Kobe University Repository : Kernel Rastafarian music in contemporary Jamaica : A study of socioreligious タイトル music of the Rastafarian Movement in Jamaica(Symbolism and world Title view in Asia and Africa : アジア・アフリカにおける象徴と世界観の比 較研究) 著者 Nagashima, Yoshiko / Shibata, Yoshiko Author(s) Rastafarian music in contemporary Jamaica : a study of socioreligious 掲載誌・巻号・ページ music of the Rastafarian movement in Jamaica (Performance in Citation culture, 3),:1-227 刊行日 1984 Issue date 資源タイプ Book / 図書 Resource Type 版区分 publisher Resource Version 権利 Rights DOI JaLCDOI URL http://www.lib.kobe-u.ac.jp/handle_kernel/90001788 PDF issue: 2021-10-09 PERFORMANCE IN CULTURE, NO.3 RASTAFARIAN MUSIC IN CONTEMPORARY JAMAICA A Study of Socioreligious Music of the Rastafarian Movement in Jamaica YOSHIKO s. NAGASHIMA (SYMBOLISM AND WORLD VIEW IN ASIA AND AFRICA) INSTITUTE FOR THE STUDY OF LANGUAGES AND CULTURES OF ASIA & AFRICA (ILCAA) 1984 Institute for the Study of Languages and Cultures of Asia and Africa (lLCAA) Tokyo University of Foreign Studies 4-chome Nishigahara Kita-ku, Tokyo 114, Japan TABLE OF CONTENTS GENERAL INTRODUCTION. .. v ACKNOWLEDGEMENTS ......................................... vii LIST OF MAPS ................................................ ix LIST OF TABLES . ............................................. ix LIST OF DIAGRAMS ........................................... ix LIST OF APPENDICES . .. ix PRELUDE..................................................... 1 A. Understanding the Rastafarians ................................. B. Rastafarians and Rastafarian Music ............................... 3 C. On This Monograph ........................................... 7 CHAPTER I A SKETCH OF THE RASTAFARIAN MOVEMENT - ITS PAST AND PRESENT .... .. 13 A. Historical Stream of Ethiopianism ................................ 14 1. Bedwardism as a Precursor to the Rastafarian Movement. .. 14 2. Garveyism as a Precursor to the Rastafarian Movement ............. 16 B. Contemporary Ethiopianism - The Rastafarian Movement ............. 17 1. The Birth of the Rastafarian Movement . .. 17 2. The Embryonic Stage of the Rastafarian Movement. .. 18 3. The Expansion of the Rastafarian Movement .................... , 20 4. The Diversification of the Rastafarian Movement ................ " 24 5. The Contemporary Stage of the Rastafarian movement . .. 31 -i- CHAPTER IT RASTAFARIAN MUSIC AND ITS ANCESTRAL HERITAGE.......... 51 A. The Contemporary Jamaican Music Scene .......................... 51 B. Drums and Drumming ......................................... 56 1. African (Sub-Saharan) Characteristics .......................... 56 2. Rastafarian Characteristics. .. 57 C. Other Instruments ............................................ 59 D. Songs...................................................... 61 CHAPTER ID THE LOCAL ORIGINS OF RASTAFARIAN MUSIC .................. 67 A. What Is Kumina? ............................................. 68 B. What Is Burru? .. .. 70 C. Burru-Rasta Connections ..................................... .. 72 D. Kumina-Rasta Connections ..................................... 77 CHAPTER IV THE DEVELOPMENT OF RASTAFARIAN MUSIC - ITS GROWTH AND DIVERSIFICA TION ............................................. 89 A. Early Development. .. 89 B. Musical Variety .............................................. 94 C. Functional Diversity. .. 95 CHAPTER V RASTAFARIAN RITUAL AND (NYA)BYNGHI MUSICAL PERFORMANCE. .. 115 A. Some Special Features of Rastafarian Ritual Performance . .. 115 1. A General View ............................................ 115 2. The Ethiopian Orthodox Church ... .. 117 -ii- 3. The Ethiopian International Congress .......................... 120 4. The Twelve Tribes of Israel .................................. 122 B. (Nya)bynghi Music in Performance ............................... 124 1. Basic Elements . .. 124 2. Some Characteristics ....................................... 126 3. Role Differentiation or Classification .......................... 128 4. Symbolism............................................... 130 5. Communication ........................................... 131 CHAPTER VI THE EXPRESSIONS OF RASTAFARIAN (NYA)BYNGHI MUSIC­ REPRESENTATION OF SOME ASPECTS OF RASTAFARIAN COSMOLOGY AND FAITH THROUGH LyRICS ..................... 137 A. Some Characteristics and Examples . .. 137 1. The Ethiopian Orthodox Church .............................. 137 2. The Ethiopian International Congress .......................... 138 3. The Twelve Tribes of Israel .................................. 141 4. The Theocratic Government .................................. 144 5. Most Popular Bynghi Songs ..... Nonrestrictive or Nonsectarian ....... 145 6. Peculiar Repatriation Songs .. .. 151 B. Summary ............. .. 