On the Rock with Tradition, Talent and Training

Minister Babsy Grange has made popular her theory on the success of our track and field athletes at the 2008 Olympic Games, as being a combination of tradition, talent and training.

In a sense, the basis of the international success of our music mirrors that of sports. In the case of music, however, the church and other religious institutions have been the crucibles which facilitate both the tradition and the training of our talented youth.

Our problem is that unfortunately, today, the keepers of the flame - not the Olympic one, but our collective morals - have so corrupted it, that now, in this land of ours, nothing is still sacrosanct.

Currently, in rotation on the Dancehall Channel, is the broadcast of a particular recorded dance, where in one scene, we witness the selector instructing a male dancer to simulate rape of his female partner. She plays along without resistance or even protest, except the non-negotiable caveat that her rapist must wear a condom. Promptly, upon the selector's request, a male patron presents a condom, while others by the stage side waved money.

While some of us float through life with heavy blinkers on, the Jamaican society is going through a deep cleavage fuelled by a culture-war over values - the middle class perspective - and neglect (from the point of view of the poor). Let me demonstrate the dichotomy we face. Most members of the JA Rogers Club reject Dancehall's crude and vulgar manifestations as being representative of our culture. On the other hand, the Empress and Kamisha -the Generation X - see it as a little bit exciting, like theatre.

Already extremely popular since Movado released it earlier this year, the song On The Rock written subsequent to his encounter with the police forces, at Temple Hall Estate on the night of his birthday bash in December 2007 took on more significance, and was again catapulted to international anthem status, when Usain Bolt requested it at his homecoming celebration at the Jamaica Pegasus.

The artistry of the song is ingenious. The use of the (African) traditional call and response technique inspires interactivity from its listeners. This is adopted from a traditional Negro spiritual called I Am Under The Rock with words like "I am under the rock, The rock is higher than I, Jehovah hides me, I'm under the rock, Go tell my enemies, I'm under the rock, Jehovah hides me, under the rock.' This version was sung at Leslie Ruel Madden's graveside on Thursday at his funeral. The words come from Psalms 61:2, "lead me to the rock that is higher than I." Movado actually samples the melody of this and another gospel song fusing them into one familiar sound, even though the originals do not necessarily sound alike.

The second song referred to is called Jehovah Jireh. The words are taken from Genesis 22:14 and means 'God is the provider'. It refers to the place where Abraham found the ram when he went to sacrifice his son Isaac. The original song was authored in the 1960's by Canadian gospel singer/songwriter, Merla Watson, and since has become very popular in Jamaican religious cirlces. It says, "Jehovah Jireh, my provider, his grace is sufficient for me, Jehovah Jireh, my provider, his grace is sufficient for me, The Lord shall supply all my needs, all my needs, according to his riches in glory."

Now hear Movado's version, the intro and chorus in part go, "Jehovah guide me, be my guidance, greater salvation for you... Jehovah guide me, be my guidance, no they could never stop me. I'm on the rock, I'm on the rock. Higher than I and I, higher than I and I."

Verse one concludes "wid helicopter inna di air, helicopter inna di air. Bright light a shine a ground, bright light a shine a ground. Dem say nobody nobody run from di river to the bank lock dung, Dem nuh know which part mi tun." And another Rhygin was born.

Now listen to the second verse, "Music a gal over gun, tell dem nuh stop di fun, Cause if dem stop di fun, dem muss prepare fi stop di gun, Di youths dem blood a run, dung deh inna di sun, Dem mek a bag a promise and nah fulfill none,

Mama cry out, you think dem response fi how much innocent youth die out, Look how much sell dem sell and no weh dem nah buy out, If revolution should a start dem rich enough can fly out."

Are we really oblivious of the symbolisms contained, the clear working class sentiments expressed and the deep traditions tapped into, in the dancehall song that the common folk has currently adopted as our national anthem.

As DJ Nanny B from UK posted online on August 22, "when we start the real revelation war then the army a we will come out for our just cause as real Maroon warriors.'

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