The Conscious Rasta Perspective
2/23/97
(6237)

Our goal as Africa-centrists is to increase our influence upon urban youth, many of whom today function solely within the largely dysfunctional youth music culture of the Western societies. Thus our academics and New Jack Scholars should not overlook the way in which Rastafarianism and an associated reggae music culture gained influence throughout the world. By examining how this culture evolved, we who would engineer a more progressive reality for our youth can develop similar techniques aimed at instilling a new set of values within the target community. Many are convinced, and I believe it to be true, that no truly enlightened movement of Afrikan people in the Diaspora can succeed unless large numbers of young people are drawn toward cultural axioms which embrace this greater identity, that of knowledge of the true Afrikan self.

Few, if any, would not acknowledge the impressive manner in which the religious philosophy of Rastafarianism was able to expand beyond its narrow cult status during the middle part of this 20th century into a broad-based culture which is evident throughout the various continents. Today Rastafarians are easily identified by their distinct look, often characterized by wearing their hair in distinctive dreadlocks fashion as well as a range of fashionable adornments ranging from Rasta tams (knitted hats), the sporting of the Pan-Afrikan colors of red, green, gold and black.

These fashions have expanded to include numerous roots accouterments originating from Afrikan and Afri-Caribbean traditions. What is most apparent about the penetration of Rasta culture into the world is the broad acceptance of reggae music. Reggae draws from the evolution of Afrikan music as it manifested in the Caribbean basin. It has direct roots in the spiritual mento music of Jamaica and further evolved through the ska stylings of Jamaican big bands which were influenced by rhythm & blues and jazz music which wafted over the airwaves from the southern part of the United States into Jamaica. Today one can hear reggae as it has been woven into many popular music styles. Throughout Afrika, South and Central America, Europe, Asia and within the United States and Canada, one can tune into weekly radio programs which feature a predominance of reggae and its spin-off styles.

Commercial advertisements feature the distinct Ñchink-a chink-a' of the reggae guitar rhythm and whole genres of music have copied the dominant style of the ultra-low-frequency bass as the foundation of dance music.

This association of reggae music and Rasta culture was at the heart of a penetrating movement among young people which took place beginning in the late sixties in Jamaica. Spreading rapidly throughout the industrialized nations during the seventies, this influence became evident throughout the world during subsequent years. Several figures associated with this music have become global cultural icons these include Bob Marley, Peter Tosh and Bunny Livingstone, who together formed the core of the seminal reggae group The Wailers, as well as a host of artists and groups such as Jimmy Cliff, Lucky Dube, Majek Fashek, Third World, Steele Pulse, the Melody Makers, etc.

To no small degree, the success of the reggae-Rasta connection is linked not only to the seductive island music but to the combination of the cultural paradigms of 1) religion, 2) language, 3) tradition, 4)history, 5) shared values, and 6) modality of thought/logic. Thus, according to this analysis of the role of culture in defining a common reality, reggae and Rastafarianism have combined to create a distinct movement, one in which youth have found a common set of values which have in no small part distinguished them from values shared by their parents and the larger society.

In our quest to move larger numbers of our youth away from increasingly pathological and self-destructive behaviors, it is our task to create cultural institutions which are strong enough to lure our youth towards a more enlightened reality. In a manner similar to the creation and proliferation of reggae and Rastafarianism, progressives within the African-centered and Pan-African movements can define and implement certain cultural imperatives which might then be embraced by large numbers of the target youth audience. Having defined these preferred cultural imperatives, we can then set about our task of socially engineering similar movements. Such movements must fit our expanded knowledge of the high cultures of the Nile Valley and several significant Afrikan empires. Specific methods for conducting this campaign will be outlined at the end of this chapter.

It will be necessary here to look a little closer at the Reggae-Rasta movement and point out how these six cultural paradigms have become evident and the manner in which they have been implemented.

