Julie Seger
Rhetoric Of Reggae
Final Paper
December 2nd, 2009
Babylon:
Our Continuing Struggle
The
term Babylon is referenced throughout
reggae music and Rastafarian culture, but what does it really mean? Where did
this reference originate? Does Babylon signify different things to different
artists or people? And where does it fit into daily life? I plan to explore
these questions and more in this paper. Babylon serves as both an icon and a
myth in reggae music and Rastafarian religious beliefs. To Rastafarians,
Babylon is the modern reality, or system of corruption where we are all
struggling. Babylon could signify the political state, the police, the church,
or any corrupt or oppressive force. Reggae music instructs listeners to Òchant
down Babylon.Ó What does this specifically mean?
Babylon is the current life where we are all fighting for freedom. Both
historical and psychological constructions of Babylon contribute to Jamaican,
Rastafarian, and even my own understanding of oppression. Through its presence
in history, law, religion, and music, Babylon embodies a contemporary struggle
that defines both reggae music and its listeners.
A
historical understanding of Babylon as a city contributes to its definition as
a concept. Babylon was once an ancient city-state in Mesopotamia, or modern
Iraq. It grew in prominence as an imperial city in the providence known as
Babylonia around the 18th Century B.C.E. Babylon was estimated to be
the worldÕs largest city from 1770 to 1670 B.C.E., and again between 612 and
320 B.C.E. Historians also claim Babylon was the first city to reach a
population above 200,000.
Though
it passed through several empiresÕ control and jurisdiction, Babylon was
especially significant during the period of rule under an emperor named Hammurabi.
Hammurabi ruled as the sixth king of the city of Babylon. After conquering neighboring
city-states, particularly Sumer and Akkad, around 1760 B.C.E., Hammurabi
claimed the title of the first king of the Babylonian empire. Eventually, this
empire spanned the majority of Mesopotamia. HammurabiÕs specific reign dates
from 1795 to 1750 B.C.E. Under the
rule of Hammurabi, the city of Babylon flourished with the first institutions
of a centralized state. Hammurabi created the first systems of taxation and
brought stability to Babylon. Hammurabi is also known as the first king to
establish a set of written laws. HammurabiÕs Code, as it is commonly referred
to, was written around 1786 B.C.E., and included 282 laws that governed family
relations, criminal and civil laws, commerce, ethics, and other aspects of
ancient life. His code was carved onto a stone tablet and put on public display
for all citizens of Babylon to see.
There
are many reasons why HammurabiÕs Code is relevant to reggae music and Rastafarian
culture. First, there is an
apparent connection between the planetÕs first record of written laws and the
laws so many modern Rastafarians find unjust and part of the overall system of
Babylon. HammurabiÕs Code is renowned as the first legal contract of its kind.
The laws it instituted framed the remaining creation of laws in human
existence. Arguably, every law that dictates our behavior today is stemmed from
the original codes that Hammurabi created.
Though
historical distance clearly separates HammurabiÕs code from the colonial
injustices of 20th century Jamaica, any form of written law plays a
significant role in the lives of citizens, whether in Babylon or Kingston. Hammurabi appears to have had
benevolent intentions for his code. His purpose was, Òto promote the welfare of
the people, I, Hammurabi, the devout, god-fearing prince, cause justice to
prevail in the land by destroying the wicked and the evil, that the strong
might not oppress the weak.Ó This valiant claim, however, fades a bit after
examining the specific laws Hammurabi instated. Striking oneÕs son, for
example, warranted the punishment of cutting off your forearm. Stealing someoneÕs
minor son resulted in the death penalty. Beatings and other contemporarily
inhumane punishments were commonplace. HammurabiÕs code represents the earliest
human conceptions of laws, institutions that inevitably play a major role of
the lives we lead in Babylon today.
