"THEOCRACY REIGN ANCIENT ORDER OF NYAHBINGHI CELEBRATES HIM 115th EARTHSTRONG, DIVINE FORCE OF TRUTH AND RIGHTS"

Selassie I 115th Earthstrong Nyahbignhi in Seattle July 20-23, artwork credits redmeditation.com Luciano @ Reggae Sumfest 2000 in Montego Bay, Jamaica Jah Breeze current project in progress is entitled, "Rastafari Ideology in Reggae Music and Culture" commenced in 1994 and involve interviews with many reggae musicians and aficionados, including the 'man on the street' in Jamaica about the political, social and spiritual aspects of Rastafari and its influence on world culture.
CLICK HERE FOR THE FIRST EDITION OF JAH BREEZE RASTA DOCUMENTARY 10 YEARS IN THE MAKING

 

 

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Yes, Iya..... me come fah block another sound, me done know that certains ones are agitated by my candid discussion and reasoning about "Truth and Rights". I feel it in their Trinity Embrace....but Haile Selassie who they claim as their Father come to give I&I Grace. He give me the knowledge to utter these words. Vaughn Benjamin does the same thing that is why me love him so and always give Midnite an opportunity to express themselves.. ..Come check for dem on Wednesday, August 13, 2008.
First off, I&I will never compromise my Birthright, fah dem oversight... .I man come with the Light. I don't trod to make friends or enemies..... I&I just a deal with my Rasta Livity.
Me nah leave me Border, even though my very presence make Babylon feel uneasy that's because me come fah Batta, Flatta and Shatta dem Wolves amongst the Lions. According to Vaughn Benjamin, he said, "I Rastaman still stand....I Rastaman still stand....I don't want to sit in dem wolf pack congregation. ...I Rastaman still Stand" fah Iver and Iver.
Check my story, which Babylon call 'His-Story', this is when they flip the script, and the Youths dem today is still asleep....when we try to wake them up with Truth and Rights, Babylon come fah infiltrate with them Lies. Dem want fah stereotypically label I&I Seperatist and Racist while they keep their hands, according to Vaughn, All ova we....all over our commerce and our industries" and now our Livity and Humanity.
I&I will never forget the struggles of our Fathers/Ancestors, check this passage I found in my research for my documentary, "Rastafari Ideology in Reggae Music and Culture". The resource is a book that was first published in 1940, during the period of Ethiopia's struggle with Imperialism, which unfortunately still exist today. The book is called, Race:Science and Politics" by Ruth Benedict. It begged the question, "Who is Superior?", she states,
"The most drastic change of this sort is, however, that which took place in a generation or two among the Negroes brought to America as slaves. Most of them had been transported from Nigerian Kingdoms and prized cultural achievements. Their elaborate and ceremonious political organization, the pomp of their courts, the activity of their far flung economic life with its great areas, their legal systems with formal trial of the accused, with witnesses and with prosecutors- --all these excite the admiration of any student. Belatedly we admire today the incisive folk tales of Nigeria, their rhythmic dances, their wood carving that has excited the respect of modern European artists. But these are today collected in Africa.
In America all this achievement was stripped from imported slaves as if they had never had part in it".
This is where the break down occur, and from that day until today it still permeates even in our Rastafari Culture. Just for the record, Rasta don't deal with hate and racial discrimination but we are not ignorant to the orignal Creation.
"May the words of I&I mouth and meditation of I&I heart be acceptable in Selassie I sight....Jah Rastafari
Selah !!!!!! CLICK HERE FOR A VIDEO SAMPLE OF MIDNITE's Vaughn Benjamin articulating about, Rastafari Ideology in Reggae Music and Culture for Jah Breeze video documentary on Rastafari

 


Rastafari Ideology in Reggae Music and Culture,
A Jah Breeze Production


Excerpt of Jah Breeze Interview with Vaughn Benjamin
Transcribed by Jah I Tower and Jah Breeze

Jah Breeze:

Um, your style, in terms of singing, it almost like Ethiopian chants, you know, the way you sing. I know it English but your style, you know, and it for a long time I see somebody coming new that doing the roots like your sound is, you know it real like roots, you know, for this time. I call it new roots, you know. And the way in which, you know, the way in which chant and sing, you know, I really like; it like an innate vibration, it like a ohm, it very calming.

Vaughn Benjamin:

Well Imma tell you, right? The strangest thing, right? You have people where ou have ghettoman you know, you have man where never come forward to the face of no peoples. [come do nothing you know] These man a just chant music among theirself - no crowd, no lights, no action, no girls, no nothing. Among between other things wha man do, this is wha man do. And dem man dehdeh. Dem man all Iva dehdeh you know. dem man just dehdeh. Man never been away, dem man have always dehdeh, so, wha happen is that certain youth will flex between dem man deh, learn [up] they fathers, see me? And dem things stay under wraps for years sometimes becaw maybe Babylon shine dem, fe dem light over so and say the light must shine from so, you know, and dey stay under wraps. But, we know is a one seed that plant outta the river nile, and the one seed just manifest itself all ova, you know, where eva, trod inside the heartical concept, you know. Because, nothing stronger than culture, really, culture is really the concept. Culture, me say nothing is stronger than culture. [From] a man trod upon culture right, up in a culture right, the culture gon move him, even biogenetically, [into just] compatibility fullness, I will show you. So the culture will over dominate and predominate over anything, anything; culture. So we no lose culture. We no leggo culture. Culture will rule. When the [current south] and hurricane blow down thing

Jah Breeze:

Culture still there.