Religion

The Rastafarian religion has its foundation in a synthesis of Afrikan and Western spiritual traditions as well as contemporary history. It's emergence has been traced to the Garvey Movement and to a prophecy which arose from within that movement which stated: "Look to Africa, to the crowning of a black king, for he shall be the redeemer of the black race." It was the subsequent coronation of the Ethiopian emperor Ras (prince) Tafari on November 2, 1930 as "Negas Tafarum, His Imperial Majesty Emperor Haile Sellassie I, King of Kings Lord of Lords Conquering Lion of Judah, which seemingly fulfilled this prophesy.

An additional prophecy, or better yet group of prophesies, drawn from the King James version of the Christian Bible, was used by those who would become the Rastas to deify the Ethiopian negas (king) as the predicted savior of the race. This is illustrated in three verses within the Book of Revelation:

Revelation 5 verse 5 "And one of the elders said unto me, Weep not: behold, the Lion of Juda, the root of David, hath prevailed to open the book, and to loose the Seven Seals thereof."

Revelation 19 verse 16 "And he hath on his vesture and on his thigh a name written, KING OF KINGS, AND LORD OF LORDS."

Revelation 22 verse 16 "I am the root and the offspring of David and the bright and morning star."

What is most significant of the use by Rastas of the Christian text is that the most committed worshippers have not stopped at the use of King James' Version but have claimed the Ethiopian Orthodox Church as their spiritual center. The presence of this Afrikan orthodox church is evident within various Rastafarian religious practices, most notably ritual practices such as the use of incense in religious services, the number of Rasta practitioners who attend Ethiopian Orthodox Church services and in certain cases the actual establishment and ordination of churches affiliated with the Ethiopian church. In addition, a few of the most devoted Rasta practitioners have actually established communes in Ethiopia and repatriation of Blacks is central to the Rastafarians.

The final point to make about the subject of the Rastafarian religion (a subject which has been focus of numerous excellent books) is that the deification of an Afrikan personality, one who has existed as an actual contemporary historical figure, is notable toward establishing an identity and self-esteem that permeates to the heart of one's subconscious. In a similar manner, Roman rulers remade the image of their deified savior Jesus Christ to look like themselves, with the commissioned painting of the savior borrowing the visage of a close relative of it's creator Michelangelo.

Thus, the Rastas see God as a black man of obvious Afrikan descent the ramifications of this portrayal of self as god-like is absolutely empowering to the spirit-nature of a people. We should recognize that this parallels the deification of pharaohs within the Nile Valley's high civilizations wherein the spirit and soul of entire generations were characterized in the personage of their beloved leaders.

This also parallels the modern-day deification of Elijah Muhammad by his followers in the Nation Of Islam.

Language

Much of what we identify as Rasta-speak is actually the Jamaican patois dialect. Yet Rastafarians have made continuous effort to redefine language syntax, thus giving impedance to larger logical constructs by redefining certain terminology. Specific examples within Rasta culture of this redefinition of language follow:

· "I and I" is used in place of the word "we" and is used to overcome a perceived separateness in the use of the terms "you" and "me";

· "Overstanding" replaces understanding to denote an enlightenment which places one in a better position;

· "Irie" is a term use to denote acceptance, positive feelings or to describe something that is good;

· "Ital" describes something, usually food, that is wholesome and natural;

· "Jah" is the common name which Rastas call their deified god-hero Haile Sellassie I;

· "Livication" is substituted for the word "dedication" Rastas associate ded-ication with death;

· "Downpression" is used in place of "oppression", the logic being that the pressure is being applied from a position of power (up or op-pressure) to put down the victim;

· "Zion" is used to describe heaven or Ethiopia, in contradiction to the generalized association of the term, or Zionism, with European religious cults.

