THE CHANGE OF MESSAGES IN DANCEHALL
Reggae is a form of music that is too broad to be grouped into one particular category. The reggae genre is composed of such distinct forms as roots, dub, and most recently dancehall. Similarly, the message contained within reggae music has changed since the days when the music reflected an adherence to Haile Selassie and the Rastafarian faith. Since the beginnings of reggae in the 1960s reggae has evolved tremendously into the high-bass dancehall form most prevalent today. This musical evolution has not always been without criticism, however. It is true that there is a certain amount of reluctance with any change, for change means shedding a past way of living. It must also be recognized, however, that prior modes of thinking and representation through the medium of music can be preferable.
When critiquing reggae music it is of great importance to distinguish the lyrics from the rhythm. To the unaccustomed ear it is easy to forget, or altogether ignore, the paradoxical fact that such a cheerful, upbeat rhythm is used as a form of protest. Reggae music has traditionally been used as a method to speak against such serious issues as slavery, colonialism/neo-colonialism, repression, and poverty. Thus, to better understand this unique form of music it becomes necessary to analyze the message conveyed in the music from the sound itself.
Dancehall, both as a form of music and especially as a reflection of society and its beliefs, frequently stands directly against the music from the 'golden age' of reggae in the 1970s. One of the most startling differences between these two forms of music is how the DJs of dancehall visions' of the world differs from that of conventional reggae artists. There has traditionally existed a great reverence for a united Africa with Ethiopia serving as heart in the Rastafarian faith and reggae music. This is largely due to the rise of emperor Haile Selassie of Ethiopia.
Standing in direct contrast to the desire for a unified Africa is portrayal of immediate community by the music of dancehall. It is claimed that hopes for a unified Africa no longer remains a theme for inspiration among the current dancehall artists. Chude-Sokei argues, "With raggamuffin sound, which currently dominates the ideologies of Afro-Caribbean youth and black Third World pop/ghetto culture, one is challenged to find references to the mythic signifier of black identity that is Africa.
Jhumpa Lahiri in The Namesake illustrates the assimilation of Gogol as a second generation American immigrant, where Gogol faces the assimilation of becoming an American. Throughout the novel, Gogol has been struggling with his name. From kindergarten to college, Gogol has questioned the reason why he was called Nikhil when he was a child, to the reason why he was called Gogol when he was in college. Having a Russian name, Gogol often encounters questions from people around him, asking the reason of his name. Gogol was not given an Indian name from his Indian family or an American name from the fact that he was born in America, to emphasize that how hard an individual try to assimilate into a different culture, he is still bonded to his roots as the person he ethnically is.
Marcus Garvey once said, “The Black skin is not a badge of shame, but rather a glorious symbol of national greatness,” exemplifying not only that the African blood that flows through our veins is indeed wonderful, but is more a national treasure than a national tragedy. Countries across the world, in some form have been altered by the touch of the African influence whether that is socially and/or culturally. The same fate lies with the islands of the Caribbean, especially the island of Puerto Rico located in the Greater Antilles. Of all the African influential branches, Puerto Rican music would be one social phenomenon to be ultimately shaped and modified by African influence directly. Beginning with the African slaves, this paper covers the musically genres created over time containing West African elements, as well as covering the ways in which the Puerto Rican society influenced the music as well as how the music effected the society. This paper will also include the ways in which African descendants in Puerto Rico [musicians] would rise to fame despite existing in an era of open racism. Ultimately, explaining how the music and the people go hand in hand.
There he makes this identity of himself to try to totally forget his parents’ cultural identity. He changes his name to Nikhil and later ends up moving to New York with a girl by the name of Maxine. “He is overly aware that they are not used to passing things around the table, or to chewing food with their mouths completely closed. They avert their eyes when Maxine accidentally leans over to run her hand through her hair” (Lahiri 277). This quote is describing Maxine and Gogol having a meal with his parents. This whole scene is very awkward for both because Gogol’s parents aren’t used to doing things the American way. When the two are leaving his parents’ house Gogol’s father says to him “Drive safely, Gogol” (Lahiri 279). This confuses Maxine because she is not familiar with his real name. He doesn’t want to be reminded of who he was before. By chapter 8 Maxine and Gogol are no longer together due to
Although there is a variety of music that could be examined to trace its evolution through time, there is one genre in particular that is quite interesting to examine. Though it differs from other types of music, it will be looked at in conjunction with Reggae music as they have similar ties. Reggae music is quite prominent today in the United States, parts of Africa, and of course Jamaica. Reggae is notoriously known for its most influential artist Bob Marley, and it is not unusual for one to have heard a few, if not many of his songs. Reggae’s popularity is steadily increasing and is doing so through both expansions of the music as well as increasing knowledge on the genre.
Hip-Hop is a cultural movement that emerged from the dilapidated South Bronx, New York in the early 1970’s. The area’s mostly African American and Puerto Rican residents originated this uniquely American musical genre and culture that over the past four decades has developed into a global sensation impacting the formation of youth culture around the world. The South Bronx was a whirlpool of political, social, and economic upheaval in the years leading up to the inception of Hip-Hop. The early part of the 1970’s found many African American and Hispanic communities desperately seeking relief from the poverty, drug, and crime epidemics engulfing the gang dominated neighborhoods. Hip-Hop proved to be successful as both a creative outlet for expressing the struggles of life amidst the prevailing crime and violence as well as an enjoyable and cheap form of recreation.