Vaughn Benjamin:

People done know this kinda tree bark here catch fire (snap!) and just burn down rapid and you cook food You not waiting for [John public] to put on the lights! (laughter)

Jah Breeze:

Right. (laughter) Give Thanks.


"Rastafari Ideology in reggae music & culture"
by Jah Breeze RAW#85

Rastafari is a universal concept of life that was officially defined in Jamaica with the coronation of Emperor Haile Selassie of Ethiopia in the 1930's. However, the roots of the movement have been spreading spiritually from the advent of Christianity and early liberation theology. It stems historically from the roots of Africa with the slave trade, and later strengthening politically with the mission of the Universal Negro Improvement Association and the words of Marcus Garvey, and many other Black Leaders before the Harlem Renaissance in 1920. The universal cry was to "look to Africa for the crowning of a Black King and when that King is crowned that shall be the Redeemer of the Sufferers."

It was also prophesized in the Bible in Revelations that the Lion of Judah was the only one worthy to open the Seventh Seal and save the world from destruction.Midnite's Vaughn Benjamin combination with Lutan Fyah on this new release by LustreKingsproductions Rastafarians interpret this divine message to mean that Haile Selassie, whose title was the Conquering Lion of the Tribe of Judah, would break the chains of slavery and give the Sufferers their freedom again. Jah Breeze behind Toots with his Video Camera documenting Rastafari Ideology
in San Francisco Reggae in the Park, Photocredits, Sophie of Frenchiephotos The sufferers are the slaves who had been emancipated after 1863 but still not free in 2003. The sufferers were categorized as chattel or property, inanimate objects having no emotional feelings or civil rights. They were constantly fighting segregation laws, which were bent on treating them as less than animals, lynching and killing them when they try to act like humans. It was illegal to chain their hands and feet but acceptable to chain their minds. Most Rastafarians I interviewed thought mental slavery still exists today for many groups, but it is now called a new name, 'internalized racial oppression' which is supported by institutionalized racism.

As in post 911 America, the sufferers are all people of dissent, regardless of race, color or creed, and we are all at the mercy of the economic downturn and civil rights abuses. Affirmative action programs are being cut as much as 'Dreadies' are shaving their dreadlocks. It is unacceptable by the Rastafarian tenets to grow your dreads as a hair style, it's a 'taboo' to cut it unless you witness a dead body in which case it will defile your locks. Some Rastas shaved to avoid persecution like the Coral Garden incident in Jamaica in 1963 where the government rounded up all Rasta men and shaved them. Some Rastas shave for employment but in most cases growing the dreadlock is in defiance of the Babylon system. There is a series of rituals a Nazarene has to partake of before they can grow their hair. It is a natural process that involves washing and praying or meditation only; no chemicals or Beeswax and definitely no Barber Shop, Beauty Salon or 'Vanity Fair'. Jah Breeze and Sista Della Grant at Sierra Nevada 2004Some Rastas like the Bobo Ashanti sect wear Turbans and hats call 'Tams' or 'Crowns' to cover their dreadlocks, because of all the commercial 'dreadie' infiltrating the movement. There is also the 'rent a dreadie' which is a tourist thing where female visitors to the island would become infatuated with the hair style and hire a dreadie to run errands and perform sexual favors. Rastafarians do not support this form of exploitation so they are covering their dreadlocks so as not to be mistaken as the defilers. This is one reason why authentic Rasta despises being call 'dread', because every dread is not a Rasta and every Rasta is not a dread. As the young prince of the Bobo Ashanti sect, Sizzla stated in his CD entitled "Royal son of Ethiopia", when he chants, "never let the enemy see you dreads because they would bring the wicked man into your Bless".

Then again, Morgan Heritage in their hit song contended, "You don't 'haffa' dread to be Rasta" as I realize that they are all dreadlock Rastas. But like in all African proverbs or colloquial expressions there is an implied message, meaning Rasta is not only about the covenant on your head but the one in your heart, which is invisible to the unconscious ones. The dreadlocks that Rastafarians grow on their head is a covenant to their livity mentioned in the book of Numbers Chapter 6, verse 13 which is known as the vow of the Nazarene. Tony Rebel being interviewed at Reggae Sunsplash in Jamaica 1993 by Jah Breeze, 
Photocredits, Jamaica Gleaner This vow stipulates that you grow your hair as an external precept to show your separation and devotion to the highest creator. It is a spiritual vow, which gives the devotee inner strength and overstanding to continue their spiritual path even in the face of persecution.

The sufferers also reflected the African nations who were fighting for liberation from colonialization throughout the world. Haile Selassie became involved in the fight for liberation by helping to establish the League of Nations which is now the United Nations. He defended Ethiopia against the invasion of Mussolini and the Italian forces and set a precedent for Hitler and the German forces. According to an Ethiopian Elder who grew up with Haile Selassie, who said, "There would be no Africa with out the leadership of Haile Selassie and many people who know world history respect Selassie." So he did many heroic things and I guest, it is difficult to separate the political from the spiritual. But yet today we see thousands of people going down in Babylon and fighting against Selassie I and Rastafari ideology. When I asked the Ethiopian Elder his opinion about the careless Ethiopians going down in Babylon, he forgave them because they know not what they do. They do not know the history, and people without the history of their past is deemed to repeat it in the future. The Ethiopian Elder sees this as the cause for the economic and political turmoil in Ethiopia today.

