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'Give me back me language and me culture. Dey push dem from out of Africa, my poor father he was a witch-doctor. Dey say he was a damn fool and now dey have to push him in school.' (Count Ossie & the Mystic Revelations of Rastafari: Give Me Back)
Dick Hebdige’s 'Cut’n’Mix' begins by contrasting the romantic image of Jamaica in a travel brochure (swaying palm trees, white sandy beaches & turquoise seas) with the reality of a failing socio-economic state facing identity crisis in the 20th century. Poverty is rife, as are crimes of muggings, armed robbery and murder. Rural & city life are at breaking point. Shanty towns made of cardboard and salvaged scrap; Bob Marley 'concrete jungle' are crumbling down. And Hebdige links all this back to British colonial rule in the 1655, where the roots of black Jamaican experience is born.
As most know, the ever growing imperialism and economic competition between developing nations across Europe established the slave trade at the end of the 17th century, and with it the many colonies of the Caribbean. Western Africans were captured and sailed across the Atlantic Ocean to be put to work on plantations. The harsh working conditions and ill treatment of slaves created unrest and disdain amongst the ranks. The basis for rebellion was clear, and nowhere more so than Jamaica do we see the markings of revolt. Groups like the Leeward and Windward Maroons, escapees living on the interior of the island, waged war on their captors for 50 years. Figures such as Queen Nanny, Sam Sharpe and Paul Bogle, led uprisings which eventually helped to abolish slavery in 1833. These national heroes have shaped the island's sense of identity; a uniquely African yet British society born from resistance.
After heavy losses in World War II Britain was in great need of labour boosts. Offering West Indians well paid, skilled and semi-skilled employment, they often referred to England as the 'mother country'. However upon arrival all that was left was menial jobs such as cleaners, porters, bus and train drivers that the British didn’t want. Not only did this seem like 'neo-slavery', they also experienced great hostility from the white public. Housing was either refused to the West Indians with racially prejudice signs hanging outside, or they were exploited and made to live in horrendous, overcrowded conditions. Therefore they were drawn to poor areas and stuck together out of necessity. These close-knit communities spanning all major cities of the UK felt persecuted, as their forefathers had at the hands of slave masters. They turned to culture; to notions of fashion, style, food and most importantly music, in order to face adversity, in order to resist.
As Hebdige states 'social and economic problems can be traced back directly to the old plantation system : poverty, unemployment and racial and social inequality'. These serve as the foundations for reggae a.k.a. 'Rebel Music', drawing from great suffering and celebrating it. In Jamaica music became an integral way to make a living and express yourself. Sound systems and carnivals grew up all over the island and the Caribbean, crossing over the Atlantic like the slave ships once had, back to the UK. The large West Indian population brought these forms of celebration to the streets. The Notting Hill race riots of 1958 when several white youths attacked West Indian men and households due to racial tensions in the area, definately spawned the Notting Hill Carnival in 1959.
However poor socio-economic factors and racial relations in the late 70s and 80s caused more riots in Bixton, Tottenham, Liverpool, Manchester and Birmingham. Teenagers started to feel like outcasts and rebelled against the system and the National Front. British made Reggae (and punk too) now sprung up everywhere as a result. Music, but also the growing popularity of the Rastafarian faith became a means of escapism from the harsh realities of everyday life. The rise of Ska and multiracial bands like The Specials illustrated a new optimism. A politizied youth now sought to overcome social issues by using the medium of music and popular culture to send out messages of hope. The 'Peaceful Protest Against Racism' was a sign of the push for equality amongst the races. Yes there was police brutality and the murdering of innocent people, but it brought them closer. Under Thatcher’s government public spending was diminished so local constituencies had less money to spend in deprived areas. This social change added to the difficulties of adjusting to a British identity, and therefore minorities moved furthur away from the government and the ideals of a sovereign state. But in its place was born an extraordinary alternative. A culture of resistance to the fundamentals of Imperial Britian. Against the brash and racist views of the old traditionalists of yesteryear, we now see those who want change. Diversity benifits those who want to learn from different cultures, just look at London.
Yesterday I went to Notting Hill Carnival and saw all faces, races, ages and classes skanking together. It wasn't a black thing, or a West Indian thing. There is nothing exclusive about carnival goers, and anything and anyone goes. Those who want to get involved can, and do. I saw groups of friends from all over the UK, from LDN to MCR. From old school mates to exes, everyone
has come out to celebrate it West Indian stylee. And its all down to some healthy rebellion! Can't we see that this has all been for a reason. The struggle, the uprisings, the fighting and the condeming. It has led us to this point, hasn't it? It seems the wear and tear of history has shaped the way culture is experienced today. Just look at popular culture, sub-cultures, and the underground. Music has been a social and cultural commentator expressing the views of the people for years. It keeps record of the ups and downs, the ins and outs, of the perpetual motion of humanity. Look at Hip Hop, all the elements have become so widespread and enseminated in society that you have presidents and prime minsters making references. So its now that I am reminded of what it means to be British. Look at Reggae and modern music, look at the meeting of European and African traditions that result in a harmonic infusion of rhythm and melody. It makes me think of what society is capable of. If music reflects society then what Count Ossie states about pushing his father back into school, forcing ones culture on another, makes sense. Being British, or any other nationality for that matter, isn't about learning the ways of the country and going through the motions. No siree, its about your own interpretation, seeing what you rebel against and respond to. It's about finding your own path and taking some from here, and a little from there. Just look at your the selection on your iPod and you'll understand
Dick Hebdige’s 'Cut’n’Mix' begins by contrasting the romantic image of Jamaica in a travel brochure (swaying palm trees, white sandy beaches & turquoise seas) with the reality of a failing socio-economic state facing identity crisis in the 20th century. Poverty is rife, as are crimes of muggings, armed robbery and murder. Rural & city life are at breaking point. Shanty towns made of cardboard and salvaged scrap; Bob Marley 'concrete jungle' are crumbling down. And Hebdige links all this back to British colonial rule in the 1655, where the roots of black Jamaican experience is born.
