Journal Article Paper

 Bob Marley’s “Redemption Song”: The Rhetoric of Reggae and Rastafari

 The article Bob Marley’s “Redemption Song”: The Rhetoric of Reggae and Rastafari by King and Jensen (2005) is a must read for those who want to get a quick synopsis on Marley’s reggae music and Rastafarian religion.  The purpose of the article was to study of how Bob Marley and how his music influenced reggae and Rastafarian religion.  The authors considered reggae music as “protest music” and set out to confirm some of the findings of past studies on the subject. The investigation eventually proved that Marley’s oratory of reclamation shows that the reggae music is a powerful metaphorically speaking genre in terms its message of human rights, freedom and unity.  Until his death, Bob Marley and his band (Wailers) were the principles of reggae.  Naturally as Rastafarian, Marley and his music were momentous in the amplification of the movement.  The authors provided a brief synopsis on the music as follow 1) music as a communication tool, 2) the rhetorical dimensions of metaphor, and 3) analysis of lyrical and music dimensions.  

It is in this context that the authors analyses forty of Marley and Wailers’ songs in order to comprehend how the lyrics affected the Rastafarian religion.  Their exploration concluded that there are four metaphoric groups associated with these songs lyrically speaking: God/Devil, Oppression/Freedom, War and Unity.  The article closed with a description of how reggae effects the Rastafarian association and other social issues specifically, how it fills the gap where other music failed. In addition, it provided several suggestions for future scholarly researches (King & Jensen, 1995).

Salient to this study are two main ideas: 1) the Rastafarian movement, and 2) Bob Marley and his influence on reggae and the Rastafarian movement.  Of the Rastafarian movement, the authors eloquently said that the moment experienced a rapid growth rate over the years notwithstanding the push by the Jamaican government and media outlets to dissipate it.  The article pointed to the advent of reggae music in the 1960s as a significant reason for the expansion the Rastafarian crusade in Jamaica and the World.  The number one force behind the rise of reggae music during this time and today is Bob Marley.  As a staunch Rastafarian, Marley sang songs of religious faith, social and political issues.  The messages in his songs did a lot for the impoverished: from raising awareness to actually taking action, but possibly most importantly he gave them hope.  The inspiring message of love and peace was especially important to Jamaican people because the only ways for the underprivileged to rise above the slums at the time was through crime or musical success, and most took the “crime” choice(King & Jensen, 1995).

Rastafarianism is crucial to Marley's music; he looked to this conviction for encouragement, in almost every song there are references to “Jah” “Babylon” “dread judgment” or “zion”.  These words, the authors opined are metaphoric phrases that are prevalent in reggae music.  The authors did an outstanding job breakdown the meaning of the lyrics, particularly the metaphors in the forty songs they examined.  For example, “jah” is god, “Babylon” used to symbolize to the observed evil of western culture, but has come to signify all abuse of power, “dread judgment” refers to the rhapsody and judgment day, and “Zion” is the land promised to the Rastas by Jah (King & Jensen, 1995).  The faith is Afrocentric and based on Marcus Garvey principles (repatriation to Africa) in the 1930s.   As a disciple of Marcus Garvey, Marley made constant references of his gospel as much as possible.  The lyrics of his most influential record, Redemption Song are from a speech Garvey.  

Many scholars of Marley concluded that his impact on the faith is through his metaphoric reggae lyrics, particular the “protest” songs.  I am of the opinion that he stimuli his audience with a profound rhetorical schemes similar to that of a preacher.  Hodge (2005) confirmed this by stating this is so especially when he is trying to communicate an important spiritual message.  Marley used his preacher-like charisma as an enabler to increase the cult like following into his Rastafarian beliefs.  There are some aspects of this article I agree with, and some I am not.  The damaging anti-Rastafarians perception is still prevalent today in many part of the World, especially in Jamaica.  I concur with the statement on the negative image projected in the press of the religion.  As a child growing up in Jamaica, we were schooled that rastas were “bad people” and we must try to avoid them as much as possible. 

Even though the religion has made inroads in societies, there are still stagnant stigmas associated with the religion. Two of which are the acceptation of Haile Selassie, the former emperor of Ethiopia as their god and their use of Ganga as sacrament which is illegal in many nations.  The author presented reggae music as absolute to protest music, I disagree somewhat.  In my opinion, this form of genre is reality music.  An examination of other artists discloses that there is more to the music than protest; at least not, in today’s climate.  The rousing message of love and peace are especially essential to Jamaican nation because the only ways someone could raise above the slums at the time was through crime or musical success, and most took the “crime” option.  I believe this article is relevant today because it provides an insight into reggae, specifically Marley’s lyrics.  The breakdown of some the forty songs’ lines is a good basis for further study on Jamaican oral tradition and the metaphors in music.  

References

Browne, R. (2005). Profiles of popular culture. Wisconsin: University of Wisconsin Press.

Hodges, H. (2005). Walk good: West indian oratorical traditions in bob marley’s uprising.

Journal of Commonwealth Literature , 40(2), 43-63. doi: 10.1177/0021989405054305.

ISSN: 0021-9894

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