Even Selassie I was humble about his own spiritual powers over his followers. When he arrived in Jamaica in 1966, he didn't realize the Rastafarians revered him more than some of his own people who viewed him as a mere mortal, a Christian King and head of a feudal political system. But it doesn't surprise me because a prophet Everton Blender performing at Reggae Sumfest 1993, Photocredits, 
Jah Breeze Graphics is never recognized in their own homeland. If the people can crucify Jesus Christ who they represent as White and one of their own; why wouldn't Selassie's people do the same thing to him? It was during this visit to Jamaica that the land grant known as 'Shashamane' was given to the Black Rastafarians to repatriate to Ethiopia.

Marcus Garvey is considered the father of the movement but even he later criticized the Rastas as being fanatical about their tenets especially the sacred herbs which was mentioned in the beginning of Genesis 1. Mutaburuka and some Elders today are forwarding a 'new faculty of interpretation' disputing Selassie I divinity. Please respect the images on the website do not exploit for capital gain without seeking permission, copyright infringement is a viable legal consequence Yet, we as fervent Rastafarians know that Jah is worthy to be praised. We are not here to fight amongst ourselves, we know about the old Babylon strategy to divide and conquer. So, if people have not come to this enlightenment as yet in their Rasta path or outgrew their path in the movement we know that Rastafari will prevail. People will keep trying to change the definition but it won't uphold without Selassie as the potentate.

However, there is one main tenet about Rastafari that is never disputed and that is that Haile Selassie is the symbol of this way of life. Rastafari is not considered a religion by most Rastas I interviewed for my video documentary, "Rastafari Ideology in Reggae Music and Culture". The Elders consider it a way of life, something that you can partake of on an individual basis without going to church. The Oslo Book Jah Breeze and Iley Dread at Sierra Nevada 2004 of Religion includes it as the most recent religion, but the Elders remain skeptical because they know that religion is opium for the masses, and the Pope and the Vatican represent a form of religion that Rastafarians despise. However, like Orisha, Santeria and other forms of liberation theology, Rastafari has many basic religious tenets, but its main foundation is absolute reverence to the Black Emperor Haile Selassie.

The Ethiopian World Federation and the Rastafari Centralization Organization, along with various houses and mansions of Rastafari sects like the Bobo Ashanti, Nyabinghi and the Twelve Tribes recognize and revere Haile Selassie as the Black Christ, the Comforter and lineage to their divinity. Even if it is out of defiance it is steadfast. Haile Selassie is directly related to King David, King Solomon and the Queen of Sheba. There is no dispute of this royal lineage as it is chronicled in King of Kings, the Torah and many other biblical doctrines.

I think this is the mystical protection of this way of life, because most Rastas I interviewed in my documentary were fanatical about this tenet, just as Judeo-Christians would defend their established image of Jesus Christ or the Buddhist would defend the Lama. The ironic thing is that most Rastas are Christians because Selassie I was a Christian King. The Ark of the Covenant, which is now called the Ten Commandments, is protected in Ethiopia. Ethiopia holds the history as a holy land and one of the early Christian Kingdoms mentioned in the Bible. Psalms 68 indicated "Ethiopia shall soon stress forth her hands unto God," and the verse further states, "extol him the one who rides on the clouds by his name Jah." Hallelujah in Hebrew translates to "praise God." But yet I know of some Rastas in my interviews that would say that 'God' is a Greek word, spelled 'Gad,' and we are Hebrews or Israelites.

Whatever the misconception creates we are all in agreement that the Black King is the symbolic icon and considered the God Head of this movement. Anyone who disputes this dogma will get a fight from any conscious Rastaman. As Frankie the Elder Rastaman in Trelawney expressed in his interview for the documentary in 1998, "Babylon is going to get a fight from the Rastas until the Pope and the Vatican accept the fact and tell the world that Selassie I is the Godhead." By fight he is referring to philosophical disagreement. So even if intellect or the "the new faculty of interpretation" being forward by some Elders like Mutaburuka who states Selassie is not God, we as Rastas would respond that faith is the substance of things seen and unseen. Like any spirituality it is difficult to rationalize unless you are experiencing the benefits.

Selassie I is the most salient personage of Rastafari globally, along with the late Reggae Superstar Bob Marley who echoed the philosophy of Haile Selassie and enlightened the world to his Majesty's words and speeches, including the title song, "War".

Today we find Rastafari being embraced by many sufferers from all walks of life. Like Buddhism, Rastafari is a path or process to enlightenment that is always in progress. As Bob Marley stated to the world, "anything you adopt will grow out of you as an inborn concept." I interpret those words to mean you have to apply conviction, which is equivalent to having faith. So anyone can be Rasta if you receive the calling. But many are called and few are chosen. As a Rastaman I would like the world to respect my livity, but I think it would lose its authenticity if it's open to conversion campaigns like most religious groups who recruit new followers saying "bring us your tired and your poor, these huddling masses yearning to find nirvana." I am skeptical like the Elders, who feel we need to create an invisible wire fence so that the imposters get zapped; maybe this is the 'hotta fyah' or 'judgment' that Capleton and Sizzla refer to in their chants. According to my late friend and mentor, Alric Forbes from the 'Gladiators', regarding fake Rastas and imposters, "We need the miracles of old as mentioned in the Bible to return to present day life, like when Lot's wife turned into a pillar of salt and every time an imposter penetrates they will turn into a pillar of salt and disintegrate."

