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Afro-Jamaican Religio-Cultural Epistemology and the Decolonization of Health
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School March 2020 Mystic Medicine: Afro-Jamaican Religio-Cultural Epistemology and the Decolonization of Health Jake Wumkes University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the African Studies Commons, Other Languages, Societies, and Cultures Commons, and the Religion Commons Scholar Commons Citation Wumkes, Jake, "Mystic Medicine: Afro-Jamaican Religio-Cultural Epistemology and the Decolonization of Health" (2020). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/8311 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Mystic Medicine: Afro-Jamaican Religio-Cultural Epistemology and the Decolonization of Health by Jake Wumkes A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Latin American, Caribbean, and Latino Studies Department of School of Interdisciplinary Global Studies College of Arts & Sciences University of South Florida Major Professor: Bernd Reiter, Ph.D. Tori Lockler, Ph.D. Omotayo Jolaosho, Ph.D. Date of Approval: February 27, 2020 Keywords: Healing, Rastafari, Coloniality, Caribbean, Holism, Collectivism Copyright © 2020, Jake Wumkes Table of Contents Abstract ........................................................................................................................... -
Street Hype Newspaper and Its Publishers
Patriece B. Miller Funeral Service, Inc. Licensed Funeral Director From Westmoreland, Jamaica WI • Shipping Local & Overseas ‘Community Lifestyle Newspaper’ 914-310-4294 Vol: 8 No. 09 WWW.STREETHYPENEWSPAPER.COM • FREE COPY MAY 1-18, 2013 Court Restrains Pastor By Shirley Irons, Contributing Writer he Bronx Supreme Court has intervened in the ongoing Ttwo-year financial dispute between the Board of Trustees and Pastor Ivan Plummer of the Emmannuel Seventh Day Church Ministries in the Bronx. According to court docu- titles of the ments obtained by Street Hype, church's real or the Board of Trustees and the personal proper- Happy members alleged that Plummer ties to anyone. with the help of other church The court also officers misappropriated and decided that embezzled church funds and had Plummer acted C a r i b b e a n taken over sole control of all the unilaterally Mother’s Day Pastor Ivan church assets. Plummer when he entered See Page 11 & 13 Flavor The members also claimed into the agree- Rasta Pasta that Plummer had entered into an ment on behalf of the church and agreement with an “associate” on declared that agreement null and Jerk Chicken behalf of the church without con- void. Curry Coconut Salmon sulting the trustees and he had He was further ordered to Brown Stew Salmom refused to provide a financial present a written financial Run Down Snapper accounting of the church's assets accounting of the church's assets and funds with an estimated to the members and to comply by Jerk Salmon value of nearly $1 million. -
The Swell and Crash of Ska's First Wave : a Historical Analysis of Reggae's Predecessors in the Evolution of Jamaican Music
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses 2014 The swell and crash of ska's first wave : a historical analysis of reggae's predecessors in the evolution of Jamaican music Erik R. Lobo-Gilbert California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Recommended Citation Lobo-Gilbert, Erik R., "The swell and crash of ska's first wave : a historical analysis of reggae's predecessors in the evolution of Jamaican music" (2014). Capstone Projects and Master's Theses. 366. https://digitalcommons.csumb.edu/caps_thes/366 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Erik R. Lobo-Gilbert CSU Monterey Bay MPA Recording Technology Spring 2014 THE SWELL AND CRASH OF SKA’S FIRST WAVE: A HISTORICAL ANALYSIS OF REGGAE'S PREDECESSORS IN THE EVOLUTION OF JAMAICAN MUSIC INTRODUCTION Ska music has always been a truly extraordinary genre. With a unique musical construct, the genre carries with it a deeply cultural, sociological, and historical livelihood which, unlike any other style, has adapted and changed through three clearly-defined regional and stylistic reigns of prominence. The music its self may have changed throughout the three “waves,” but its meaning, its message, and its themes have transcended its creation and two revivals with an unmatched adaptiveness to thrive in wildly varying regional and sociocultural climates. -
Airwaves Dub
