Mollie Bell
11/10/09
Rhetoric of Reggae
Fall 2009 – Final Paper
Mutabaruka and LKJ –Dub
Poetry at its Best
Poetry
has the ability to convey a message in such an intense, multi-leveled,
descriptive manner that it lingers in the mind and body, parallel to the way in
which great music does. Like music, poetry is the logical expression of emotion
and feeling. It colors your thoughts and actions long after you forget the
actual words. The intermingling of dub music and poetry has lead to one of the
most profound art forms called dub poetry. This type of poetic performance evolved
out of dub music consisting of spoken words over reggae rhythms in Jamaica in
the 1970s. It is brimming with powerful political and social statements with
eloquence unique to the individual poet. Mutabaruka and Linton Kwesi Johnson
are perhaps the two ÒfathersÓ of dub poetry. Both poets released impressive
arrays of albums and books. Through looking into their lives and examining
their work, there is so much to be gained from these two Jamaican poets.
I write a poem
And feel
That my poem can create
Can awaken
Change
--Mutabaruka
When
we think of reggae we often conjure images of Jamaica, Bob Marley,
red/gold/green/black, ganja, Peter Tosh, and dreadlocks. It is not the 400 years
of slavery, violence, injustices, poverty and racism that immediately pop into
mind, but these symbols, images and prominent figures that dominate our view of
reggae music and Jamaican culture. And it is certainly not poetry or dub music
that we immediately correlate with reggae culture either. However, poetry and
dub music are so imperative to the full comprehension of Jamaican culture. Dub
poetry is also inspiring, enjoyable and a true awakening for mind and spirit.
Mutabaruka
has often been described as unorthodox, revolutionary, controversial, a
prophet, and a noisemaker. But these labels certainly do not faze this barefoot
Jamaican dub poet and folk philosopher.
Mutabaruka
was born in Rae Town, Kingston on December 26th, 1952. He was born
given the name Allan Hope. Muta attended Kingston Technical High School after
his primary education and he was a student there for four years. There was an
upsurge of Black Awareness in Jamaica in the late 1960Õs and early 1970Õs
parallel to a similar phenomenon in the United States. Muta was drawn into this
movement and read many books that lead him to view himself as a young
revolutionary. Muta was inspired by books such as Eldridge CleaverÕs Soul on Ice and The Autobiography of Malcolm X, which were illegal in Jamaica at
this time.
Mutabaruka
was trained in electronics and took employment at the Jamaica Telephone Company
Limited. Muta began to delve into Rastafarianism during his time at the
telephone company. He found it much more meaningful than either the Roman
Catholicism of his upbringing or the political radicalism into which he
drifted. When he deepened his investigation of Rastafarianism he became
intrigued and captivated. Soon he stopped combing his hair, started growing
dreadlocks, altered his diet and, although a number of his friends thought he
was losing his mind, declared himself a Rastafarian. In 1973 he took the name
Mutabaruka. ÒMutabarukaÓ is not a word, but a phrase which comes from the
Rwandan language and translates as Òone who is always victorious.Ó
Kingston
became increasingly unsatisfactory to Muta as he gained greater insight into
Rastafarianism, or rather Rastafarianism gave him greater insight to life. He
left the telephone company he was previously employed at and he and his family
left their home in Kingston in 1974. Muta found himself seeking a more
meaningful and spiritual existence. He did not want to get wrapped up in the Òwhite
manÕs worldÓ of materialistic values. This lead him to seek a more Òcongenial
environmentÓ for him and his family which they found in the Potosi District in
St. James where they built their new home and Muta began to focus entirely on
writing and performing his poetry.