But then again Bob Marley says, Jah Rastafari don't run no wire fence and create borders. There is an internal telepathy that identifies one as an authentic Rasta and this has nothing to do with dreads or race. It is a connection to the heart and an openness to be humble, ego-free and dedicated to work grass roots for the movement without expectation of fame and glory.

So should we leave it up to chance or the same powers that created it to determine the growth and development of Rastafari?

Are the Elders willing to be on the forefront like the predecessors, not only as Entertainers, which is great, but also as Educators, which is even greater for liberation?

Or are we ok with just selling reggae or promoting reggae without regard to the Rastafari ideology?

The common comments by the Rastafarians I have interviewed for my documentary were that they are open to all cultures that want to share in this livity, but they were opposed to being exploited on their own resources or heritage. According to Buju Banton in his 'Til Shiloh' CD and Anthony B in his 'Universal Message' CD in the song 'Storm Winds', the universal cry again is that we want to rule our own destiny so we can model this empowerment for new followers who would be new to the concept of Rastafari. In order for Rastafari to be prevalent and potent as a universal doctrine, the Elders have to define it and keep it authentic like the Griots of Africa. This means the houses and mansions of Rastafari as well as the organizations such as the Ethiopian World Federation, the Rastafari Centralization Organization and other grass roots sectors must come together as one on other tenets, just as they came together on the Black King's divinity.

In my opinion this is the only reason why it is viable today as a culture that is resistant to appropriation. Our predecessors have set it up for us mystically. It would be very difficult for any person to accept a Black Creator giving the institutional racism that has been in place since slavery. When they do it is a total healing for all because it is a fact that our common ancestors are African and therefore Black. We need to check the facts before we start to hate so we can increase the peace and build a world we can all appreciate.

So children run come rally resiliently around the Ites, Gold and Green before it is too late.

"Until the lions become their own historians, tales of the hunted will always glorify the hunters."

Jah Breeze is a freelance journalist and video documentary producer from Guyana, South America. He is also an international musician and percussionist who has traveled to other continents to perform and study. The video documentary entitled "Rastafari Ideology in Reggae Music and Culture" began in 1994 with in-depth personal interviews with many top Reggae musicians and aficionados, as well as with "the man on the street" in Jamaica about the spiritual, social and political concepts of Rastafari and its influence on world culture. Jah Breeze received a Service to Education Award in May 2000 from Seattle Community College District in recognition of 5 years of dedication to teaching. He currently serves on the Board of Directors of Arts Corps, a nonprofit arts education organization in Seattle. He is also an Artist in Residence at Islandwood School on Bainbridge Island and teaches at Highline Community College. He holds a Bachelor of Fine Arts degree in Speech Communication from Drake University.