AIRWAVES DUB GREEN FUTURES FESTIVAL RADIO www.greenfuturesfestivals.org.uk/www.kingstongreenradio.org.uk + TuneInRadio Thurs - 9-11pm - Cornerstone feat. Baps and Nico aka Wiseman DESTINY RADIO 105.1FM www.ultracultureradio.com/www.destinyradio.uk Sat – 10-1am - Cornerstone Sun – 4-6pm – Sir Sambo Sound feat. King Lloyd, DJ Elvis and Jeni Dami Sun – 10-1am – Destination feat. Ras Hugo and Jah Sticks. Strictly roots session. Tues – 7-10pm - One Drop Collective feat. Garvin Dan, D-Ninety and Laura Peachy Wed – 10-midnight – Sir Sambo Sound NATURAL VIBEZ RADIO.COM – Daddy Mark - Stevenage - sessions Mon – 10-midnight Sun – 9-midday. Strictly roots session. Editor's Dub Dear Reader After leafing through and seeing the lack of reggae coverage in the five music magazines I recently picked up in the Truck Shop on Cowley Road, re-emphasised for me, the need to produce one: a regular channel, for the celebration of Roots Reggae music. So here’s the first issue, of the first roots reggae magazine, for the Thames Valley region. It’s envisaged as a quarterly production, focusing on Oxfordshire, Buckinghamshire and Berkshire. As well as a channel for roots reggae music, I hope this publication will also be a source of knowledge for Black History – and a showcase for local and regional talents: the poets, artists, writers and budding journalists. Salutes go to Gary Constant, Helen Baillie, Dan I Cameron and John Green: for the early boost they gave this initiative - the Dub Visionaries! To the Oxford City Council Culture Fund, Name It Youth Project, Alex and Jules Dalitz, Nick Barber and Sasha East. -
International Reggae, Democratic Socialism, and the Secularization of the Rastafarian Movement, 1972–1980 Stephen A
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The Keep Eastern Illinois University The Keep Faculty Research and Creative Activity Communication Studies January 1998 International reggae, democratic socialism, and the secularization of the Rastafarian movement, 1972–1980 Stephen A. King Eastern Illinois University, [email protected] Follow this and additional works at: http://thekeep.eiu.edu/commstudies_fac Part of the Communication Commons, and the Music Commons Recommended Citation King, Stephen A., "International reggae, democratic socialism, and the secularization of the Rastafarian movement, 1972–1980" (1998). Faculty Research and Creative Activity. 12. http://thekeep.eiu.edu/commstudies_fac/12 This Article is brought to you for free and open access by the Communication Studies at The Keep. It has been accepted for inclusion in Faculty Research and Creative Activity by an authorized administrator of The Keep. For more information, please contact [email protected]. International reggae, democratic socialism, and the secularization of the Rastafarian movement, 1972–1980 Stephen A. King During the 1970s, the Jamaican people appeared to rise “up in rebellion and revolt to . improve their social conditions” (Panton 31). After a decade of struggle against an increasingly repressive Jamaican Labour Party (JLP), Jamaica’s poor and dissident groups embraced the candidacy of People’s National Party (PNP) leader Michael Manley, the son of former Prime Minister Norman Manley, for Prime Minister in 1972. During the national election campaign, Manley attempted to appeal to the Rastafarians and Jamaica’s Black Power movement. Manley even adopted the Biblical name “Joshua” and promised the Jamaican people deliverance from oppression. -
Chanting up Zion: Reggae As Productive Mechanism for Repatriated Rastafari In
Chanting up Zion: Reggae as Productive Mechanism for Repatriated Rastafari in Ethiopia David Aarons A dissertation submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Shannon Dudley, Chair Giulia Bonacci Katell Morand Christina Sunardi Program Authorized to Offer Degree: Music i @Copyright 2017 David Aarons ii University of Washington Abstract Chanting up Zion: Reggae as Productive Mechanism for Repatriated Rastafari in Ethiopia David Aarons Chair of the Supervisory Committee: Shannon Dudley Ethnomusicology Since the 1960s, Rastafari from Jamaica and other countries have been “returning” to Ethiopia in the belief that it is their Promised Land, Zion. Based on extensive ethnographic research in Ethiopia between 2015 and 2017, this project examines the ways in which repatriated Rastafari use music to transform their Promised Land into a reality amidst various challenges. Since they are denied legal citizenship, Rastafari deploy reggae in creative and strategic ways to gain cultural citizenship and recognition in Ethiopia. This research examines how reggae music operates as