Rastafarian
association of Babylon with evil results from the historical events of the
Babylonian exile during the reign of King Nebuchadnezzar II. King Nebuchadnezzar was the eldest son
and successor of King Nabopolassar. Before the rule of his son, Nabopolassar
led expansive military campaigns throughout the western provinces of Syria. Nabopolassar
defeated the Egyptian army in 605 B.C.E. at the Battle of Carchemish, bringing
Syria and Phoenicia under Babylonian authority.
After NabopolassarÕs death in August,
605 B.C.E., Nebuchadnezzar II assumed the throne. Hoping to continue his fatherÕs
legacy, Nebuchadnezzar II directed his powerful army westward in hopes of
increasing Babylonian influence in Syria and Judah (modern Jerusalem).
Nebuchadnezzar conquered the kingdom of Judah in 586 B.C.E. Nebuchadnezzar
faced numerous native rebellions throughout his empire, particularly in Judah.
As a result, Nebuchadnezzar deposed the then Judean King, Jehoiakim, in 587
B.C.E. King Nebuchadnezzar destroyed the city of Judah, burning its royal
palace and the most important Temple of Jerusalem. Nebuchadnezzar ordered
prominent citizens and a significant portion of the Jewish population to be
exiled in Babylon. Another seventy to eighty elite citizens were put to death.
The Babylonian exile occurred in three waves. According to the Book of Jeremiah
(52:28-30), which scholars generally assert to be more accurate, 4,600 Jews
were deported to Babylon. Estimates claim that 3,023 Jews were deported in the
first wave, 832 in the second, and 745 in the third. It is likely that these
numbers only include men. Counting women and children, 14,000 to 18,000 total
people were exiled.
While
in exile, citizens of Jerusalem were allowed to participate in seemingly
typical aspects of a fulfilling life: farming and the accumulation of wealth,
as well as marriage and the raising of families. While exiles endured a
relatively peaceful dislocation, the Babylonian exile marks a dark time in
Jewish history, as a period of oppression and the denial of cultural and
religious independence. The writings of Psalms reveal the exilesÕ sentiments of
imprisonment and alienation. Psalm
137 describes these feelings:
By
the rivers of Babylon we sat and wept when we remembered Zion.
There
on the poplars we hung our harps, for there our captors asked us for songs
Our
tormentors demanded songs of joy;
they
said, "Sing us one of the songs of Zion!
How
can we sing the songs of the Lord while in a foreign land?
If
I forget you, O Jerusalem, may my right hand forget its skill.
May
my tongue cling to the roof of my mouth if I do not remember you,
If
I do not consider Jerusalem my highest joy.
For
the Jewish exiles, Babylon was a foreign land, a place where their oppressors
overpowered them. This quotation reflects the exilesÕ yearning for a return to
their homeland and the freedom to live as they chose. The Babylonian exilesÕ
experience resounds with the Jamaican identity and its displacement from
Africa.
An
examination of Jamaican history assists in understanding the relevance of
Babylon to the experience of the Jamaican people. The first known inhabitants
of Jamaica were the Arawaks, a tribe that settled throughout the island around
600 C.E. The Arawak people
survived on fishing and the production of corn. It is estimated their
population reached nearly 60,000 people in various villages. Christopher
Columbus arrived in Jamaica in 1494, establishing Jamaica as a Spanish colony. In
1509, Spanish colonialist Juan de Esquivel established the first settlement and
began enslaving the Arawaks. The Spanish settlement was called Sevilla Nueva,
or ÒNew Seville,Ó located on the northern coast. Factors such as European
disease, brutal slave labor, and the decision to commit suicide to avoid
enslavement contributed to the ArawakÕs demise by the late 16th
century. With no native population, European settlers began importing Africans
to replace the Arawaks as slaves.
Several
factors significantly undermined Spanish colonial rule in Jamaica. These
factors included a lack of attention from Spain, conflicts with the Church, and
frequent pirate raids. On May 10, 1655, Admiral William Penn and General Robert
Venables attacked Jamaica in the name of England. They successfully captured
the island from the Spanish, who surrendered, freed their slaves, and fled to
Cuba. The group of freed Spanish slaves became known as the Maroons. The
Maroons lived freely and in open rebellion against British rule in the
mountainous regions of Jamaica. They became known as the Òwild and fierce ones,Ó
and are revered as some of the initial rebels against colonialism.