Exhibition Review
Mystics and Militants: A Look at the Rastafari Kingdom By EDWARD ROTHSTEIN
[Jake’s comments in red: For starters, let me note that the title here “Mystics and Miltants”, was taken from a section heading of one of my articles that I provided for Rothstein. He spoke with me for about 45 minutes around the time of the opening of the exhibit six months ago. I then sent him 8-9 articles on Rastafari written by me and Professor Carole Yawney, my late research partner. I also included a selected bibliography of published works on Rastafari and annotated this list to indicate the particular strengths of usefulness of different texts. Rothstein never bothered to thank me for these or to communicate with me again—not that it matters.
Embedded in his text below you’ll see my response to various points he makes. Rothstein identifies some of the shortcoming in the exhibit that resulted from the downsizing of the show and he exploits them, mostly unfairly, in his review. He also perpetuates some untruths along the way which is to be expected by someone who doesn’t know the subject.
But here’s what’s more interesting to me. Rothstein waited six months to do this review which ran on the front page of the ARTS section of the Times. In DC the exhibit would be considered old news by now. But in New York City —which is widely regarded both as an ‘outpost of the Caribbean ’ and a site for its second diasporas as well as a ‘global city’, a review on the subject of Rastafari can still be “news.” It’s somewhat amazing that a tiny 500 square foot exhibit ensconced and even hidden in a larger Hall gets about three times more ink in the New York Times than it got in the Washington Post. To be sure, I don’t like the review, but Rothstein still apparently knows a story when he sees one. See my specific remarks below.]
WASHINGTON — Bob Marley, ganja smoking and dreadlocks are here — how could they not be in what is billed as the first exhibition about the Rastafari ever mounted in a major museum? Reggae, the ceremonial smoking of marijuana, and tightly coiled locks of hair could hardly be omitted when the Smithsonian’s National Museum of Natural History devotes a show to this Jamaican-born subculture. Most of us, in fact, know of Rastafari only through these popular manifestations.
But what is Rastafari? Is it a religion? A way of life? A political movement? All of the above, as this exhibition demonstrates. “Discovering Rastafari!” reveals far more about Rastafarian culture than familiar symbols and the show’s modest size might suggest.
Admittedly, the exhibition does not quite feel at home, squirreled away to the side before you enter a large, permanent show devoted to African cultures and peoples that is as bloated as this one is constricted. And of course the Rastafari exhibition does not really belong in the same museum as paleontological finds and collections of insects and gems. [Of course, this is a standard critique of anthropology in contemporary natural history museums. The critique acquires new traction as we attempt to work on cultures like Rasta which are counter-culture forms of modernity. Cultures like Rastafari are typically hybrid, inventive forms that actually arise by insinuating themselves within modern forms of life rather than coming from long-standing received traditions. This is another reason why the NMNH should be renamed if anthropology is to continue as meaningful within our portals. “Discovering Rastafari” in particular and the African Voices Hall in general is the most compelling argument for re-positioning the meanings of what we do.] That placement is a relic of the 19th-century conception of the natural history museum as a temple devoted to exotic “natural” cultures and objects — evolutionary predecessors of the scientific West.
Yet the curator and anthropologist John P. Homiak spent years condensing his knowledge of the Rastafari into this show, while also consulting with nearly a score of believers and cultural leaders. It tells the story of a local folk religion that began almost 80 years ago with the belief that Haile Selassie — the 20th-century Ethiopian emperor — was the living God, the black Messiah. It grew to become an international movement, yet one that still has no central authority and no codified sacred texts.
As small as this exhibition is, there are enough history and material here to spur curiosity and wonder. But there is enough omitted so that eventually you see how partial — and partly skewed — an interpretation the show represents.
As the exhibition points out, Rastafari beliefs grew out of a particular experience — slavery and its aftermath in Jamaica — and a particular view of how that suffering might be overcome. In this case hardship was ameliorated by a hope adapted from the biblical dream of Zion, that someday blacks might return to a land from which they were exiled: Ethiopia .
Maps from the 17th and 18th centuries on display show that the country’s name was broadly used to refer to the entire African continent, but there are also biblical references to a particular kingdom. “Princes shall come out of Egypt ,” a psalm proclaims. “ Ethiopia shall soon stretch out her hands unto God.” In Jamaica the stretching of the hands began as early as the 18th century and reached far.
As the show describes, these ideas were amplified by the charismatic, Jamaican-born black leader Marcus Garvey, who in the 1920s urged all blacks to see themselves in a common struggle; he wanted them to view everything through a shared vision, to worship God “through the spectacles of Ethiopia .” He also predicted that a black savior would emerge from Africa . But until that happened, he worked as if none would appear. He founded the United Negro Improvement Association (which had two million international members by 1919) and created the newspaper Negro World (which had a half-million circulation) .
Then, as if satisfying that prophet’s expectations, Ethiopia ’s prince regent, Tafari Makonnen, who had the honorific title Ras, meaning “head of an army,” was crowned emperor of Ethiopia . Garvey called on his followers to join together and “lift up the hand of Emperor Ras Tafari.”
Garvey did not foresee the kind of religion that would develop out of his messianic vision of Ras Tafari, who as emperor was renamed Haile Selassie (which, in the Ethiopian language Amharic, means “Power of the Trinity”). Selassie, tracing his own lineage back to King Solomon, was also not a modest man; his official titles included King of Kings, Conquering Lion of the Tribe of Judah and Light of the World. But by all accounts, he was also a brilliant speaker and statesman.
In 1935, when he was leading a fight against Mussolini’s invasion of his country, he became a world figure, and he was crowned Time magazine’s Man of the Year in 1936. For a small group of Ethiopian believers in Jamaica , all this simply confirmed Selassie’s divinity and the fulfillment of prophecies.
The exhibition, though, becomes too abbreviated at this crucial moment. [A reasonable observation- -I agree about the abbreviated nature of the exhibit. But again, the issue of downsizing is not addressed in the review as I discussed with Rothstein.. There was a whole section planned on Marcus Garvey as well as on Leonard Howell and other early leaders as well as a section on the struggle of the first generation of Dreadlocks Rastafari to realize their culture in the 1950s and 1960s prior to the visit of Emperor Selassie to Jamaica. Pertinent to Rothstein’s critique that the exhibit dodged issues of racial exclusivity as opposed to its contemporary inclusivity, such a section would have traced the way in which Rasta ideology developed from an ethos of ‘Black Supremacy’ to the “members of a new race” trajectory that it has today. Again, these omissions reflected the constraints of space—what Rothstein observes as the ‘constricted space’ of the exhibit. I pointed this out to him six months ago—but it’s clear that he didn’t really want to understand the process here or what was behind this. These kinds of reviews are about being cleaver and scoring points. That’s why he’s a “critic-at-large.”] It pays brief attention to Leonard Howell, “sometimes called the first Rastafari,” who founded the “first Rastafari commune” in Jamaica in 1940. [Yes—as noted above, a whole section on Howell was planned, but cut due to space.] Mr. Howell advocated a return to Ethiopia and handed out postcard passports to his followers. Mysterious and allusive books like “The Holy Piby” unified black believers.
And then, in the show’s narrative, came the gradual growth of this marginal movement, which gained in stature during the 1966 visit of Selassie to Jamaica . The emperor pushed the eccentric religion into the mainstream, inviting its leaders to state receptions and handing out gold medals to figures who were, until then, widely scorned. What Selassie did in the political realm, Marley did in the cultural realm, giving Rastafari ideas worldwide distribution. [Of course, it’s more complex than this—but this is a serviceable gloss for what was in fact a much more complex process.]
The exhibition celebrates those ideas. There are examples here of folk art portraying Selassie, and samplings of the decentralized religion’s many subcultures and “mansions”: organizations reflecting various versions of the belief. There are also widely shared ideas, including a restricted diet called “ital,” avoiding meats and non-ganja intoxicants. And the spread of Rastafari is illustrated with examples of communities in Ethiopia formed by believers who settled there, and by Rastafari groups flourishing even in Japan .
But something strange happens in the midst of this narrative. Rastafari belief starts to seem almost sunny in nature, its messages homogenized into blandness. The highly patriarchal beliefs of the Rastas get only passing mention; [True—we don’t address the patriarchy issues in any specific way, although there is mention of Rastafari women asserting themselves during the movement’s recent period of globalization— a whole section on women-in-Rastafari was omitted when the exhibit was downsized] the ceremonial use of marijuana is invoked by a small textual panel. And by highlighting Selassie’s speeches at the beginning of the exhibition, with their proclamations of universal brotherhood, the show makes it seem as if those ideas were fundamental to Rastafari belief.
Actually, the history is far darker, more disturbing and more intriguing. [It’s fair to say the history is MUCH more complex—but this particular ‘dark’ move, as Rothstein calls it, doesn’t cover it accurately—nor does the book by Ennis Edmonds—who points out in his own book that his work is NOT even based on firsthand fieldwork with members of the movement.] In a recent book, “Rastafari: From Outcasts to Culture Bearers” ( Oxford ), Ennis Barrington Edmonds points out just how fierce the charismatic figures were who founded the movement.