a productive mechanism, that is, how human actors use music to produce social and tangible phenomena in the world. Combining theories on music’s productive capabilities with Rastafari ideologies on word-sound, this research further seeks to provide deeper insight into the ways Rastafari effect change through performative arts. I examine how Rastafari mobilize particular discourses that both challenge and reproduce hegemonic systems, creating space for themselves in Ethiopia through music. Rastafari use reggae in strategic ways to insert themselves into the contested national narratives of Ethiopia, and participate in the practice of space-making in Addis Ababa and Shashemene through sound projects. -
For Immediate Release
FOR IMMEDIATE RELEASE Contact: Dr. Jonathan Greenland, Senior Director, the National Gallery of Jamaica, (876) 922 1561. [email protected]. – The untold half of how Jamaican music conquered the world. KINGSTON, JA. JAN 16, 2020: The Ministry of Culture, Gender and Sports, the National Gallery of Jamaica (NGJ) and the Jamaican Music Museum in association with La Philharmonie de Paris are pleased to present the exhibition Jamaica, Jamaica!, which opens on February 2, 2020 at11:00am and closes on June 28, 2020. Initially launched at Philharmonie de Paris in 2017 and titled after the eponymous 1985 hit song by Brigadier “The General” Jerry, Jamaica, Jamaica! examines how the tiny Caribbean island of Jamaica has become an extraordinary force in the world heritage and history of music. Jamaica, Jamaica! brings together rare memorabilia, photographs, visual art, audio recordings and footage unearthed from Jamaica's best museums and most elusive collectors and studios, while collaborating with legendary local visual artists to convey the essence of a true Jamaican music experience. Teeming with creativity and innovation, Jamaica has produced some of the major musical currents in today's popular music landscape; yet, its rich history and diversity is often overshadowed by its most famous icon, reggae superstar Bob Marley. This exhibition aims at showcasing a broader vision that has allowed the world to know the island's music, by digging deep into its past and present in search for the roots of "rebel music", beyond the cliché and the postcard. Page 1 of 6 The most ambitious exhibition ever staged on the topic, Jamaica, Jamaica! celebrates the musical innovations born on the island in its specific historic and social contexts, unveiling the story behind the musical genres of kumina, revival, mento, ska, rocksteady, reggae, dub and dancehall - as well as the impact of the local sound system culture, street culture, and visual arts on today's global pop culture. -
RASTAFARI TEXTS and the CREATION of PUBLICS in POST-COLONIAL JAMAICA a Thesis Submitted to the Committee on Grad
RUN COME RALLY: RASTAFARI TEXTS AND THE CREATION OF PUBLICS IN POST-COLONIAL JAMAICA A Thesis Submitted to the Committee on Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Faculty of Arts and Science TRENT UNIVERITY Peterborough, Ontario, Canada © Copyright by Thomas John Jenkins 2011 English (Public Texts) M.A. Graduate Program October 2011 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-81108-5 Our file Notre reference ISBN: 978-0-494-81108-5 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Jamaican Canadian Music in Toronto in the 1970S and 1980S
Jamaican Canadian Music in Toronto in the 1970s and 1980s: A Preliminary History by Keith McCuaig A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario May 18th, 2012 ©2012 Keith McCuaig Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-91556-1 Our file Notre reference ISBN: 978-0-494-91556-1 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
1 Music and the Rise of Caribbean Nationalism: the Jamaican Case Gregory Freeland Department of Political Science California
1 Music and the Rise of Caribbean Nationalism: The Jamaican Case Gregory Freeland Department of Political Science California Lutheran University (805) 493-3477 [email protected] 2 Abstract Caribbean nationalism emerged in many ways, but music played a vital role in furnishing emotion and ideological cohesion, and fueled the excitement and sustainability of nationalist identification leading up and following independence. This study employs the musical form, ska, to exemplify how music generated a sense of nationalism in Jamaica during the late 1950s and early 1960s, and as such provided strength for independence stability and some of the courage and excitement that sustained it through its early manifestation. Music created metaphorical and emotional meanings as well as political meanings through lyrics and rhythms that helped frame independence as more than an image of freedom from colonial rule. This study utilizes interviews, music lyrics, and literature to conclude that a cultural force, like, music, created a stronger sense of nationalism among Jamaicans, which facilitated the rise of a cultural uniqueness and collective identity. 