University of the West Indies Open Campus – St. Lucia
Name: Cecilia Clovis
I.D. No.: 309100682
Course Code: FOUN1301
Course Title: Law, Governance, Economy and Society
Course Coordinator: Mr. Orville Beckford
E-tutor: Mr. Lance Gibbs
Assignment No.: 2
Date: June 26, 2012

Historically, Jamaican and other Caribbean musicians gave the world a conscience as they became the ‘voice for the voiceless’ not just at home, but also internationally. Has the current crop of musicians in the region deviated from this practice? Explain your response.

The Caribbean is home to many of the world’s greatest and renowned musicians. Musical icons like Bob Marley, Peter Tosh, Mighty Sparrow and Jimmy Cliff worked hard; and with their great musical talent were able to use their music to inspire and create a level of consciousness in black people of the region and all over the world. These men, through the lyrical content of their music touched the lives of the down trodden, lifted the spirit of the hopeless and stirred in the hearts of men and women the passion to fight against the injustices of their own region and in so doing sensitised the universal world. Bob Marley’s music is just as popular today as it was in the early seventies when he released the single ‘Get Up, Stand Up’ and has continued to live on even in his absence. His music and that of his fellow counterparts; has continued to be the voice for the voiceless, regionally and internationally. Their music has been an opportune medium, which was used successfully to bring to the fore many of the social, political, economical issues that have plagued our societies. It was Bob Marley who sang “one good thing about music, when it hits you, you feel no pain”, and indeed, historically, the influence of music on the lives of Caribbean men and women have certainly helped to tell their stories and alleviate some of the pain and suffering that they have encountered. For example, the songs of Bob Marley helped in many ways to raise an international level of consciousness of the black man in post emancipation times. Marley’s “Exodus” album, released in June of 1977, chants the lyrics, Exodus, movement of Jah people, Open your eyes and look within Are you satisfied with the life that you’re living?
These lyrics and the general content of this hit song, examined the impact of slavery on the Caribbean. In ‘Could You Be Loved’ he addressed the issues which the Rastafarians in Jamaica were being subjected to and in so doing encouraged them to rise above these issues and as encouraged in the following lyrics; We’ve got a mind of your own” So go to hell if what you’re thinking is not right Love would never leave us alone In the darkness there must come out to light gave them the confidence to take the course of action which would bring light to their situation. Kelly (2012) describes Marley as a ‘once in a generation musical phenomenon and political force’. He goes on to say that Marley’s message of peace and revolution for economic equality through peaceful means brought the message of Martin Luther King Jr. to music. In the post emancipation times, when racism and prejudices were prevalent and relentless, one can clearly see how these songs served as sources of inspiration and motivation. Marley’s music served as a catalyst for change in the manner in which Rastafarians were treated, he made their plights and suffering known to the rest of the world. Today the reggae music of Bob Marley, Peter Tosh and groups like Burning Spear can still be heard over the radio waves, however they, are now competing with current musical trends that in so many ways have failed to raise the level of social consciousness that these great icons once did. If anything, today’s music have turned many people away from Caribbean music as they fail to capture the listening ear of the masses. In essence, the early harmonious melodies associated with reggae has become globalized and transformed into the fast, pulsating beat of what we now call ‘dancehall’ music. According to Knight and Martinez-Vergne (2005) reggae, in its truly globalized form, has morphed into dancehall, which can be characterized less as a purely counter narrative to western hegemony and more as a medium for patriarchical heterosexuality. This implies that the reggae music which we once used to tell the story of our struggles against the conglomerates of this world has been replaced by current music which has become solely about selling records, sex, money and boosting the ego of men. Popular present day artists like Mr. Vegas, Beenie Man and Movado; have become extremely wealthy regional entertainers. However an examination into some of the lyrical content of their songs will reveal that often times the message which they bring is primarily one of a sexual nature and also one which portrays women as mere sex objects. Pinnock (2007) in his article ‘A Ghetto Education is Basic: Jamaican Dancehall Masculinities as Counter Culture’, cites Hope (2006), who posited that the primary aim of dancehall music is to destabilize the foundations of middle class politics. However, as one scrutinizes the music videos that are aired, the thoughts of Ringo (2012) are epitomized upon viewing. Ringo identifies dancehall and reggae music as elements of our cultures which impact dress, fashion and body language; he says that they influence attitude. He continues and laments that a key difference between the two, is that ‘dancehall has moved from the niche that reggae occupies, in its promotion of social and political consciousness, to the elevation and glorification of sexual immorality and violence. The problem, he writes, is then further exacerbated as young impressionable minds then adopt these themes as part of their daily lifestyle. The suggestive and persuasive nature of dancehall music has created a level of alarm among concerned Jamaicans especially parents, and in most of the islands. For example, the lyrics contained within Spice and Kartel’s ‘Rampin Shop’ explicitly refers to the act of sexual intercourse. Critics of this song believe that it leads to decay in moral values (Kentake, 2009). Imagine the influence of these lyrics on vulnerable and troubled youths? Catastrophic! Another area of concern is the nature of dancehall music to portray acts of violence. Whereas original reggae songs sought to uplift society and to challenge the marginalised to excel above violence, dancehall music seems to be doing the exact opposite. When artists compose lyrics such as Elephant Man’s ‘We Nuk Lik Gay’, or Beenie Man’s “Bun Chi Chi Man’’, they help to incite hatred and feed prejudices against homosexuals. The gravity of the situation is that these songs are heard by many and thus indirectly help to nurture attitudes of disrespect towards those who are different. Another area of concern is that some of the lyrics can incite violence. Imagine a child listening to lyrics such as: Mi have mi gun that burst silent Mi have a gun that looks for informer every time him leak over and over again; a possible message that would clearly sink in is that anyone who betrays his or her confidence or reports a crime to the police or authorities should be gunned. On the other hand, the child listening to Richie Spice’s ‘The World Is a Cycle’ gets the positive message to ‘rise above the odds to gain his victory’, to ‘do good’ and that ‘in everything you do you remember to pray”. The latter brings a message of hope and love, the former destruction and chaos. Southe (2008) writes about research conducted at Iowa University which suggests that violent songs increase aggressive thoughts and feelings and also that they have implications for real world violence. She believes that dancehall music with these violent lyrics help to build the thought processes of our youths. Therefore, it is wise for our regional artistes to exercise caution in the lyrics that they compose. They must realize the overwhelming influence which they have over our youth and children who will have the tendency to take what they say literally. Watson (2008) suggests that they have failed to realize that they are role models and do not have a clue as to how influential their lyrics are. We need to create a balance in the type of music which we produce. Just as the early reggae pioneers brought home their truths and stories through the careful selection of positive messages and socially acceptable lyrics, dancehall artistes can practice the same craft. Richie Spice, Queen Ifrica, Shaggy, Jimmy Cliff, Morgan Heritage, and Lion I are success stories; illustrating the fact that both dancehall and reggae can co-exist. They continue to produce clean, righteous and conscious music. There are dancehall artists whose songs help to uplift, encourage the challenged to aspire and to live positive lives. As posited by Watson 2008, dancehall music is everywhere. We are Caribbean people, we are a people of rhythm, music and dance; we need to use these talents to positively impact our societies.