An example of Rastafarian language in such context can be extracted from numerous publications and articles written by Rasta believers. I will use a paragraph from the journal JAHUH which was published "By Order Of The Nyahbinghi In Exaltation Of JAH Rastafari" for the centennial anniversary of the birth of Tafari Makonnen on July 23, 1992:

"..Then the solemn sounds of the Nyahbinghi drums could be heard in the distance as brethren and sistren chanted, ÑInI longing to see King Rastafari to look upon his pretty little face. And to walk the streets of glory, shining around JAH throne. Tell all the gentiles dem to come, to look upon JAH irie little face. InI trodding home, trodding home; to see KING RASTAFARI^Å" [italics added to words used in the Rastafarian language idiom, some of which are borrowed from Afrikan languages, Jamaican patois and biblical references]

Countless musicians from Jamaica, Afrika and throughout the world have used this language in their songs and this has been the main route of dissemination of the Rastafarian language. Later such artists as the Wailers (Bob, Peter and Bunny) and dub-poet Mutabaruka used this vernacular in interviews with the press during their world tours and a subsequent generation of journalists have incorporated some of these language themes into their work. This is evidence of the transforming power of culture through language and reinforces other paradigms which encompass logic and values.

Tradition

We have noted traditions within the Ethiopian Orthodox Church which have made their way into reggae music and Rastafarian culture. Other significant traditions include the celebration of Rasta holidays, most notably the birth anniversaries of Bob Marley (February 6, 1945), Haile Sellassie (July 23, 1892) and Marcus Garvey (August 17, 1887). Other significant holiday have made their way into Rasta culture which are specific to the nations of Ethiopia and Jamaica.

Perhaps the most obvious method of identifying Rasta culture is in its fashion trends. The Rasta colors of "ites" (red), gold (or yellow) and green derive from the colors of the Ethiopian flag and are the dominant colors in most of the flags of the continent of Afrika. Similarly, the colors of the Black National Flag, which is the legacy of the Garvey movement, red, black and green are pervasive in the Rasta culture. David Hinds, lyricist and vocalist of the seminal British reggae act Steele Pulse made these colors the central axiom of a song which has become a rallying anthem for Rasta nationalists, "Rally Round the Flag". The song states in part:

Rally round the flag
Rally round the red, gold, black and green
Rally round the red, gold, black and green
Red for the blood that flowed like a river
Green for the land of Africa
Yellow for the gold that they stole
Black for the people that they looted from

A large market for Rasta cultural items sprang up around the reggae concerts which were the mass celebrations of the music and religion. As this marketplace matured, Rastafarian vendors expanded upon their stock by including artifacts from other Afrikan cultures in addition to that of Ethiopia and Jamaica. Today that stock includes mudcloth, Kente cloth, clothing styles, sculpture, musical instruments, religious icons, jewelry and numerous other personal adornments from the Motherland. Thus Rasta and reggae music culture provided an opening for countless numbers of Afrikans in the Diaspora along with many non-Afrikans to begin to accept Afrikan cultural traditions within various aspects of their lives. Within the homes of those among us who have established the most Afrikan-centered existence possible within the Western world, reggae music, especially the conscious and cultural music, is regarded as almost sacred. For many it is absolutely sacred and the songs willed to us by artists such as Bob Marley serve as contemporary psalms.

Another tradition widely accepted within the Rastafarian religion and reggae music culture is the use of herbs as healing substances. While it would be inaccurate to limit this usage to merely one herb, it is widely accepted, even within the federal courts of the United States, that Rastafarians use ganja (marijuana, cannabis, hemp, reefer, etc.) as a religious sacrament. There are two biblical references used by the Rastas to justify this:
Genesis 1 verse 12 "And the earth brought forth grass, and herb yielding seed after his kind, and the tree yielding fruit, whose seed was in itself, after his kind: and God saw that it was good."

