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Rastafari Mystic: the Principle of Word, Sound and Power

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Rastafari Mystic: the Principle of Word, Sound and Power 1 RASTAFARI MYSTIC: THE PRINCIPLE OF WORD, SOUND AND POWER To the living memory of Ras Tehuti, For his teachings, guidance and love. Tommy Lockward April 11th 2016 Dr. Gwendolyn Simmons Department of Religion University of Florida 2 TABLE OF CONTENTS Abstract……………………………………………………………………………………………..3 Introduction……………………………………………………………………………………….4 Chapter One: Word……………………………………………………………………………..20 Chapter Two: Sound……………………………………………………………………………27 Chapter Three: Power…………………………………………………………………………35 The Principle In Direct Experience………………………………………......................41 Bibliography……………………………………………………………………………………….46 3 ABSTRACT The stereotypes that surround the Rastafari Religion or movement, as it is recognized, are such that many have come to know through the popularity of reggae music. The movement’s rise out of colonialism give the Rastafari phenomenon a unique origin that extends far beyond the island of Jamaica, into African and other ancient customs. This thesis focuses on the all-encompassing principle within the movement that includes music, speech and culture across all groups and organizations that identify with the Rastafari phenomenon. With the guidelines of study in mystical experiences, Psychologist William James developed the frame work of direct experience and the divine within. With this approach, I outline the ways in which the principle of Word, Sound and Power is essential in understanding Rastafari and its ideals on divinity. The short film and documentary segment eXtends the academic and field research into a direct eXperience on the Rastafari way of life. The video segment centers a discussion with one individual, and does not detail a communal eXamination of the movement as a whole. In its overall exhibition, this thesis analyzes the mystical elements of Rastafari by providing eXamples from scholars, practitioners, and readily available works on popular media. 4 INTRODUCTION When considering the word “Rastafari,” the image that most likely comes to mind is that of dreadlocks and heavy volumes of marijuana smoke. In fact, most people have heard of this word through the rhythms of reggae music in a sequence that is loudly chanted as “Jah, Rastafari!” In this present time, this Religious phenomenon has been widely studied, written about and investigated. The main figures associated with this movement are former Ethiopian monarchs Haile Selassie I and Empress Menen, Pan-Africanist Marcus Garvey and reggae musician Bob Marley. There are many books and sources that document the movement’s chronological progression and its cultural impact within the Island of Jamaica and the African diaspora as a whole. In this thesis I do not attempt to give a detailed account of the historical origins of the movement, but rather I focus on the mystical aspects that surround it. It is said that Marcus Garvey prophesized that there will be a king crowned in Africa who would bring redemption to people of African descent, and certain groups in Jamaica saw the fulfilment of this Prophecy when the Ethiopian monarchs—Haile Selassie I and Empress Menen— were crowned in the year 1930. It was then that the Rastafari ideology was officially born. The Rastafari phenomenon sprang out of Jamaica to earn worldwide recognition, primarily through reggae music. Due to its ability to affect the masses and reflect grassroots ideals, the Rastafari ideology has been rendered as a movement. The living components within it also make it a culture in itself; with its unique form of speech, customs, norms, dress and community relations. Reggae and Rastafari are generally regarded to go hand in hand, and it is in this way that the ideals of the 5 Rastafari movement are mainly communicated. In the documentary Coping with Babylon, the poet Mutabaruka states that the “first contact that people outside of Jamaica have with Rastafari is through the music,”1 which functions as an effective outlet for elements within the culture to be considered by people all over the world. The word reggae as is attributed to Rastafari is the sound that is “comin’ from the people. Everyday t’ing, like from the ghetto…when you say reggae you mean regular.”2 In other words, it’s a genre that represents the interests of the people and reflects the social dynamics present in a Caribbean island with history of slavery and colonial rule. Due to the popularity of the music, the movement has been embraced by many but it is largely viewed in terms dreadlocks, reggae and the smoking of cannabis; regardless of its much richer symbolism. There are some truths to these associations, as will be discusses later in this work, but these have been subject to much media bias and misinterpretations that prevents any alternative analysis and perspectives for consideration. During my academic research, I have found much information by scholars and other investigators that directly contradict my personal eXperiences with those in identification with the movement. One such eXample is the claim made by the scholar, Leonard Barrett and his statement that to the Rastafarians, “The White 1 Mad-Links. Coping With Babylon (Jamaican Documentary). Video clip, 1:20:07 running time, published Aug. 5, 2013. Youtube.com. Accessed Nov. 2015. https://www.youtube.com/watch?v=EcKGqREYAHY. 