154 CHAPTER VII THE INFLUENCE AND RESPONSES OF RASTAFARIAN MUSIC .. .... 161 A. Internal Influence and Responses ................................. 161 1. Influence on Pop Music ..................................... 161 2. Element of "Nam" in Rastafarian Music ........................ 164 3. Responses to Bynghis . .. 165 4. Influence on Folk Music. .. 166 5. Push Factors in the Expansion of Rastafarian Music ............... 167 B. External Influences and Responses. .. 168 - iii- CHAPTER vm REGGAE A COMPARISON WITH RASTAFARIAN (NYA)BYNGHI MUSIC ....... 175 A. Roots of Reggae .............................................. 175 B. Characteristics of Reggae: Nature and Function ...................... 178 C. Influence from Reggae ......................................... 182 SUMMARY . ......................... , .... , .................... 191 APPENDICES .................................................. 195 BIBLIOGRAPHY .. .............................................. 209 DISCOGRAPHY ................................................ 225 POSTSCRIPT . .... , .. , ... , ...................................... 227 -iv - GENlERAL INTRODUCTION I am pleased to introduce the third volume in the monograph series: PERFORM· ANCE IN CULTURE. This monograph series has been established as an outgrowth of the general pro­ ject: "Symbolism and Cosmology in Asia and Africa," an ongoing activity of the Institute for the Study of Languages and Cultures of Asia and Africa. This project has provided a regular intellectual forum for an international group of scholars in Philosophy, History, Literary Studies, Folklore, Anthropology and Sociology since 1977. The common interest of all members of the project has been concern with the analysis of symbolism in human culture. In recent years the attention of the project has been focussed on the development of comprehensive and original views in the areas of cultural semiotics and performance theory. In 1981, a highly successful conference was held at Tsukuba University under the auspices of the project with the generous sponsorship of the Leisure Development Center of Japan. This conference, entitled "The Anthropology of Spectacles and Entertainment" brought scholars from six nations together in a stimulating series of discussions relating to problems of the study of performance in its cultural setting. Following this conference, it was decided to publish this series of monographs. The aim of the series is to bridge diverse disciplines in the study of performance theory, cultural semiotics and the study of cosmology. Since much work in these areas thus far has been almost exclusively programmatic and speculative, it was felt that emphasis in this series should be placed on theoretical development derived from direct field observation. Thus each monograph will ideally provide not only new theoretical advances, but also fresh ethnographic insights. Tokyo Masao Yamaguchi March,1984 Series Editor -v- ACKNOWLEDGEMENT§ This study is based on my period of residence in Jamaica from October 1978 to July 1980, while I was affiliated with the School of Area Studies of the Univ. of Tsukuba in Japan. The original version, entitled Rastafarian Music in Jamaica: Its Historical and Cultural Significance, was presented as an M.A. thesis in International Studies to the School in January 1981. Almost all of the contents of the thesis are used, after revision, in this volume. Some summarised parts were also used for Japa­ nese publication as the articles "Rastafarian Hymn" (l) - (3) in 1981-1982. I was sponsored by the Japanese Ministry of Education from 1978 to 1979 when I was a specially admitted student of the Dept. of History of the Univ. of the West Indies, Mona (the then Dept. Head, Dr. Carl Campbell), to both of which I am thankful. In completing this work, I have owed considerable debt to too many individuals and institutions to mention here. However, the research could never have been finished without innumerable Rastafarians' honest responses to my obser­ vation, participation, and personal interviews. I would like to express my sincere thanks to them all and to other helpful non-Rasta informants. Those groups men­ tioned in Prelude and elsewhere in this monograph, especially the Mystic Revelation of Rastafari and the Light of Saba, are gratefully acknowledged. And I should not omit the following people for their advice, informative stimulation, encouragement and/or kindest help: Associate Professors Fumio Nakagawa and Takashi Maeyama (Univ. of Tsukuba); Drs. Edward Kamau Brathwaite and Victor Chang, Mr. Ikael Hutchinson, Mr. Barry Chevannes (U.W.I., Mona); Ms .. Olive Lewin (Office of Prime Minister), Ms. Marjorie Whylie (the School of Music), Bro. Cedric "Im" Brooks and Mr. Sonny Bradshaw (Jamaica Federation of Musicians);