As most know, the ever growing imperialism and economic competition between developing nations across Europe established the slave trade at the end of the 17th century, and with it the many colonies of the Caribbean. Western Africans were captured and sailed across the Atlantic Ocean to be put to work on plantations. The harsh working conditions and ill treatment of slaves created unrest and disdain amongst the ranks. The basis for rebellion was clear, and nowhere more so than Jamaica do we see the markings of revolt. Groups like the Leeward and Windward Maroons, escapees living on the interior of the island, waged war on their captors for 50 years. Figures such as Queen Nanny, Sam Sharpe and Paul Bogle, led uprisings which eventually helped to abolish slavery in 1833. These national heroes have shaped the island's sense of identity; a uniquely African yet British society born from resistance.
After heavy losses in World War II Britain was in great need of labour boosts. Offering West Indians well paid, skilled and semi-skilled employment, they often referred to England as the 'mother country'. However upon arrival all that was left was menial jobs such as cleaners, porters, bus and train drivers that the British didn’t want. Not only did this seem like 'neo-slavery', they also experienced great hostility from the white public. Housing was either refused to the West Indians with racially prejudice signs hanging outside, or they were exploited and made to live in horrendous, overcrowded conditions. Therefore they were drawn to poor areas and stuck together out of necessity. These close-knit communities spanning all major cities of the UK felt persecuted, as their forefathers had at the hands of slave masters. They turned to culture; to notions of fashion, style, food and most importantly music, in order to face adversity, in order to resist.
As Hebdige states 'social and economic problems can be traced back directly to the old plantation system : poverty, unemployment and racial and social inequality'. These serve as the foundations for reggae a.k.a. 'Rebel Music', drawing from great suffering and celebrating it. In Jamaica music became an integral way to make a living and express yourself. Sound systems and carnivals grew up all over the island and the Caribbean, crossing over the Atlantic like the slave ships once had, back to the UK. The large West Indian population brought these forms of celebration to the streets. The Notting Hill race riots of 1958 when several white youths attacked West Indian men and households due to racial tensions in the area, definately spawned the Notting Hill Carnival in 1959.
However poor socio-economic factors and racial relations in the late 70s and 80s caused more riots in Bixton, Tottenham, Liverpool, Manchester and Birmingham. Teenagers started to feel like outcasts and rebelled against the system and the National Front. British made Reggae (and punk too) now sprung up everywhere as a result. Music, but also the growing popularity of the Rastafarian faith became a means of escapism from the harsh realities of everyday life. The rise of Ska and multiracial bands like The Specials illustrated a new optimism. A politizied youth now sought to overcome social issues by using the medium of music and popular culture to send out messages of hope. The 'Peaceful Protest Against Racism' was a sign of the push for equality amongst the races. Yes there was police brutality and the murdering of innocent people, but it brought them closer. Under Thatcher’s government public spending was diminished so local constituencies had less money to spend in deprived areas. This social change added to the difficulties of adjusting to a British identity, and therefore minorities moved furthur away from the government and the ideals of a sovereign state. But in its place was born an extraordinary alternative. A culture of resistance to the fundamentals of Imperial Britian. Against the brash and racist views of the old traditionalists of yesteryear, we now see those who want change. Diversity benifits those who want to learn from different cultures, just look at London.
Yesterday I went to Notting Hill Carnival and saw all faces, races, ages and classes skanking together. It wasn't a black thing, or a West Indian thing. There is nothing exclusive about carnival goers, and anything and anyone goes. Those who want to get involved can, and do. I saw groups of friends from all over the UK, from LDN to MCR. From old school mates to exes, everyone
has come out to celebrate it West Indian stylee. And its all down to some healthy rebellion! Can't we see that this has all been for a reason. The struggle, the uprisings, the fighting and the condeming. It has led us to this point, hasn't it? It seems the wear and tear of history has shaped the way culture is experienced today. Just look at popular culture, sub-cultures, and the underground. Music has been a social and cultural commentator expressing the views of the people for years. It keeps record of the ups and downs, the ins and outs, of the perpetual motion of humanity. Look at Hip Hop, all the elements have become so widespread and enseminated in society that you have presidents and prime minsters making references. So its now that I am reminded of what it means to be British. Look at Reggae and modern music, look at the meeting of European and African traditions that result in a harmonic infusion of rhythm and melody. It makes me think of what society is capable of. If music reflects society then what Count Ossie states about pushing his father back into school, forcing ones culture on another, makes sense. Being British, or any other nationality for that matter, isn't about learning the ways of the country and going through the motions. No siree, its about your own interpretation, seeing what you rebel against and respond to. It's about finding your own path and taking some from here, and a little from there. Just look at your the selection on your iPod and you'll understand...................................................................................................
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