Perry Henzel's The Harder They Come is credited with a significant and unique role in introducing American audiences to reggae. Whereas earlier cinematic crossmarketed films like A Hard Days Night or Help! were adjunct to and dependent on a group's previous commercial musical success, Henzel's film was for many an introduction to reggae and both precursor and impetus for its international impact and commercial popularity. The film's status as a cult classic and phenomenon, to the extent a phenomenon can be explained, perhaps rests on its lack of commercial pretentions or promotional glitz, and thus its authenticity. The rhetoric of this film -- its images, words, and music in complementary array -- is rhetoric in the best sense because it uses the power of language to reveal, not to disguise, the unconscionable constraints on the lives of poor Jamaicans. Principally it's a film by a Jamaican artist about some musically and culturally significant events happening in Jamaica at the time, and though it is formulaic as films tend to be, it also encompasses all of the majors themes and conflicts that define and swirl around reggae music: spirituality, sensuality, commercialism, social justice, the messiah, and even Armageddon, though its tenor is decidedly secular
Without people in the world to call him Gogol, no matter how long he himself lives, Gogol Ganguli will, once and for all, vanish from the lips of loved ones, and so, cease to exist. Yet the thought of this eventual demise provides him no sense of victory, no solace. It provides no solace at all…
“How Musical is Man?” was published in 1974. This book was written by John Blacking, a musician turned social anthropologist. His goal in writing this ethnography, and several other papers during this same time period, was to compare the experience of music-making that takes place within different cultures and societies throughout the world. In this book, he discusses and describes the musicology of the Venda people in South Africa. Though he does go to Africa to research and learn about the Venda people and their music, he specifically states that his book is “not a scholarly study of human musicality” (ix), but rather it is a summary (written from his point of view), which is both expressive and entertaining, of several different issues and ideas that he has seemingly been contemplating for some time.
Sometimes religion can be a necessity for comfort. Over time, we may already possess our very own identities and then develop different ones after a tragedy. In order to easily move on from a plight, some sort of comfort or security is needed, whether its time, family, friends, a sport, or religion. In the novel, The Namesake by Jhumpa Lahiri, one can clearly see the viewpoint of how Gogol’s life over time has evolved from American to Bengali. With the comfort of his Bengali life he’s able to push through the tragedy of his father’s death. However, apart from when Gogol needs his family and culture for comfort, he is simply a true American.
The impact of Mob Marley’s songs remains great examples of the way Rastafarian ideologies and beliefs have been capable of breaking down barriers that had at one time separated a society from a culturally established religion. His song “Smile Jamaica” was immensely moving because it was created for a concert to bring people together no matter the political party they represented. Jammin’ was also made for the same purpose but was more in depth about how political violence was causing division and tension amongst society. Bob Marley use proverbs and Jamaican folklore in his song “Rat Race” to describe political corruption. In addition his song, Get up, Stand up was made to empower people to make peace and stand up for their rights. All together Rasta’s have demonstrated a successful revolution by resisting the dominant ideas and beliefs.
During the course of this semester, the several musical styles that have been discussed and analyzed have displayed various similarities and differences. These differences in certain musical elements have accounted for the distinctiveness and uniqueness of each style of music. The culture behind these countries’ music adds even more to their individualism. Cultural aspects such as religion play a huge role in the music of each country as well. Styles of music in Africa might be more upbeat than certain styles in India, for example. Some cultures use music in religion, while others may not. Aspects such as dance are important factors in all three types of music. Despite the differences and similarities, however, without music, these cultures would perhaps not be as fascinating and unique as they are now.
The hardships to fit in America as an immigrant are possessed in The Namesake written by Jhumpa Lahiri. Gogol, the main character, struggles to uphold the traditions his parents expect him to follow. “Its not the type of thing Bengali wives do- a husband’s name is something intimate and therefore unspoken, cleverly patched over” states Ashima. (Lahiri 2) This statement made by Ashima exemplifies the importance of private life and feelings to Bengali families. In this culture family and close friends use a pet name then everyone else uses another name. Gogol is given an unusual pet name as his real name because his grandmother’s letter with his real name has not arrived. This is probably because it is a typical Indian name not an American name. He dislikes his current name and starts to reject the name in his teens. Later on, while in college he is only known as Nikhil, which is a more usual name. This puts him in an identity crisis. “Individual names are sacred, inviolable. They are not meant to be inherited or shared.” (Lahiri 28) Although this is true, Gogal and the children in America are embarrassed by their differences instead of appreciating them. In college, Gogol finds a girlfriend who is an American but his parents disapprove. They disapprove because she is not Indian. Gogal finds an American girlfriend because he wants to fit...
Throughout the 1970’s, the United States entered a period of tentativeness due to the upheaval of drugs, violence, and gang dominated communities, but took a huge leap and worked its way to transition into a more fair, just, virtuous, and an all together united society. Hip-Hop is a subculture that was created by African American and Hispanic teens that came from the streets in New York. Hip-Hop was a type of rap music and high energy dance style that these teens formulated to depict their African American culture, customs, and ideals. The art movement, “Hip-Hop” tremendously sparked a change as it began in the streets and underground areas of the Bronx in New York and gradually became a widespread popular and media culture worldwide. The origins
...adened the opportunity for Jamaicans to be accepted in a non-commonwealth nation” (Christie, 2014). The idea of being recognized by a genre of music, amplifies the idea of being socially connected.
In The Namesake, Jhumpa Lahiri illustrates several factors contributing to an individual’s life, such as the struggle faced by settling immigrant families and their growing second-generation children. Lahiri develops the fundamental idea that the absence of strong roots heavily affects an individual’s identity. This is clearly depicted through Gogol and the conflict he faces with his identity, the central theme and the symbolism found in Gogol’s names.