The
earliest work of Mutabaruka was regularly published in ÒSwing,Ó which was a
monthly magazine. After getting excellent reviews and gaining popularity he
moved his work to audio and came out with his first single in 1981 called ÒEvery
Time A Ear De SounÕÓ and just a couple years later released his first LP, ÒCheck
it!Ó which was a searing commentary on the havoc reaped by 400 years of white
colonialism. He then began releasing albums quite frequently. After ÒCheck it!Ó
his discography is as follows: ÒDub Poets DubÓ (1983), ÒOutcryÓ (1984), ÒThe
Mystery UnfoldsÓ (1986), ÒAny Which WayÉFreedomÓ (1989), ÒMutabarukaÓ (1989), ÒMalanin
ManÓ (1994), ÒGathering of the SpiritsÓ (1998), ÒMuta In DubÓ (1998), and ÒLife
SquaredÓ (2002). Although Muta came out with an impressive and extensive
collection of albums, he also came out with extremely powerful collections of
poetry in the format of books. ÒMutabaruka: The First Poems/The Next PoemsÓ is
a recently published double-volume of poetry which comprises his first major
collection of poem he wrote in the 1970Õs in Òthe First PoemsÓ and a new
anthology of his best work written between 1980 and 2002 in Òthe Next Poems.Ó
Within
ÒMutabaruka: The First Poems/The Next Poems,Ó MutaÕs search for spiritual peace
and understanding is reflected in his work. Muta views Rastafarianism as a
universal quest that may also be pursued by alternate routes, such as Buddhism,
Hinduism, or Christianity. However, he strongly disapproves of
institutionalized religion, which is reflected and very evident in his work.
MutaÕs poems also invigorate anger in response to black suffering, Òdownpression,Ó
and deprivation. He dramatizes the horrors of slavery in his work and states
that the Black man should proudly remember their African roots and break out of
self-hatred imprisonment. Muta is also very critical of European cultures. I found
it fascinating in the first part of his book when he wrote:
Òshakespeare/milton/chaucer
still drenchin
the souls of black folks
tryin to integrate
in my life your lifeÓ
This is such a powerful and
deep statement by Mutabaruka. He uses the three European ÒGreatsÓ of literature
and puts into perspective how they dominate the worldÕs view of what ÒgoodÓ
literature is. Muta deems it completely unnecessary for this to be the
literature that everyone holds of high esteem. There is no parallel to the life
and culture of such classic European writers and the lives of Òblack folks.Ó So
why should this literature be considered great literature to Jamaicans and
other people of African roots? They were never given the same opportunities or
freedoms as these white men. Shakespeare was never torn from his homeland and
family and chained in a box on a ship. Milton was never denied of all rights to
receive any form of education. Chaucer was never enslaved. These ÒgreatsÓ have
no pertinence to the lives of Jamaicans or black folks, therefore their
writings cannot awaken the mind or soul which makes it far from great
literature. Clearly, Muta does not want minds to be diluted with the thought
that only classic writers such as these are excellent. He is crying out in need
for African and Jamaican originality in language, and that is what he
successfully does for the world through his poetry.
What
is commonly referred to as Òdub poetryÓ or Òreggae poetryÓ is the art that
Mutabaruka is considered to be a master of. However, he prefers to not limit
his work with labels. Being a Òdub poetÓ or Òprotest poetÓ only refers to one
aspect of the work, so Muta resists the title. In an interview about dub poetry
he says:
ÒWhen
I was doing poetry they didn't call it Dub poetry. It was just poetry to
music. Dub poetry just come later on down because they wanted to identify
a kind of poem. I don't really like the term still because it kind of limit
you to that. A lot of my poems, especially on my CDs, would draw from
different black musical perspective. We're very African-centered. A lot
of my poems would draw from the black experience, the musical experience
of black people all over the world. You don't want to just limit yourself
to reggae.Ó www.blackvegetarian.org
Mutabaruka clearly has no limits. He did not
want to be confined to just reggae beats so he took his fiery, revolutionary
and scathing lyrics to a new level. His words are so potent on paper and on his
CDs that the literary community actually came up with a new term, ÒMeta-dub,Ó
to describe his work. This form of dub poetry is concerned with the limitations
of the art form and has tried to widen the thematic scope of dub poetry by
referring to the art itself. ÒMeta poetryÓ is a self-awareness about poetry and
writing poetry and Òdub poetryÓ is spoken words over reggae rhythms that are
overtly political and of social nature; thus Òmeta-dubÓ poetry. A prime example
of this Òmeta-dubÓ poetry is MutabarukaÕs ÒRevolutionary Poets.Ó Muta writes:
revolutionary
poets
'ave
become entertainers
babblin
out angry words
about
ghetto
yout'
bein shot down
guns
an bombs
yes
revolutionary
words bein
digested
with bubble gums
popcorn
an
ice cream in tall inter conti nental
buildins
(The
First Poems)
Within this poem Muta offers commentary on the
conventional and predictable nature of the dub poetry of the 1970Õs. He
expresses his fears of Òdub poetryÓ messages not being taken seriously. The lines such as, Òrevolutionary words
bein / digested with bubble gumsÓ allow the reader, or listener, to be taken
back by how he reflects on the own art in which he partakes in and can see that
it needs to evolve to get across to the people and have them take it seriously.