Psalms 104 verse 14 "He causeth the grass to grow for the cattle, and herb for the service of man: that he may bring forth food out of the earth;" A greater significance to this is the application of this religious tenant to the U.S. legal system by which Rastafarians are exempt under the 1993 Religious Freedom Restoration Act from prosecution for possession or cultivation of ganja . Awareness of this religious exemption could be used in a campaign to steer large numbers of youth away from the drug culture which has funneled them into a rapidly expanding prison culture in the U.S. In addition, a number of so-called true Rastas have adopted deep Afrikan traditions such as that of the Nyahbinghi Order.

History

As stated earlier, Rastafarians trace their history to certain biblical texts as well as to the Garvey movement of the early 20th century. Also stated was the significance of Rastafarian holidays, the births of the martyrs, as well as the history of Ethiopia, Jamaica and other populations of Afrika and the Diaspora. Thus, many, though certainly not all, Rastas view the world from an Afrikan-centered historical perspective as opposed to a Western perspective or that of other broad-based religious civilizations such as Islam.

While it is somewhat disconcerting that too many Rastas interrupt their journey into their Afrikan historical identity too early in that sojourn, and that too often the Rastas limit their reading to the King James Version or simple texts which revolve around Rastafarian religion or Nyahbinghi. Yet despite the seeming simplicity of such doctrine, the cultural motivation of such association is powerful.

Nyahbinghi is a religious order which is extracted from a west Afrikan tradition founded within a secret society. In Rastafarian Nyahbinghi circles, Afrikan drumming is used to induce a trance-like spiritual state and to reinforce transcendent spiritual bonds between Rasta brethren and sistren within the community. To participate within the Nyahbinghi circle is to engage in the highest order of Rastafarian spiritual enlightenment. We must all appreciate this as a fundamental process in development of the true Afrikan identity. In numerous similar rituals the drum is used to transform the souls of Blacks into closer association with their Afrikan ancestry. The drum is a function of Afrikan history as much as it is one of spiritual transformation. The drum calls to order the Afrikan village wherever they find themselves.

As this identity has been called forth within members of the Rastafarian and reggae music cultures, and depending upon the degree of consciousness and dedication of the individual adherent, knowledge of contemporary and ancient Afrikan history becomes imperative. Thus among many Rastas there is an awareness of the heroes of past and contemporary struggles which transformed our collective reality. Such heroes of old include the pharaohs of the Khemetic dynastic periods, Queen Makeda of Sheba, Shaka Zulu, King Menelik, Queen Ashantiwa, as well as heroes of new, including Marcus Garvey, Malcolm X, Kwame Nkrumah, Steve Biko, Haile Sellassie, Bob Marley, Peter Tosh and countless others. That this list is noticeably absent of a balance of the feminine heroes of recent is more a dysfunction of the Western mode of paternalistic thinking which unfortunately still permeates much of our existence.

Most notably, the Rastas have created their own contemporary history which unsurprisingly is highly referenced by developments in the beloved reggae music which is at the heart of the culture. Thus the development of modern reggae music has been chronicled in the evolution of Jamaican music such as mento, ska, ragga, roots reggae, lover's rock, commercial reggae and dancehall. Each stage of that development has its own significant contributors and historical development and the most knowledgeable reggae devotees pride themselves on their ability to recite such historical musical evolution. Many Rastas can also recite the turbulent history of post-independence Jamaica which has mirrored similar contemporary post-colonial struggles around the world.

Shared Values

There has emerged a set of values, more or less distinct, which are shared by many Rastafarians. While this list is by no means absolute, the exceptions are all too apparent, these Rasta values include:

· an inherent legitimacy to the religious and cultural practices of other religions as opposed to the Western ideology of aggressive competition between gods; there are many routes to The Truth and Rastafarianism is but one of many paths;

· that humankind is born into a natural order which is at odds with "modern" highly-industrialized development and dependence on synthesized chemicals, etc.; thus the Rasta wants to eat ital (clean, wholesome & natural) food, and live integrated within the forces of Nature; many Rastafarians are vegetarian and virtually all abstain from pork and beef;

· Rastafarians have by and large accepted multiculturalism and racial harmony as a positive trend within their culture. Though many black nationalists are disturbed by the large numbers of non-Afrikans within this circle, it must be noted that this fits within the larger paradigm of the Afrikan reluctance toward xenophobia (fear of the unknown) and tolerance of those from other cultures.