1 History has shown that music profoundly shapes the goals and objectives of a people moving toward collective identity, cultural nationalism, and political independence. Music also transmits ideologies and political demands to adherents and activists of political, cultural, and social movements. This musical effect played out dramatically in the rise of Caribbean nationalism.1 Caribbean nationalism emerged in many ways, but music played a vital role in furnishing emotion and ideological cohesion, and fueled the excitement and sustainability of nationalist identification. This effect is exemplified with, for example, merengue in the Dominican Republic, calypso in Trinidad-Tobago, and rumba in Cuba. -
The Dub Issue 23 April 2018
1 2 Editorial Dub Front cover – Queen Ifrica – photograph of an original painting by Haile Mecael Dear Reader, Welcome to issue 23 for the month of Reuben. A sad month for many of us here in Oxford with the passing from prostate cancer on March 28 of Ras Brother John aka BJ, who featured on the cover of The Dub’s January 2018 issue. He will be much missed and our thoughts and prayers go out to his family and close friends. There are several interviews this month: Alex Caramellino aka Jah Fingers, GT Moore and Gary Constant with the first part of an interview that digs deep into Oxford’s sound system history of the early 70s. There will be more interviews with others who have been involved in our town’s reggae history in future issues. There are lots of events in this month’s Dub Diary featuring friends and contributors to The Dub, including Asher Messenjah, Jah Lion Movement, Field Frequency, Ali Zion and High Grade. I would like to offer a heartfelt salute to those who continue to write for The Dub and support the magazine in other ways – Steve Mosco, Pete Clack, Leo B, Ali Zion, Simon Wade, Jawara Ellis, Jah Porter, Zioness, Lew Lewis M, Asher Messenjah, Jules Dalitz and Natty Mark. Welcome to The Dub Editor – Dan-I [email protected] The Dub magazine is not funded and has no sponsors. While this allows for artistic freedom, it also means that money for printing is very limited. If anyone is interested in printed copies, they should contact me directly and I can ask our printers, Parchment of Oxford, to get some of the issues required for the cost of £2 each. -
What Seems to Be Standard English Often Isn't
MERIDIONAL Revista Chilena de Estudios Latinoamericanos Número 10, abril-septiembre 2018, 215-225 “What Seems to Be Standard English Often Isn’t”: A Conversation on Language and West Indian Literature with Jamaican Poet Mervyn Morris Thomas Rothe Doctor (c) in Literature, conicyt fellow/Universidad de Chile, Chile [email protected] Born in Kingston in 1937, Mervyn Morris is one of Jamaica’s most renowned poets and critics. Growing up in Jamaica, he witnessed the boom of West Indian literature in the 1950s and also the social changes brought on by Independence in 1962. He studied abroad at Oxford for three years on a prestigious Rhodes Scholarship and returned to Jamaica in 1961, devoting the rest of his career to teaching. From 1970 to 2002, Morris was professor of West Indian Literature at the University of the West Indies (uwi), Mona, where he also taught Creative Writing. In 1976, he received the Silver Musgrave Medal and in 2009 the Order of Merit, one of the Jamaican government’s highest awards. In 2014, he was named the first Poet Laureate of Jamaica since Independence, a title he held until 2017. Morris’ poetry deals with social concerns in post-Independence Jamaica without explicitly raising political banners, cultivating a poetics that critically examines the status quo through different literary devices, such as vernacular language and irony. In addition to his contributions in little magazines throughout the Caribbean, he has published many full volumes of poetry, which include The Pond (1973), On Holy Week (1976), Shadowboxing 216 MERIDIONAL Revista Chilena de Estudios Latinoamericanos 10, abril-septiembre 2018 (1979), Examination Centre (1992), I Been There, Sort of: New and Selected Poems (2006), and Peelin Orange (2017).