Ahead
of his new BBC doc Roots, Reggae, Rebellion, the rapper and poet
considers the genre’s political history and thrilling rebirth, Akala writes for London's Guardian.
Making my documentary Roots, Reggae, Rebellion was
partly a journey of discovery for me, and partly about telling people
why I love this music so much. Travelling as a person of Jamaican
heritage, you notice the impact that this tiny island’s music has had on
the entire planet, and reggae has been such an integral part of my life
and upbringing. It was there at every family function, every
christening, every wedding, every birthday. But only as I got older have
I fully realised the impact it’s had on shaping my worldview, my life
and my politics.
People
forget that reggae was truly subversive music. Growing up, it didn’t
make sense to me that these songs predominantly about love and peace and
self-respect came from what was almost a war zone in Trenchtown; 800
murders in an election year, that’s a civil war. Most of it is about
uplifting your people and then, if necessary, rebellion; but it had
multiple political messages. Pan-Africanism was dominant, this imagining
of a mythical African homeland and this Garvey-ite black nationalist
consciousness.
But
reggae was also about class politics. One of the most famous Rasta
sayings is “death to black and white oppressors”: the message of
anti-oppression, environmentalism and trying to establish a better
society resonates around the planet to this day. In our increasingly
divided world, it says a lot about the state of our culture as human
beings that the idea of loving the planet and loving other human beings
is considered idealistic and stupid. The sad thing is there’s a lot of
money in death, profit to be made in hatred. Just look at the
persecution the reggae artists faced. Bob Marley – one of the greatest
songwriters of the 20th century, full stop – tried to unite the two
political parties of the Caribbean and he ended up shot.
Because
Jamaicans had been taught to be ashamed of their African ancestry,
Rastas were persecuted; even until recently they were seen as social
outcasts. In the past 10 or 15 years, that’s changed; Rasta ideals seem
to have firmly embedded themselves in mainstream Jamaican culture, from
street level to university, and with a new generation of artists such as
Chronixx, Jah9, Kabaka Pyramid and Protoje there’s a return to the
energy of the 70s after a period of dancehall dominance. Reggae didn’t
die with Bob Marley, it was just submerged for a while and these artists
are the logical rebirth.
It
does Jamaica and the world a service to have artists who question
power, critique the hypocrisy of society and make great music that makes
people want to dance and sing, love and have sex and do all the good
things humans want to do. You can’t be unhappy listening to most reggae.
It’s sunshine in a chord.
Roots, Reggae, Rebellion is on Friday 11 November, 9pm, BBC4
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