Muta takes this recognition of how the art needs to change and runs with it in
his most famous poem ÒDis Poem.Ó
Watching
the video in class of Mutabaruka delivering his poem entitled ÒDis Poem,Ó was
completely enthralling for both mind and spirit. ÒDis PoemÓ is truly a
masterpiece. It is the poem of life, love, family, friends, religion,
worldview, and thinking. It represents everything that you ponder, whether it
is right or wrong, in the past present or future. ÒDis PoemÓ is your poem. MutaÕs
poem does not serve to cry out against racism, poverty, class oppression,
political deceit or the baleful influence of powerful nations like many of MutaÕs
poems seek to do. ÒDis PoemÓ simply encapsulates the power of thinking. The
ending of the poem is perhaps the most powerful point and brings the work full
circle. He writes, Òdis poem is to be continued / in your mind / in your mind /
in your mindÉÓ It gets you as a reader to ponder, question, think, and that is
truly the beauty of poetry and MutabarukaÕs work. ÒDis PoemÓ is a parallel to
dub music in the sense that it relies heavily on the listenerÕs own intuition
and intellect. Dub music does not rely on the 26 letters to express emotion,
but rather it lets the reader fill in the open spaces. Muta, however, has taken
the 26 letters and rendered them into art that transcends all boundaries and
similar to dub music he allows the reader to fill in the spaces.
ÒIt
no good to stay in a white man country too longÓ Mutabaruka warns repeatedly in
one of his poetry performances. The reggae off-beat playing in the background
has almost a soothing tone juxtaposed with the accompanying harsh and truthful
words of Mutabaruka. He enforces the importance of blacks keeping their culture
and to not be influenced by the materialism of the Òwhite man country.Ó Muta
says, Òif you white it alright, if you brown stick arounÕ, if you black get
back.Ó This statement emphasizing the racism that still thrives today. Near the
end of the performance he says, Òblacks in England what is your plan?Ó Muta suggests
that it is important for blacks in countries that are dominated by white people
to return to their homelands and roots so they are not contaminated by the
immorality of the white man. Linton Kwesi Johnson is another dub poet like
Mutabaruka. However, his family moved to England from Jamaica when he was a
child. Johnson verifies MutabarukaÕs statement from his first hand experience
of being a black man living in a Òwhite man countryÓ and offers a fascinating
perspective and channels his experiences into his own dub-poetry.
The popular music of Jamaica, the music of the
people, is an essentially experiential music, not merely in the sense that the
people experience the music, but also in the sense that the music is true to
the historical experience, that the music reflects the historical experience.
It is the spiritual expression of the historical experience of the
Afro-Jamaican.
--Linton Kwesi Johnson
In
August of 1952, Linton Kwesi Johnson, or LKJ, was born. He was raised in a
small town called Chapelton in the rural parish of Clarendon, Jamaica and moved
to London in 1963. In London he attended secondary school at Tulse Hills and
then studied sociology at GoldsmithsÕ College, University of London. While
attending school he joined the Black Panthers. The Black Panther Party was an
African-American revolutionary organization established to promote Black Power
and self-defense for blacks. Johnson helped to organize a poetry workshop
within the movement and developed his work with Rasta Love, a group of poets
and drummers. In 1977 he was awarded a C Day Lewis Fellowship, becoming the
writer-in residence for the London Borough of Lambeth for that year. Johnson
continued on to work as the Library Resources and Education Officer at the
Keskidee Centre in North London. Keskidee Centre was the first home for Black
theatre and art.