British
settlers in Jamaica began extensive agricultural industries using slave labor.
The slave trade flourished. Africans were shipped to the West Indies to be sold
to plantations. Sugar became the main crop of the island, starting with 57
estates in 1673 and nearly 430 by 1739 (Jamaica Information Service.) The
conditions of slavery were atrocious. ÒA slaveÕs life on Jamaica was brutal and
short, owing to high incidences of tropical and imported diseases and harsh
working conditions; the number of slave deaths was consistently larger than the
number of births (Buisseret, Ferguson, ÒJamaica.Ó) Despite disease and harsh conditions, JamaicaÕs population
continued to grow. Slave imports and European immigration steadily increased.
JamaicaÕs population grew from a few thousand in the 17th century to
nearly 18,000 by 1860. Slaves accounted for more than half of the entire
population of the island.
Clashes
persisted between the Maroons and the British. The Maroons utilized the rocky
terrain and guerilla warfare to overwhelm British attacks. Two wars marked the bloodiest conflicts
between the British and the Maroons in 1725 to 1739 and later from 1795 to
1797. The British decisively won the second war and destroyed much of the
country in the process. Towns, fields, and crops were destroyed. Internal
strife plagued Jamaica throughout much of itsÕ modern history. Slave revolts
were also frequent in the eighteenth and early nineteenth centuries. A notable
leader was the Reverend Samuel Sharpe, who led a slave rebellion in 1831-32.
Unfortunately, British forces quickly crushed rebellions and executed their
leaders (Buisseret, Ferguson, ÒJamaica.Ó)
The
British abolished the slave trade in 1807. All slaves were freed by 1837.
Despite these steps toward freedom, inequality still persisted for a majority
of Jamaicans, particularly for those who were not white. Throughout the 19th
and early 20th centuries, Jamaica remained under colonial control of
the British. Economic disadvantage and racial discrimination kept freed slaves
poor and elite interests in power. After a long fight, Jamaica became
independent on August 6th, 1962. The country still faces enormous political, economic, and
social disparities. JamaicaÕs historical and current environment of inequality
contributes to the notion of Babylon and its forces.
The
creation of laws obviously has evolved a long way from the time of Hammurabi or
King Nebuchadnezzar II. Legal standards have adapted to unique cultural and
political contexts around the world. Around the beginnings of reggae music,
existing Jamaican laws contributed to the music genreÕs sound and content. So
too did the concept of Babylon. During the rise of reggae music, political
oppression and racial turmoil dominated Jamaica. As a concept, Babylon figures into Jamaican history as Òwestern
political and economic domination and cultural imperialism (Murrell, 1.)Ó From
the beginning of colonialism in Jamaica, political, social and racial
oppression marked its culture. A significant portion of Jamaican culture
emerged as the Rastafarian movement, or, Òa conscious attempt by the African
soul to free itself from the alienating fetters of colonialism and its
contemporary legacies (Murrell, 21.)Ó
To
fight oppressive forces against them, Rastafarians constructed the concept of
Babylon, and Òunleashed an ideological assault on the culture and institutions
that have dominated the African Diaspora since the seventeenth Century
(Murrell, 21.)Ó Babylon embodies all that Rastafarians strive to avoid.
