Pregnant with possibilities

Groundins

By: Charles H.E. Campbell

Today I am picking up from where I stopped last time, reporting on my observations and interactions while attending, as well as, the main characteristics of Reggae Sun Ska; using these facts to extrapolate to the larger European Reggae scene, in determining how we can better serve and increase our market presence and share there.
There were some notable features, some of which I have already made mention, without yet expanding on them. For instance, quite unlike our practice in Jamaica, each act was allotted a performance time of one hour.

This allowed them all, sufficient time to weave their songs into a narrative, thereby developing an intimate rapport with their audience, while steadily building up to their crescendo. This is an approach I would recommend that Jamaican event promoters adopt, in the production of our large stage shows and festivals. At present they are usually stacked, on the front end, with too many acts of unknown, untested quality. This often causes our audiences to become dreary and tired, and therefore less appreciative of the performances of the headliners, who then come too late into the show, with too little time to perform their full repertoire.

Throughout the three nights, it became patently obvious that the greater audience responses were received by those acts that sang each entire song. Also, it seemed that those acts that stood up straight to perform, rather than slouch – as is now a common practice of too many of our young artists – projected better and had more impact.

Another interesting fact was that all artistes were listed on the programme in terms of genre and country of origin. For example, Toots & the Maytals were listed as Reggae/Jamaique, and Danakil was listed as Reggae/France. The obvious implication is that although the European Reggae scene has matured and is dynamic, with the native populations more accustomed to, and readily identifying with their home grown talent, the Jamaican brand of Reggae is still the most alluring.

Being Jamaican lends some authenticity and credibility to the artiste as well as the event’s programme. Many people, including Roger Steffens expressed the view that Jamaican musicians give the music spirituality, a distinctive sound, an inimitable vibe and a unique feel. We however, are continuously missing the boat by not exploiting this for maximum returns, by properly registering and protecting the Jamaican Reggae brand, and through the promotion of cultural tourism.

Maybe, this is because we can’t come to terms with the fact that the major factor sustaining Reggae’s phenomenal penetration of the European market is the alluring appeal and adoption of many cultural features of the Rastafari Movement. When one travels overseas, you begin to realise that there are two strongly countervailing perceptions of Jamaican society. One is of a country and people heeding and adopting Marley’s lyrics, in which Marcus Garvey’s prophetic words have come to pass. In this regard our Island is perceived as a cultural Mecca, a genetic melting pot and the musical capital of the world, located in the most exotic and tropical of environments. Alternatively, the other, unfortunately, is a country that is blighted by extreme poverty, class polarisation, and high levels of violence. Ironically, the symbol of Rastafari reigns supreme in either scenario, as a self liberating movement promoting universal justice; peace, love and harmony, quite unlike the local perception of some pot smoking social drop-outs and deviants.

In an article titled ‘European penetration requires new strategies’ on November 8th 2009, I proposed five approaches to the expansion of our market share, and they are worth repeating today. Especially our younger artistes should actively pursue collaborative works with well known European artistes and producers, as a way of broadening their appeal, as the local radio stations are swamped with their music. Live instrumentation has made a big comeback in Europe, therefore we should return to the tradition of employing our great musicians to record our music. Jamaican booking agencies should register and establish offices in Europe, possibly manned jointly by Jamaican and local representatives.

Too many so called European booking agents are there giving some of our artistes a bad name, by pretending to represent them based on some prior, nebulous association, and accepting bookings on their behalf. Finally, the Jamaican Music Industry needs to establish working alliances with major European organisations, and a more collaborative, structured relationship with their festival organisers.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Pregnant-With-Possibilities_9534696

Reggae Sun Ska

Groundins

By: Charles H.E. Campbell

At first glance, the title of this article would give anyone the impression that this is about a new event to take place in Jamaica. That of course, could not be further from the truth and although totally understandable given the symbiotic relationship between Jamaica with the sun, ska and reggae, would therefore be a bad misconception.