JohnsonÕs
poems first appeared in the journal ÒRace Today.Ó In 1974 the journal published
his first collections of poetry, ÒVoices of the Living and the Dead.Ó His
second collection called ÒDread Beat AnÕ BloodÓ was published the next year and
was also the title of his first LP, released by Virgin in 1978. That same year
also saw the release of the film Dread
Beat AnÕ Blood, which was a documentary on LKJÕs work. Johnson then put out
his most famous audio ÒInglan Is A BitchÓ and released four more albums: ÒForces
of VictoryÓ (1979), ÒBass CultureÓ (1980), ÒLKJ in DubÓ (1981), and ÒMaking
HistoryÓ (1981).
Johnson
launched his own record label, LKJ, in 1981 with two singles by the Jamaican
poet Michael Smith, ÒMi Cyaan Believe ItÓ and ÒRoots.Ó Throughout the 1980Õs
Johnson was completely immersed in journalism. He worked closely with the
Brixton-based ÒRace Today.Ó His 10-part radio series on Jamaican popular music,
ÒFrom Mento to Lovers Rock,Ó aired on the BBC Radio 1 in 1982. In 1985, Johnson
recorded the album ÒLKJ Live in Concert with the Dub BandÓ at the Queen
Elizabeth Hall in London. This album was released independently and was
nominated for a Grammy Award soon after its release. ÒTings AnÕ TimesÓ followed
in 1991 and in 1992 Johnson collaborated with Dennis Bovell and produced ÒLKJ
in Dub: Volume Two.Ó In 1996 the album ÒLKJ PresentsÓ was released which had a
compilation of various artists. In
the same year ÒLKJ A Cappella LiveÓ was released which was a collection of 14
poems, including some unpublished works. To celebrate his twentieth anniversary
in the recording business Johnson released ÒMore TimeÓ in 1998. In 2002, Linton
Kwesi Johnson had his work published under the title ÒMi Revalueshanary FrenÓ
in PenguinÕs Modern Classics series, making him only the second living poet and
first black poet to ever do so. After this success, the BBC made a TV program
about LKJÕs poetry and in this year Johnson also released the CD ÒLKJ in Dub
Volume Three.Ó For the first time ever, Johnson released a DVD in 2004 to mark
his 25th anniversary. The DVD was ÒLKJ Live in Paris with the Dennis
Bovell Dub Band.Ó
Linton
Kwesi Johnson has been made an Associate Fellow of Warwick University (1985),
an Honorary Fellow of Wolverhampton Polytechnic (1987) and received an award at
the XIII Premo Internazionale Ultimo Novecento from the city of Pisa for his
contribution to poetry and popular music (1990). In 1998 he was awarded the
Premio Piero Ciampi Citta di Livorna Concorso Musicale Nazionale in Italy. In
2003 Johnson was bestowed with an honorary fellowship from his alma mater,
Goldsmiths College. In 2004 he became an Honorary Visiting Professor of
Middlesex University in London. In 2005 he was awarded a silver Musgrave medal
from the Institute of Jamaica for distinguished eminence in the field of
poetry. LKJ has toured the world. His recordings are amongst the top-selling
reggae albums in the world and his work has been translated into Italian and German.
He is known and revered as the worldÕs first reggae poet.
Using
a mix of 17th-century colonial English, West African from the slaves, and a
smattering of the indigenous Caribbean tribal dialects, JohnsonÕs writing is
often hard to read and understand. He refers to this language as Òwriting in my
mother tongue.Ó (Britannica) However, the Jamaican Creole he writes in becomes
much clearer when read aloud, which is the beauty of poetry and his work. The language he writes in was once
considered to be inferior to that of England or American English, but now such
worldly varieties of language are being embraced. Besides the linguistic
difficulties of his work there are also emotional ones. Johnson writes about
what he knows best – the double-edged sword that is colonial invasion. Although
Johnson had the education that the black community in Britain was not
encouraged to obtain, he has not lost touch with his descendants and fellow
immigrants. Through his poetry he communicates with them and gives them a voice
that they did not realize they were entitled to and did not have, particularly
in the 1970s and 1980s. Many of his writings seek to reveal the brutality of
police and the violation of basic human rights that the press sought to
minimize coverage of.