References
Kelly, J. (2012). Why bob marley matters.

Kentacke, M. (2009). Dancehall culture: how does it affect our children. Retrieved on June 24th, 2012 from

Martinez-Vergne, T., Knight, F. W. (2005). Contemporary caribbean cultures and societies in global context. Chapel Hill: University of North Carolina Press.

Ringo, J. 2012. The impact of reggae/dancehall music on jamaican youths. Retrieved on June 24th, 2006 from https://www.thecaribbeancurrent.com/the-impact-of-reggaedancehall-music-on-jamaican-youths/

Southe, S. (2008). Degenerate impact of dancehall music. Retrieved on June 24th, 2012 from http://www.jamaicans.com/articles/primecomments/degeneratedancehallmusic.shtml

Watson, J. K. (2008). Dancehall music and jamaican society. Retrieved on June 24th, 2012 from http://www.yardflex.com/archives/002444.html

THE UNIVERSITY OF THE WEST INDIES

Undergraduate Coursework Accountability Statement (To be completed by student)

ACADEMIC YEAR: 2009-2010 SEMESTER: THREE

COURSE CODE: FOUN1301

TITLE: Law, Governance, Economy and Society

NAME: Cecilia Clovis ID: 309100682

1. I hereby certify that I am the author of the attached item of coursework and that all materials from reference sources have been properly acknowledged. 2. I understand what plagiarism is and what penalties may be imposed on students found guilty of plagiarism. 3. I certify that this paper contains no plagiarised material. 4. I certify that this is my own work and that I did not receive any unfair assistance from others (including unauthorized collaboration) in its preparation. 5. I certify that this paper has not previously been submitted either in its entirety or in part within the UWI system or to any other educational institution. 6. In the case of group work: a. I certify that the individual work of each member of the group has been clearly indicated; b. that where no such indication has been given, I take the responsibility for the work as if it were the section of the paper for which I am solely responsible; and c. that I have not collaborated with any members of the group to breach the University’s regulations.
Signature: Cecilia Clovis
Date: June 26, 2012