In addition, those Europeans who identify with Rastafarianism have themselves taken upon Afrikan cultural values and thus are less aggressive and destructive within this context. [I would be bereft to not note that Europeans have been extremely destructive and disruptive to reggae music; this runs the gamut from local musicians who undermine the interests of a thriving reggae music enterprise to the role of Western intelligence agencies in snatching reggae music off of its course of cultural and ethical purity and actually promoting the dysfunctional music genres of slackness and dance hall.

· Rastas view themselves as God's chosen warriors who have appeared in this crucial time in history to liberate the world from dominance by an oppressive network which has a satanic spiritual nature; they see their savior Haile Sellassie I as the fulfillment of the biblical prophecy of the one who "hath prevailed to open the book and loosen the seven seals thereof", whereupon the world would be visited by plagues of famine, warfare, disease, pestilence, fratricide and self-destruction among mankind.

Thus we can see within these shared values that acceptance of the tenants of Rastafarianism, especially in the manner in which they have been defined within reggae music, has lead large numbers of youth and adults to a set of behaviors that are transforming. Yet, all of these values do not form the crux of the moral base of each of those who call themselves Rastas. Noted historian John Henrick Clarke calls many of them "rascals". The following citation illustrates his point well:

Even the Rastas are confused. Many of them are actually rascals. Some are beachcombers, roaming the beaches of the Caribbean, serving the unfulfilled physical needs of female tourists. Is this on their road to Africa? It is at best a side road. Thus, there's some confusion, even by those who claim Africa in purity. And anybody who claims Haile Selassie as the incarnation of God on this earth is confused about the history of Haile Selassie.

Logic

Undoubtedly within the context of the various cultural axioms which have been previously illustrated within this analysis, a distinct form of logic would emerge from within the Rastafarian and reggae music culture even though, as Dr. Clarke has pointed out, sometimes it seems rather illogical. Merely to operate within the language idiom of any particular culture is to also utilize the logic of that language. To give definite examples of such modified logic is not the easiest task, especially to convey these examples to people who may have had little or no interaction with those of the culture.

This logic presents itself in the debates which take place when Rastas gather together or engage themselves in dialogue with those who either are curious about the Rasta movement and reggae music, or present their own concepts in the aggressive Western mode as superior to those of another culture (so-called white supremacy). This is additionally evident when Rastas attempt to force others to reconsider the way certain word syntax has developed such as the words "dowppressor" and "overstanding." The symbolic nature of such words is quite revolutionary in the logic-sense of those make such transformations.

What is most significant is that the Rastafarian modality of thought stands as a stark contradiction to that of the dominant Western ideology. That certain more experienced Rastas are revered as elders among youth and that this base of influence can be broad-based is key to transformation in the thinking process of the mass of urban youth who share so little of the knowledge of the true Afrikan identity. These youth are attracted to Rasta elders, many of whom sport lengthy dreadlocks which are a symbol of independence of thought and action on the part of the wearer.

As my own dreadlocks have grown over the past 14 years, I know firsthand how such a visage opens up dialogue between adult and youth in a manner where mere consciousness and knowledge of our history and culture could not so easily accomplish. Sometimes this opening comes from the most seemingly ignorant of inquiries. The enlightened teacher seizes upon this clumsy opening to share with the uninitiated whatever pearls and gems can be transmitted under the conditions of the encounter. Many a youth have called out to myself, because of these dreadlocks, thinking that I would show them where to find some good ganja, only to have my spending a few minutes lecturing them on why they didn't call out to me for knowledge, history, cultural or entrepreneurial enlightenment. At the conclusion of such conversations I usually walk away feeling satisfied that I have planted a few seeds within the mind of the listener from which a newly enlightened logic and consciousness will emerge.

