students, visitors from Nova Scotia and Colorado, children and toddlers, country folk, Rasta and even the urban chic, respectfully sharing and enjoying the same space, the numerous activities and the various kinds of food including the delicious live food, which I must confess I tried for the first time.

We had an interesting conversation with Frank Lumsden, Jerry Small and Shirley Lindo about the origins of the Maroons, JA Rogers and his literary contributions and the myopic views held by otherwise progressive people about the advent of our music being 'stolen' by foreigners like the Japanese, many of whom were also present at the festival.

We came to the conclusion that they do not simply imitate, but totally assimilate our music and the culture that feeds and drives it. We agreed that art is the common legacy of humankind and the more nationalities that adopt our music only further authenticates the sheer genius of it. It also expands the marketability of our artistes. We discussed the fact that under slavery and early post-emancipation, many African-Jamaican musicians migrated to the southern USA and were part of the cultural renaissance that spawned American jazz and country and western.

It was instructive to note that this one-of-a-kind Jamaican festival has not been able to attract or secure any substantial private/public sector sponsorship in the seventeen years of its existence. This year, all the festival got was $60,000 from the Jamaica National Bicentennial Committee chaired by Prof Verene Sheperd. Commendably, IRIE FM has been the main sponsor over the years, covering all of the advertising costs, but interestingly maintaining a very respectful low profile at the event. I was so spiritually nourished at this event that I recommend it to all Jamaicans next year, both as sponsors and patrons.

On the February 2007 edition of the gathering of the Poetry Society of Jamaica, there were three standout poets, Ann Margaret Lim, Sage and Viva. I found two common threads in all of the poetry though. Firstly, one which spoke to a society that constantly conjures many negative images as the raw material for our word-sound artists, hence they speak borderline fatalistically of politics, social life and even love. The second was the highly developed incisiveness of their critiques.

The intensity and latent anger of Viva has certainly left a lasting impression on me. Two of his unforgettable lines were "oh muse. save me from 'wanna-be' poems" and the most profound line of the night, "poetry is life. not just literature". If you think Muta's poems make roas' breadfruit uncomfortable, den check out dis bredrin.

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