It however reintroduces the rhetorical question of who owns reggae; meaning pragmatically, how best can we preserve and protect this great musical idiom created by our musical pioneers only fifty years ago, and even more importantly, in what fashion, could Jamaica begin on a path to reclaiming its musical legacy, retain its special pole position from a marketing standpoint while benefiting the Jamaican economy as a whole. These are issues which I'll attempt to address in an upcoming series of articles.

So, what is Reggae Sun Ska? You may be asking. And why has it provoked these thoughts of mine. You may even be thinking, here goes Charles again, leading us down the garden path, flogging a dead horse. Be that as it may, I dare to tread where angels fear.

To put my opening comments in context, and properly introduce my subject, let me start at the beginning of this episode. At one of JaRia's weekly Wednesday events, Reggae Nights, held at the Edna Manley College, during Reggae Month this year, I was introduced to Fred Lachaize and Arnaud Bengochea, who are principals of this fifteen year old annual French Reggae Festival called Reggae Sun Ska, by Sam Clayton Jr.

Sam has spent the last ten years of his life working in the French reggae industry, as a producer, artiste/tour co-coordinator, production manager. He, along with these businessmen had come to Jamaica to attend JaRia's concerts, as well as take the opportunity to do some recordings with Jamaican musicians, for African Reggae act Takana Zion, co-produced by Sam and Stephen Stewart, and film a video of a single of his called Rasta Government. Incidentally, this song is currently a big hit in the French market. They were impressed with the format of our programme, the wide array of acts presented, and the orchestration of our music at the awards show.

Our deliberations explored practical ways in which we could forge a closer working relationship between the Jamaican and French music industries, leading to improved self-regulation on both sides, and hence, a better working environment for all.

During these talks, they extended an invitation to be their special guests at the three-day festival which was staged from August 5-7 in a relatively small French town located in the Medoc region, named Pauillac.

I attended the festival, along with fellow JaRIA Directors Joan Webley and Stephen Stewart, two people whom I have come to regard highly, because they will not drop the soap in the shower, and I have come away with the following observations.

The festival garnered a total audience of approximately fifty thousand people, spanning three generations. Twenty-four acts, of which thirteen were from Jamaica, were presented over three days, at a rate of eight acts per night, each being given an hour of on- stage time. Luciano's mainly Caucasian, European backing band was so tight, if one closed his/her eyes you might believe they were Jamaican. I was honestly surprised at the audience's response to the Heptones and Toots. Word for word, they sang along in unison to every single tune. When I made this comment to Arnaud after, he responded that with widespread disillusionment among the 18-30 year olds, of Europe, they had gone back to the message music of ska and Roots Reggae.

He bemoaned the lack of conscious lyrics even from young roots reggae artistes, and suggested that, given the music's glorious tradition of promoting progressive world causes. It was bewildering to him that Jamaican artistes were not addressing global contemporary issues such as preserving the Environment, and liberating Palestine from Zionist dictate.

The dancehall genre was represented by only two acts, none of which were Jamaican. Again, Arnaud rationalised this absence by explaining that that the dancehall market had shrunken, and its target audience was now mainly the 30-35 age group. Except for the Sunday which started at 4:30pm and ended at 12:30am, each night the live concert began at 6:00 and ended at about 3:00 am. Patrons drove from all over Europe, mainly Germany it seems, to attend, and camped out in parking lots, vineyards, on verges and in green spaces all over town. The camping grounds located on the festival site itself were a hub of activities 24/7.

Finally, I was impressed with how the festival used imaginative, creative ways to promote good environmental practices, while reducing the human footprint on the venue. I will continue this analysis in my next commentary.

Email: che.campbell@gmail.com


Read more: http://www.jamaicaobserver.com/entertainment/Reggae-Sun-Ska_9439228#ixzz1V1tRdpWH

Long Live Emancipation

Groundins

By: Charles H.E. Campbell


TOMORROW is celebrated as Emancipation Day in Jamaica. Even today, in light of our abject failure since 1962 to complete the process towards psychological liberation or full-free, to many Jamaican patriots this milestone bears more cultural significance than does Independence Day on August 6.

