adminNkosilathi Sibanda Urban Beats
IF you don’t listen to Jamaican music, perhaps you have not had the opportunity to give an ear to one of the most powerful music genres.You may consider checking your inner circle, one or two friends might have a Jamaican song on their playlists.
I have joined the bandwagon of reggae listeners and since discovered we are growing in numbers. Do not be left out! There was a time in the 1960s to 1980s when reggae was the in-thing. The Wailers, the legendary Gregory Isaacs and Peter Tosh, gave crowds a reason to listen to the genre and connect with it.
Reggae came as a cultural bombshell not only to Jamaica, but the whole world. It’s slow jerky rhythm, its militant and spiritual lyrics, as well as the rebellious dress code of its artistes, have influenced musical genres, cultures and societies, particularly in Africa. Music critics say reggae still contributes to the development of new counter-culture movements.
The craze swept through townships and villages. Reggae got people to understand the Rastafarian movement, black consciousness and pride.
Creative fashion enthusiasts fused in Jamaician styles on the streets.
Music done by black musicians had an impact in many countries on the continent. Apart from the race connection, there was “something” with Jamaican artistes.
At a time when Africa was still struggling for self determination, people had to turn to reggae. Romanticism had no place at the time and so were other genres that failed to inspire.
Songs that used to be about love and sex began to change in focus. The songs started to include political, social, and spiritual notions in the lyrics.
That should be a point to ponder over for the local artiste. Remember I once advised musicians on the importance of learning from other genres.
We hear that reggae inspired the freedom fighters to pull through and free the motherland from colonial rule. That is not legend but a testimony by music lovers who confess to the power of music in society.
Zimbabweans listen with pride to Bob Marley’s Zimbabwe (1979 song). The song is not only a hymn to free the country, but also a political, cultural and financial emancipation of the whole African continent.
Marley sang “Emancipate yourselves from mental slavery/none but ourselves can free our minds” in Redemption Song. He urged black people to break the chains of mental slavery. More than any other types of music, reggae was and still is a symbol of physical and spiritual emancipation of the black people in Jamaica and elsewhere.
So it is not a surprise that our youths and adults are addicted to Jamaican artistes. In Africa I believe there are many of us who think we owe it to Jamaica. Music from that Caribbean country relates to the identity of Africans, their past and aspirations.
If all African artistes could emulate that, we would have better and confident societies. Observation on the streets reveals we might be heading towards a society that listens to reggae only. It is the young who are filling up ipods with Jamaican artistes. They listen to conscious and spiritual songs of the Wailers, Bob Marley, Gregory Isaacs and Peter Tosh.
Some prefer the other side of the genre in the likes of Mavado and Vybez Kartel. In a typical youth night club the DJ can get the crowd shaking with house tunes, but that would not be enough without a dose of reggae.
The reggae culture is such a vital part of today’s society that in almost every township there are listening sessions. In some parts of Pumula, I hear that reggae lovers meet regularly to discuss songs and meditate on the message from the musicians.
A local DJ, Peter “The Don” Nyoni said Jamaican music is undisputable and Bulawayo revellers give “nough respect” to the artistes.
“I play house music a lot, but I still have to do reggae. I would be forced to, because the requests for Jamaican artistes are overwhelming. I have to identify with what people identify with, so that they accept my work.”
Some may argue that reggae is foreign and has no place in African settings. But let’s not forget that music is universal and the impact of reggae is all over. If we play that music in our ipods and cars, it shows that we are appreciating Jamaican art.
We have Zimbabwean musicians that were inspired by reggae. The late Solomon Skuza, Andy Brown, Ndolwane Super Sounds and hosts of local icons have a reggae influence.
A young popular reveller and music lover in the city Ashley Moyo said radio stations have contributed to the spread of Jamaican music.
“Radio stations play enough reggae. Every hour you hear Vybes Cartel or Supremacy Sounds. There is a growing love for reggae and it is a reflection of what people love. It’s like the 70s again.”
In 1980 Marley ignited Rufaro Stadium and in the last six years more Jamaican artistes have staged shows in the country and the trend is set to continue.
With the rich history and impact that reggae has on African communities, we cannot help but salute the Jamaican artistes.
Online Reporter