ÒIÕve
always wanted to publish a book in America. People know me as a reggae artist;
they donÕt know me as a poet. But I am a poet, and I began with the world. I
began writing poetry before I began making recordsÓ Johnson said in an
interview with ÒThe ProgressiveÓ in 2007, thus the release of Mi Revalueshanary Fren. This book is a compilation of his best
poetry and lyrics over the years. In the introduction of the book Russell Banks
writesÓÉthe music that underwrites his [LKJ] poetry is reggae. Literally, as
well as literarily. Though he is known world wide as a recording and performing
reggae musician and dub-poetry and can fill a stadium, the music, he says, Ôwas
not only a vehicle to take my verse to a wider audience but was organic to it,
was born of it.ÕÓ The reggae music that accompanies the poetry is equally
essential to the work of Johnson. The book itself is accompanied with a CD. In
the interview with ÒThe ProgressiveÓ Johnson explains the importance of the
disc accompanying the book:
ÒIÕm
writing in my mother tongue, which is an oral language, and people may
not be familiar with my phonetic spelling, so we thought the a cappella
CD would helpÉI write for both the reader and the listener. IÕm writing
for the eye and the ear.Ó (DiNovella)
JohnsonsÕ insistence on his work being for both the eye and
ear is evident through his writing. However, it is not even necessary to have
the audio when enjoying his poetry because his work often takes on its own
rhythmic quality.
ÒReggae SoundsÓ is featured in Mi Revalueshanary Fren. Within the poem
Johnson seeks to put words to the sounds of reggae music.
Shock-black
bubble-doun-beat bouncing
rock-wise
tumble-doun sound music;
foot-drop
find drum, blood story,
bass
history is a moving
is
a hurting black story.
JohnsonÕs use of
onomatopoeia and his metaphor of the sound of reggae being Òa hurting black
storyÓ make this poem particularly compelling. Although his work on paper shies
in comparison to his live performances with reggae dub music, he is still able
to have the reader feel and almost hear the reggae sounds, hence the title. It
is simply impossible to describe reggae in words, it is something that must be
heard and experienced. However, Johnson somehow encapsulates a piece of reggae
music in his writing which is truly impressive. When you read the poem aloud it
takes on a musical, dub-like quality. And then his diction and incorporation of
bloody history and hurting past enhance his objective. ÒRhythm of a tropical
electrical storm / cooled doun to the pace of the struggle / flame-rhythm of
historically yearning / flame-rhythm of the time of turning / measuring the
time for bombs and for burning,Ó Johnson writes in the next stanza. There is a
rhythm to the poem itself that mirrors his description of reggae rhythm, which
is what makes his poetry so unique and memorable.
Although
you do not get the full experience of LKJÕs poetry when just reading his work
in a book, it is still unbelievably powerful and captivating. ÒInglan is a BitchÓ
is one of his most popular dub poems and is featured in Mi Revalueshanary Fren. This bold and shocking statement Johnson
makes does not serve to criticize or slander the nation of England, but rather
to criticize oppressive government control and racism. He has first hand
experience of the treatment from the British government to the lower and middle
class citizens in England as well as Jamaica. Johnson also has first hand
experience with the astoundingly abundant racism. In ÒInglan is a BitchÓ he discusses
the struggles of the poor, working class people. He repeats throughout the
poem, ÒInglan is a bitch / dereÕs no escapin it.Ó He expresses how people can
work hard but they are inevitably stuck in their poverty stricken state because
ÒInglanÓ and its government makes it impossible for the poor (and especially
immigrants) to even make ends meet, regardless of how hard they work.
In
his writing LKJ often reflects on current events that happen and often go
overlooked. He brings them to light and exposes the brutalities of racism and
the inequality that still remains even after slavery has been abolished
centuries later. Johnson especially focuses on police brutalities that face
blacks. Johnson says,
ÒBlacks
are still dying in police custodyÉThe government has given the police
the official license to kill brown skin and dark skin and black skin peopleÉYou
are still six of seven times more likely to be stopped and searched.