Thus the self-actualized Rastafarian will see him/herself as a teacher. Among the youth who are searching for a sense of identity separate from that of their parents this can be a wonderful opportunity to transfer this transforming logic. That this modality of thought has not codified in academic texts, college courses on religious philosophy and within hallowed halls of institutions, perhaps makes it more attractive to youth who have often grown up to distrust those very institutions. Unfortunately, such accomplished teachers of the Rastafarian way of thinking are too few and far between and largely overshadowed by less conscious celebrities within popular music culture, many of whom are elevated and promoted by forces hostile to the emergence of the true Afrikan identity.

In Conclusion

I have not attempted in this perspective to make any argument for anyone converting to the Rastafarian religion. I should state that in many cases the transformation to Rasta religion and culture would present a liberating force, especially for many of those who have so deeply emerged themselves in the Western Christian tradition, to the point of suppressing that which is a part of their true Afrikan identity. For these people who actually suffer for the Christian faith which they have adopted, betting instead for a greater existence in the hereafter (waiting for the proverbial pie-in-the-sky when they die), I am convinced that to exit such a restrictive faith and pursue one which does not celebrate self-castigation and dependence would be a ready instrument toward regaining control over their own destiny.

What I have tried to do in this essay is illustrate how a culture can be created in a relatively brief period of time and that this culture can be attractive to vast numbers of youth. Additionally, such a manufactured culture can lead to the development of a higher self, steeped in historical memory of a greater identity and fortified with an imperative to move the community in progressive directions.

The contributions of scholars of old as well as the New Jack scholars have brought forth numerous methods for raising this collective consciousness. Within the context of this analysis I might suggest a few definite moves which would raise in the minds of our youth those goals which their more enlightened elders would deem necessary for the collective.

A brief set of these suggestions follows as such:

· Creation of institutions to cultivate and nurture progressive lyricists (griots) within the youth music culture and to assure wider distribution of such enlightening works;

· An increased presence of Afrikan-centered associations and scholars at events which cater to music, especially reggae and Afrikan music concerts and similar venues;

· Affording wider access within media under our control to those New Jack scholars who have developed a repartee with the youth;

· Serious scholarly work to develop histories of certain aspects of youth music culture so that the youth would better feel appreciated by their elders as well as to provide them a clearer understanding of what defines an historic or cultural movement, and where its strengths or weaknesses lie;

· Development of magazines, newsletters and entertainment media which will establish links between youth music culture and established Afrikan scholarship;

· Incorporating language and fashions styles associated with popular youth culture into presentations by more experienced academics; hearing language and terminology which emanates from the youth provides a feeling that they also influence their elders;

· Inviting those who are regarded as the sages of the youth music culture to formal gatherings of Afrikan scholars in order to raise the quality of the organization of their information as well as to serve as a magnet to attract youth to more serious events. Lastly, I challenge other scholars to apply their own creative input to these six cultural axioms and develop easily-implemented strategies to create these necessary institutions.

I have become increasingly convinced that appeals to "racial pride" and moral duty has not produced the desired effect within the mass of the Diasporic communities, despite more than a century of serious scholarly work and several decades of broad access to empowering information. What I am suggesting is that we have too long ignored the strategies of influential corporations such as Coca Colaä and Nikeä along with a host of others who apply sophisticated marketing strategies to reach urban youth using the predominance of youth music culture to ultimately undermine any enlightened self-interests of the target community.

It should be we, who have long inspired the language and fashion of the world, who use these powerfully influential cultural axioms to determine the destiny of the vast numbers of our youth. In our present state we are the victims of others who use this knowledge to jeopardize our very existence as a civilization in the coming centuries.

Please Send Comments to:
Keidi Obi Awadu
consrast@ix.netcom.com

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