Mr. Howell, Mr. Edmonds points out, recruited his first followers by advocating violence against whites and arguing for the superiority of the African race [ This statement by Rothstein warrants a close reading and unpacking, starting first with the point about “advocating violence against whites.” This is, by all accounts, simply unproven and only perpetuates one of the multitude of colonial slurs that were used to characterize the early Movement as dangerous and reactionary and that provided provocation for all manner of subsequent repressive interventions by the colonial authorities. Edmonds doesn’t actually research this point, but simply cites Leonard Barrett as the source of this claim—and Barrett cites no source in the colonial records. He, in turn, took his characterization from George Simpson who spent but a very brief time amongst the brethren in the early 1950s. Howell and his followers would probably have been exterminated by British colonial authorities if there was anything to this claim. Ultimately the Howellites were but for slightly different reasons.
The more compelling piece of evidence against the lineage of accusations that comes from Barrett, et.al., is that the first researcher of Rastafari, George Eaton Simpson, a white man, moved quite easily amongst the Rastafari groups in Kingston during the early 1950s that were being formed in the aftermath of the destruction of Pinnacle, Howell’s commune. (The same could be said of later white researchers like Kitzinger, Owens, Yawney and myself.) If the ethos of the movement had been primarily one of racial animus, then a question needs to be asked: how did Simpson and the rest of us fare so well with these supposedly “racist” and “revolutionary” people? We fared well because something else is going on…Rastafari tests the hearts of people—it doesn’t label them as one thing or another.
Second, there is the claim of “arguing for the superiority of the black race.” Statements—particula rly ones like these that are coming out of a crucible of colonial repression, need contexts if they are to be properly understood. What the early Rastafari movement was responding to were centuries old feelings of blacks being ‘chained’ by a sense of inferiority to whites. “Black Supremacy” was an antidote to this—instilling black people with a sense of their own history, great men, achievements, and possibilities. It was part of the same enabling ethos coming from the teachings of Marcus Garvey that sought to liberate the black person from mental inferiority and mental ‘slavery.’ No one charges Bob Marley with racism when he sings about resisting oppression, “Black survivors” and liberating oneself from ‘mental slavery’—be one black or white.
Rothstein grasps none of this—and one of the reasons we did not attempt to tackle this line of thought is because an abbreviated line on a text panel can’t take audiences to a sufficient level of understanding. They would need to discover it for themselves. It’s now a lesson in exhibits, just as it is in political campaigns, that if you say something negative and then try to explain it, the audience will take away the negative idea and not the explanation of it you’re trying to advance.
Again, just to emphasize the point, Ennis Edmonds, the author that Rothstein quotes above, did not do his own original research on the movement. He cites secondary sources on this point which simply parroted the type of hysterical colonial criticism of Rasta.] [‘Black Supremacy’ is the precise term, and exactly what that had meant over the years requires unpacking.] ; in the 1930s he preached that they should also withdraw their allegiance from the British crown. His commune was subject to police raids, and he was jailed twice. He was ultimately committed to a mental hospital, believing himself the incarnation of Christ.
One of the key doctrines of Rastafari was “beating down Babylon ”; Babylon was the metaphorical name given for European power, white man’s culture, the established church and even the police. This racist and radical notion plays no role in the exhibition [Rothstein engages in a bit of curious logic here. I would ask how and why he considers the Rastafari act of metaphorically resisting the concepts and dominant power of European colonialism to be RACIST? Yes indeed--it might be radical if seen from the perspective of the colonial authorities, but it certainly couldn’t be termed racist. And we are certainly not in the business of defending oppressive colonial regimes—wouldn’ t that be radical and racist?. Of course there have been and to some extent are ‘racialist’ sentiments in the movement—how could there not be. True—there was, and in some quarters, continues to be racial animosity toward whites by Rastafari because of how they see the white European world having treated them and their ancestors. If you’re really looking for a clue to any of this in the exhibit I believe that we note in the exhibit that the term “Nyahbinghi” entered the Jamaican vocabulary of racial protest in 1935 and was interpreted to mean “death to black and white oppressors.” This would be a starting point for those who want to look further.
Whatever questions remain about the place of racial animosity being part of Rastafari, the larger point to be made is that Rastafari, as currently constituted, reflects a communicative space in which dialogue about racial categories and issues of social justice is fully in play. The thrust of the movement in this regard is about generating understanding, not racial animosity. What Rastafari have developed is a prideful race consciousness and that’s the hallmark of their ethos. Again—a reasonable person would have taken another look at the tiny space and at least asked where these issues could reasonably and effectively been engaged.
Beyond this, I would argue that the “real facts” of what Rastafarians actually suffered through over the years is what makes the survival of their movement and the ecumenical collective spirit they manifest today all the more impressive. For the first four decades of the movement, Rastas couldn’t get employment or ride on public transportation, they were economically marginalized for the most part (as they are to this very day), they were disowned and removed from their parental homes by their families when they declared their faith by becoming a Dreadlocks, they were often forcibly trimmed by the authorities as a form of public humiliation, and they were periodically subject to campaigns of state harassment and even terror and killing (in at least three well-known episodes). The majority of Rasta I know in Jamaica passed through all this over the years without becoming embittered and with their faith intact. And yes—as Rothstein notes below—I do have admiration for their culture. Not that he would know why—but it’s largely for this reason. ], though histories of the movement — in “The Rastafarians” by Leonard E. Barrett Sr. or a Rastafari reader, “Chanting Down Babylon” — give it an important place.
This rebellious and hostile energy is the flip side of the devotional worship of Selassie and his representation of black political power. Rastafari belief developed partly out of resentment, not just against whites, but against the black middle-class culture of Jamaica . [Yes—all this should be in there—as noted above.] This was one reason the once-disreputable style of dreadlocks and the ceremonial smoking of marijuana became so important. This opposition, in a subtler way, inspired the movement’s wit and strangeness, and its playful provocations. It helps explain Rastafari beliefs, the kind of enmity they inspired, and the extent of the transformation in more recent decades as Rastafari became more mainstream. [This whole paragraph is a non-sequitor. You can’t talk about the development of beliefs that inspired enmity and their transformation into something else just because they combined devotional and political elements in them.]
This is not apparent in the show. It is almost as if it were reluctant to give any hint of something that couldn’t be universally hailed. And it leaves unclear how much of the original racist conception remains. Some of this difficulty may grow out of Mr. Homiak’s admiration for the culture he has studied. But part of it has the characteristic of many museum shows that begin, as this one boasts of doing, with an “advisory team” of cultural leaders that was “consulted on all details of the exhibition to ensure that it communicates the most important aspects of Rastafari to the public.” [This is a cheap shot which suggests that the Smithsonian had no curatorial control. That’s not true. As part of the collaborative process with the Rastafari Advisory Group we went through three rounds of feedback over the exhibit texts; and we had a special meeting of a smaller version of the Advisory Group to address the decision of whether to drop the exhibit or continue forward when the issue of downsizing had to be dealt with.
In the final analysis, Rothstein’s review reflects his disinterest or unwillingness to actually speak with anyone actually involved in the production of the exhibit, including me or Michael Mason. Ultimately, what was not communicated to the public reflected decisions that we had to make just to shoe-horn the exhibit into a very small space—a space that was less than one-quarter the size of what I anticipated.]
This is pandering and promotion, not scholarship, and it mars what could have been an even more fascinating show. [Rothstein’s use of the ‘promotion-versus- scholarship’ couplet reflects a careful choice of words intended for maximum effect to undermine what integrity the exhibit actually does have. There’s nothing that is not true or accurate in the exhibit. Yes, we may have fallen short by virtue of what we couldn’t get in there. It should be noted that the point of exhibits is not to produce ‘scholarship’. Yes—they may be based on understandings that derive from ‘scholarship’, for want of another word, but we don’t actually produce ‘scholarship’ in our exhibits. We write books, articles, and go to conferences to engage issues of scholarship. And we figure out how to use our scholarship in ways that will constructively engage the public. Discovering Rastafari has surely succeeded in doing that.
Exhibits are a kind of communication in another register, maybe a minor key. But their aim should be not only to inform but also to spur curiosity and further interest on the part of museum goes. Films work the same way. Rothstein might have inquired about what kind of public interest this exhibit has generated and how it has prompted visitors to learn more about Rastafari on their own. There are certainly stories to be told in this regard. ]
“Discovering Rastafari!” runs through Nov. 8 at the Smithsonian National Museum of Natural History, 10th Street and Constitution Avenue NW, Washington; (202) 633-1000.