YouÕre three or four times more likely to be given a custodial sentence
for a first offense than if you were white.Ó (DiNovella)
In his poem ÒLicense fi KillÓ
he discusses how police abuse their power and how the darker the skin the more
likely you are to be reprimanded by the police. This theme is in a similar poem
of JohnsonÕs. He writes about the New Cross Fire Massacre that occurred in
London. In 1981 a devastating house fire killed thirteen you black people
during a birthday party in New Cross, London. The black community of London was
shocked by the indifference of the white population, and accused the London
Metropolitan Police for covering up the suspected arson attack motivated by
racism. Johnson writes about this massacre in his poem ÒNew Crass Massakah.Ó He
does not express his personal view of the events and does not cry out against
racial injustices. Rather, he dedicates his poem to the thirteen young blacks
who died in the fire and writes very simply:
first
di comin
an
di goin
in
an out af di pawty
di
dubbin
an
di rubbin
and
di rackin to di riddim
di
dancin
and
di scankin
an
di pawty really swingin
den
di crash
an
di bang
an
di flames staat fit rang
di
heat
an
di smoke
an
di people staat fi choke
di
screamin
and
di cryin
and
di diein in di fyahÉ
The simplicity of the poem
is so undeniable eerie it is much more effective than if Johnson had just
expressed his own opinion of the racist motivations behind the act. He first
describes the birthday party and the poem is very light-hearted in the
beginning. And then the tone dramatically switches in the middle of the poem
and the reader understands we are no longer in a happy environment; there is
chaos and destruction taking place. He shows just how quickly the happiness can
be ripped away and innocent lives can be taken away so abruptly and
unnecessarily by racist, criminal acts. The cheerfulness of the beginning of
the poem juxtaposed with the sadness and horrifying scene depicted at the end
of the poem is extremely effective.
In
the November 2003 issue of Vanity Fair
David Bowie commented on LKJÕs work and said, ÒThe man writes some of the most
moving poetry to be found in popular music. His observations are the rich
fruits of both a lyrical childhood on a Jamaican farm and his bottled anger on
the streets of London.Ó JohnsonÕs work offers a unique perspective because he
lived in Jamaica as a child and then moved to London and spent the majority of
his life there. Johnson is fully conscious of the hardships that face blacks
and the lower class in both Jamaica and a Òwhite mans country,Ó England. He has
experienced and lived these hardships and brings overlooked injustices to the
surface through the eloquence of his words in his native language.
Linton
Kwesi Johnson and Mutabaruka are considered to be the fathers of dub poetry.
Their poetry and performances are shocking, entertaining, captivating,
inspiring. Their poems encapsulate reggae and Jamaican cultures. Their writings
possess music-like, rhythmic qualities and transcend all boundaries of what we
label poetry as being. LKJ and Mutabaruka give voice to the Òdownpressed.Ó And
most importantly, they provide hope.
Works Cited
á Beezmohun, Sharmilla.
"Linton Kwesi Johnson." Linton Kwesi Johnson. LKJ Records,
1997. Web. Nov. & Dec. 2009. <http://lister.ultrakohl.com/homepage/Lkj/lkj.htm>.
á DiNovella, Elizabeth.
"Linton Kwesi Johnson." The Progressive (2007): 33-36. Print.
á "An Interview with
Mutabaruka." Interview by Blackvegetarians.org. Black Vegetarians.
Feb. 2004. Web. Nov. 2009. <http://www.blackvegetarians.org/features/mutabaruka.htm>.
á Johnson, Linton Kwesi. Mi
Revalueshanary Fren. Port Townsend: Ausable, 2006. Print.
á "Linton Kwesi
Johnson." Interview by Jason Gross. Perfect Sound Forever. LKJ
Records, Jan. 1997. Web. Oct. 2009. <http://www.furious.com/perfect/lkj.html>.
á McNish, Danielle C.
"Mutabaruka launches The First Poems/The Next Poems." The Jamaica
Observer 8 Mar. 2005.
á Morris, Mervyn.
"Biography/Books/Lyrics." Mutabaruka Online. Web.
<http://www.mutabaruka.com>.
á "Mutabaruka Lyrics,
"Dis Poem"" IREGGAE. Web.
<http://www.ireggae.com/dispoem.htm>.
á
Mutabaruka. Mutabaruka: The First Poems/The Next Poems.
Kingston, Jamaica: Paul Issa Publications, 2005. Print.
á
Rawlinson, Nancy. "Linton Kwesi Johnson: Dread Beat An'
Blood : Inglan is a Bitch." Spike Magazine. Web.
<http://www.spikemagazine.com/1298kwes.php>.