Member Since: 26/06/2007
Band Members: Tables are turned?Sunday, August 05, 200"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!
Type of Label: Major