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