Rastafarianism is an alternative to Babylon, a different path leading to an
escape from its injustices. Rastafarians, Òdeclare their psychological and
cultural rejection of the values and institutions of Babylon (Murrell, 23.)Ó
The book of Revelations in the Bible predicts the Òapocalyptic and dramatic
collapse of Babylon. This is an idiom and imagery Rastas find most fitting for
conceptualizing that which they wish to chant down and destroy (Murrell, 23.)Ó
The
evils of Babylon characterize the Jamaican experience. Rastafarian intellectual
Dennis Forsythe describes the Jamaican context of Babylon as Òthe psychic image
sustained by real experiences, busted hopes, broken dreams, the blues of broken
homes and of disjointed tribes of people disjointed by historyÉIt is a
desolation in which man feels disjointed and out of line with the plans of
creation (Murrell, 24.)Ó Oppressed Jamaicans experience injustice in the form
of economic, political, religious, or socially institutionalized control. The
oppressive forces of Babylon remain powerful from the colonial era, and inflict
suffering and alienation upon the Jamaican people.
Reggae
music is ripe with references of Babylon. Analysis of lyrics from major reggae
artists reveals the connection of the myth of Babylon and the struggle against
it in Rastafarian culture and reggae music. Classic reggae artists such as Bob
Marley and the Wailers, Jimmy Cliff, and Steel Pulse discuss Babylon in their
music. While recognizing the artistÕs own personal reflection on their life and
struggle in Babylon, their unique perspectives help collectively define the
elusive and often ambiguous term.
ÒBy the Rivers of Babylon,Ó originally
written and recorded in 1972 by Brent Dowe and Trevor McNaughton of the
Melodians, is an important reggae song that addresses the concept of Babylon.
Covered by Jimmy Cliff in the quintessential Rastafarian film, The Harder They Come, ÒBy the Rivers of
Babylon,Ó is inspired by a biblical hymn of the Psalm 137 verse that was
previously mentioned in this paper. The song is an account of the Babylonian
exile, and recalls:
By the rivers of Babylon
Where he sat down
And there he wept
When he remember Zion
It was the wicked
Carry us away captivity
ÒBy
the Rivers of Babylon,Ó echoes a Rastafarian parallel to the experience of the
Jews exiled from Jerusalem to Babylon in 586 B.C.E. The song conveys the
experience of displaced African slaves, yearning to return to their homeland
and away from this Òstrange land.Ó This song has inspired numerous covers and
remains popular today.
Bob
Marley, one of reggaeÕs most recognized and talented artists, repeatedly
mentions Babylon in his lyrics. His song ÒBabylon System,Ó explicitly defines
MarleyÕs own conception of Babylon:
Babylon system is the vampire, yeah!
Suckin' the children day by day, yeah!
Me say: de Babylon system is the vampire, falling
empire,
Suckin' the blood of the sufferers, yeah!
Building church and university, woah, yeah!
Deceiving the people continually, yeah!
Me say them graduatin' thieves and murderers;
Look out now: they suckin' the blood of the
sufferers.
MarleyÕs
song personifies Babylon as a vampire, feeding off of innocent people and their
work. Babylon victimizes children and those already suffering. The song
mentions institutions including the Church and higher education that promote
Babylon and continue its destruction. These institutions perpetuate the process
of mass deception, and only create more Òthieves and murderers.Ó The songÕs overall message urges the
listener to rebel. This command is echoed and qualified throughout the song,
and asserts the validity of the Rastafarian movement.
ÒExodus,Ó
is another classic Bob Marley and the Wailers song. The lyrics of this song
solidify the African return to the homeland and departure from Babylon. Marley
begs the listener to evaluate their own life and principles, and uncover any
sources of Babylon they might be susceptible to. He sings,
Exodus,
movement of Jah people, oh yeah
Open
your eyes and let me tell you this
Men
and people will fight ya down (Tell me why?)
When
ya see Jah light
Let
me tell you, if you're not wrong (Then why?)
Everything
is alright
So
we gonna walk, alright, through the roads of creation
We're
the generation (Tell me why)
Trod
through great tribulation
Exodus,
movement of Jah people
Exodus,
movement of Jah people
Open
your eyes and look within
Are
you satisfied with the life you're living?
We
know where we're going;
We
know where we're from
We're
leaving Babylon, we're going to our fatherland.