RAW# 1650
Reasoning with a Rastaman


Clearing the Smoke
by David Malachai McAfee, M.D.

Recently several articles have appeared in the local paper about Jamaican culture, each including vague references to Rastafarian beliefs and rituals. It seems clear to me that the time has come to present a better understanding, in certain terminology, without mystery and confusion, of Rastafari. Why do none of these publications attempt to present the philosophy of Rastafari? Having studied Reggae music and Rastafarian philosophy for 20 years, and having gained some insight into the deeper inspiration of the culture, I was presented an opportunity to interview one of the leading thinkers in Rastafari today--Michael Taylor a.k.a. Mikey General. Mr. Taylor is a British-born Jamaican, whose family migrated to Jamaica when he was two years old. He has spent over 20 years in the music business starting as a child singing in church choirs. He recorded his first single "Roots Mi Roots" at 16 years of age. Later, returning to the U.K., he earned the "Newcomer of the Year" award in the local charts.

Mr. Taylor continued to work diligently at his music, touring mostly in Europe, when he felt the spirit calling him back to Jamaica. In association with another conscious Reggae great, Luciano, he began his pilgrimage to Rastafari. In 1994, Mr. Taylor began to grow his Dreadlocks, an outward sign of an inward struggle, adopting a true and natural lifestyle. Throughout his career, Mr. Taylor worked to "exterminate the slackness in Reggae music." His music unites the trinity of word, sound and power in all of his works. His latest CD "Exalt Jah" exemplifies his philosophical and musical career. He is currently touring the U.S. with Luciano, bringing the message of "One Love and Peace."