That is because August 1 symbolises the culmination of the pre-emancipation struggles of the Jamaican people, in eventually overturning, against all odds, what was essentially a ruthless, genocidal system against the black race.


Even after Marcus Garvey, Bob Marley and reggae music have revealed so much about the true African contribution to world history and development persists among large segments of our population.

For generations throughout slavery, our British colonial masters, in their quest for perpetual, absolute dominance over us, had systematically attempted to implant into our subconscious intolerance of our diversified and unique features, a derision of our African heritage and culture, and a penchant to mimic that of our oppressors, bleach our minds, and equate it to enlightenment. Unfortunately, even after Marcus Garvey, Bob Marley and reggae music have revealed so much about the true African contribution to world history and development, this trait persists among large segments of our populations, across the social classes, and certainly within the state apparatus.

This capitulation of the British was ultimately spurred, in large part, by the last, wellorganised, extensive slave revolt, led by Daddy Sam Sharpe that enveloped most parishes in the south, west and north-western regions of Jamaica, on some of the most profitable estates.

Make no bones about it, however, the Jamaican Maroons had fought hard against the Spanish, followed by a bitter 80-year war against the British whom they defeated decisively, time and time again, forcing them to sue for peace. In so doing, the Maroons finally won their physical freedom, negotiated, expanded and retained control of their independent territories, over 100 years earlier.

In fact, if truth be told, ever since the imposition of chattel slavery on Jamaica, purely to create the surplus that drove the British industrial revolution, and for the economic aggrandisement of the British oligarchy, the plantocracy was never allowed to attain total dominance or achieve peace islandwide. The estates, and by extension the system, was undermined, sabotaged, and disrupted many times, in open revolt. The English authorities and their local surrogates — the plantation owners — had endured, but were losing more and more ground and morale against a determined, considerable and continuous rebellion throughout the 300 years that slavery officially lasted. For this reason, our nation is deeply indebted to our illustrious ancestors for their sacrifices and struggles.

Sadly, however, most of us over 50 years of age were then compelled in school, to learn about our history through the eyes, interpretation and books written by the British and their apologists.

In an official attempt to right the omissions of those history books, and give a more objective account of our history, since independence, the Jamaican state has seen it fit to anoint as national heroes, some pivotal, symbolic leaders of our fight against foreign domination and slavery. This includes Nanny of the windward Maroons, who was responsible of the first defeat in battle of the (then) modern British army, and Sam Sharpe, who was defeated by betrayal, but delivered a mortal psychological wound to the British oligarchy, and a crippling depletion through mass desertions from its armed forces.

From the immediate post-emancipation period, our National Heroes are Paul Bogle — the leader of a peasant revolt the shook the foundations of the British empire and led to the re-institution of direct rule from London to the ire of the local despotic ruling class who were tricking the masses back into slavery, and George William Gordon, whom they feared more for his increasingly successful mutual security schemes and the economic wealth and independence it was creating among the peasantry, than his direct association with Bogle.

Customarily, we commemorate Emancipation Day in Jamaica mainly through fairs and vigils, largely incorporating traditional art forms. This is very appropriate since these art forms were utilised during slavery, not only for their aesthetic values, but to deliver encoded messages in the developing Jamaican dialect, to communicate critical information, explain and promote planned strategies and tactics for insurrection activities, in language ‘backra’ could not easily decipher.

Throughout our history, the artiste community has been at the forefront and in the vanguard of our striving to liberate ourselves physically and psychologically. It is little wonder then, that reggae has emerged as an outgrowth, to continue this glorious tradition, as we have become a beacon of hope to the oppressed — including indigenous and aboriginal — people all over the world. I wish for everyone, even those yearning for a return to British rule, Happy Emancipation Day and Independence when it comes.

Email: che.campbell@gmail.com



Read more: http://www.jamaicaobserver.com/entertainment/Long-live-emancipation#ixzz1Tv1BXucN