2 Ptahsen-Shabazz, R.A. Black to the Roots: Reggae’s rise, downpression, and reascension. Pennsylvania: Those Four Sounds Press, 2008. Print. 36. This is attributed to the group Toots and the Maytals, the credit is theirs for naming the genre. 6 person is inferior to the Black person,”3 which he stated to be a major Tenant of the movement. However, such claims quickly fall short when considering that the Rastafari movement actually represents the humanitarian efforts that have been established by the Ethiopian monarchy as explained by the song War, written by acclaimed reggae star Bob Marley. It is an adaptation of the speech given by the Emperor Haile Selassie I to the United Nations in 1963. The message within the song defies any attribution towards hatred and racism within the Rastafarian ideals: Until the philosophy which holds one race superior and another inferior is finally and permanently discredited and abandoned; that until there are no longer first class and second class citizens of any nation; That until the color of a man’s skin is of no more significance than the color of his eyes; That until the basic human rights are equally guaranteed to all without regard to race…Until that day, the African continent will not know peace…4 Although the theme of race is expressed within the Rastafari identity in terms of venerating elements and figures from Africa, it is one that stems from a people with history of oppression and slavery. Marcus Garvey, the Jamaican Pan-African activist and national hero was greatly responsible for the rise in African centered ideas in Jamaica and the diaspora. It is generally acknowledged that he was a catalyst for the Rastafari movement during a period in Jamaica’s history known as Ethiopianism; a time in which the African diaspora traced its African ancestry and heritage back to Ethiopia. Garvey is noted for his statement in connection with this: “a people without the knowledge of their past history, origin and culture is like a tree without 3 Barrett, Leonard. The Rastafarians. Boston: Beacon Press, 1988. Print. A description of the beliefs to be ‘uniquely Rastafarian.’ Some of those Tenants include hatred towards the White race, Haile Selassie I as the reincarnation of Jesus Christ and Blacks as the reincarnation of ancient Israel. 4 Haile Selassie I, Selected Speeches of His Imperial Majesty Haile Selassie I. Lion of Society Publishers & Jubilee printing press, 2011. Print. 374. 7 roots.”5 The focus and pride on racial identity is used as a means to lift up a people that have been subject to foreign rule, denigration of their language, culture and as a call for these people to remember and take pride in their origins. This is not to be confused as an exclusive color-based movement. I have been able to obtain a deeper analysis of the movement’s ancient past and the current trends expressed within the music, via research and personal exchanges with my friends Ras Tehuti and Rau-set Sylvia.6 My purpose and aim is to eXplore the theological and mystical facets that help eXplain the Rastafari phenomenon in a way that genuinely reflects and honors my personal eXperiences. I was told early on by Ras Tehuti that Rastafari is a livity;7 a whole spectrum of principles that guide the way of living within. It is my claim that the Rastafari phenomenon is a rich and spiritual tradition that has been greatly misinterpreted by the modern world, due to the fact that ones outside of the movement author most of the information. In this thesis, I seek to provide a different analysis of Rastafari by allowing the views and perspectives of individuals within the movement to be expressed and bringing to the forefront the ideas held within reggae music; using sources available through popular media. I intend to explore practices and traditions outside of Jamaica that have re-surfaced from Africa and are present within the Rastafari 5 Garvey, Marcus. Selected Utterances of Marcus Garvey and the Garveyites. The Rootz Foundation Inc. Aug. 2012. 20. Garvey is noted for his statements. 6 This Rastafari couple spent numerous hours with me explaining their lifestyle and customs in contrast to the knowledge that is available through the mainstream media. Although we also communicated via phone, the bulk of our exchange was done through my visits to the Famer’s market where they provided their services. I refer to these exchanges as “Farmer’s Market Talks.” 7 Ras Tehuti, Farmer’s Market Talks, November 2012. The word livity is used to express the way of life in the Rastafari community. 8 culture.
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