Rastafarian philosophy finds its roots in Ethiopia or ancient Africa, which included modern-day India. So, much of the thought emanates from Eastern religions. The science of religion began in these lands, and great work has been done on the subject. In India today, the concentration is on finding enlightenment through spiritual practice-- not as in the West -- inventing technology to facilitate work and improve efficiency, usually for monetary gain. Together, Western mental discipline applied to Eastern philosophy may create a powerful synthesis of ideals. "Rastafari incorporates the metaphysical philosophy of the Hindu religion as God expressed in man" says Mr. Taylor. So, Rastafari is like East meets West. It has its roots in Eastern thought and a tremendous foundation in Christianity.

Jamaica is a unique place for these two ways of thinking to meet. Through slavery and abject poverty, desperation and struggle topped with little education other than what was taught in Christian services, Rastafarian philosophy was born. One of its tenets is to SEE what is going on around us and not blindly believe a counterintuitive way of life. We must remember that in Jamaica there was, and to some extent still remains, an economic and social gap between the white and black races. There exists separation based on the degree of blackness. The common misused Christian teaching that white is pure and black is impure lingers today. "Divide and conquer is the Will He Lynch? syndrome brought by slave owners in Jamaica to black slaves. It is a process where slaves are taught to fight one another over trivial things, such as skin color, hair texture or stature, allowing the slave master easier control of a disharmonious group," says Mr. Taylor. "Instead of trying to control a unified population of slaves with violence and killing alone, slave owners instituted a policy of divide and rule."

Because Jamaica is an island, there was nowhere to run or hide from the constant reminder of this apparent separation. Out of great suffering comes a great desire for nonsuffering. A path of nonsuffering does not mean laziness; it requires a great amount of work. But, the rub is to make the work you are doing your happiness or your bliss. Salvation is not an external concept, it comes from a deep desire to positively change oneself toward a common goal for the benefit of, first, your immediate community, and, as your fullness develops, all beings.

So, one asks, where are the churches or the buildings? Where is the organization? Where is the Pope of Rastafari? As mentioned earlier, Rastafari urges each person to examine his/her own inner spirituality. The fundamental text is the King James version of the Bible. But, faith is not housed in books or buildings, but found written on the hearts and souls of Everyman. "His Imperial Majesty [Haile Selassie] says that no matter the translation or the diction, the Word remains one and the same, and in it man will find the truth. You should always read with a clear conscience so that the spirit can instill in you the foundation of what is true from what is illusion," says Mr. Taylor. So, by design, the Rastafarian faith is centered in daily life: How we think, act and speak to each other in every moment is a meditation. If our thoughts match our actions and words regarding truth, humanity and justice, we remain deeply rooted to the basic ideals of Christianity. "Live for the moment; the past is gone, the future is not yet written. Now that I am in this time and space dimension, now is the time for my transformation. While I am here, I must express my divinity at this specific moment in time," says Mr. Taylor. The Rastafarians value the teaching, not the teacher; the community, not the individual; the inherent divinity in all life, not the vain physical manifestation. It is a general feeling that many institutions are a creation of man's ego or self and identify with principles incongruent with divine law. Greed replaces charity, guilt replaces forgiveness, separation replaces unity in a world turned upside down in the insatiable drive for individuality and financial wealth.

Rastafari reminds us of our connection to the Earth. In Psalms 24:1, we read "The Earth is the Lord's and the fullness thereof, the world, and they that dwell therein." Haile Selassie, emperor of Ethiopia from 1930 to1974, is hailed by Rastafarians as a manifestation of Christ in modern times. In the inspiration of his divinity, we should gain knowledge and wisdom on how to live today. Selassie is an instrument, as Christ was in His time, to uplift all people to their potential as divine beings, and to act accordingly, NOW. Ratstafari's Jah is a living God. The realization that Christ, Buddha, God, Allah, Sellassie live in all men-- and should be respected as such-- is a central ideal in Rastafari. When we hear the familiar phrase of Bob Marley singing "One Love," we must profoundly meditate on the divinity of all beings and our interconnectivity with all life. The miracle of life is Jah.

Rastafari is an opening, a path or a direction or a way to live in connection with life, not in opposition to life. When we develop this connection, by whatever means or path, suffering fades and life opens. This takes hard work (bliss) and dedication (livication), and it is practiced in every moment. In Genesis 3:19, we read "In the sweat of thy face shalt thou eat bread, 'til thou return unto the ground; for out of it wast thou taken for dust thou [art], and unto dust shalt thou return." The message of Rastafari is live well, NOW. It should be clear that the Rastafarian faith is Biblically based, is grounded in nature, and respects the divinity of all men equally. When we act in accordance with a pure life and a clean heart and a good conscience, we can begin to better understand (overstand) the true Rastafarian way of life. Mr. Taylor closes with "It is our duty as human beings to express our divinity, and the divine is love. Let us all love!"

Haile Selassie says, "One God, One Aim, One Destiny. Unity gives strength and assures success. Loyalty inspires understanding, and understanding cooperation. These are the clearest evidence of strength, but the basis for all lies in education. It is through education that we can overcome lawlessness and immorality." In the open presentation and frank discussion of ideas, we can find the strength of understanding and universal compassion for all people. Jah Rastafari.






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