ÒExodus,Ó
is the definitive anthem against the oppression of Babylon. Marley asserts the
coming liberation of the Jah people, who are returning to the fatherland. The
song is also reminiscent of the Psalms 137 verse previously analyzed.
ÒBabylon
Makes the Rules,Ó is a song by the reggae group Steel Pulse that also constructs
a vision of Babylon. The song addresses the beaten down, Òlowest of the low,Ó
circumstances Babylon has imposed on the Rastaman. It is Babylon that causes
conditions Òwhere my people suffer.Ó
The lyrics try to reassert Rastafarian validity by recognizing the
injustices theyÕve endured, and remembering their cultural worth. Rastafarians Òmust
create a scene, we must recapture our culture by any means.Ó The song acknowledges the power Babylon
has held in the past, but remembers that the love of Jah will triumph. The holy
sacrament is Òwhat keeps us together, Jah Herb that we smoke.Ó The song
concludes with call and response between, ÒBabylon makes the rules,Ó and, Òbut
Jah love will carry I home.Ó This part of the song affirms and instructs the
listener that Jah is the superior force over Babylon.
More
contemporary artists have been inspired to discuss Babylon in their music. As
an ideology, Rastafarian is extremely relevant in modern movements, as the
concept of Babylon has, Òbroadened to include all oppressive and corrupt
systems of the world (Murrell, 7.)ÓReggae and other genres tackle the current
conceptions of Babylon, and keep the concept relevant with human struggle. A
good example of this evolution is Thievery CorporationÕs song, ÒThe Richest Man
in Babylon.Ó This modern reggae-dub inspired song calls for the end of Babylon.
Personifying Babylon with a Òwicked walk,Ó the song is an account of its
injustice and inevitable demise:
The wicked stench of exploitation
Hangs in the air and lingers on
Beneath the praise and admiration
The weakest man in Babylon
There is no hope left in your kingdom
Your servants have burned all their songs
Nobody here remembers freedom
The richest man in Babylon
Later,
the song addresses the downfall of Babylon and the glory of Rasta and freedom:
Babylon this is your final day
Babylon this is your final call
Read the writing that's on the wall
See divided we stand
And together we fall.
Thievery
Corporation takes a step away from traditional reggae music and moves toward an
electronic, dubbed vision. Despite the change in musical style, the message
regarding Babylon remains the same. This suggests the power of Babylon as a
concept, and itÕs relevance to musicians over time.
Sizzla
is another modern musician who frequently discusses Babylon in his music is.
His song, ÒBabylon A Use Dem BrainÓ details the present state of Babylon, itÕs
past abuses, and its eventual downfall:
Oh
what ah agony and oh what a shame
To
see my black brother goin all down the drain
Man
made to suffer and woman to feel pain
Dey
rape me mommy me sister I say oh what a shame
Brother
and me father afi chop sugar cane
Pon
the plantation under stress and shame
Pon
dem hand and dem foot I just see chackles and chains
Well
this is one thing I cannot overstand
dem
nah teach me nothin bout me Asian plan
Inna
the school and the college and the institution
the
curriculum that I get is European
Ah
teach me bout Marco Polo and Napoleon
Nah
teach me nothin bout the river Nile bank
where
civilization it began
You
say thou shall not steal and should not kill no one
yet
you steal treacherize and then you teach wrong
yea
yea slave and you murder all me dad and me mom
But
wicked Babylonian and you will love to burn!
The
song condemns slaveryÕs evils that Jamaicans have faced such as rape and
plantation labor. The lyrics then shift toward the hypocrisy of Babylon in the
present. Educational institutions focus on European history, and deny the
legitimacy of African heritage, Òwhere civilization began.Ó BabylonÕs contradictory
nature persists as it preaches peace but practices corruption and murder. The
final echoing line foresees the apocalyptic fall of Babylon, as it will, Òlove
to burn.Ó
As
a fan of reggae music, I have developed my own sense of Babylon. Being a privileged
white college student, I luckily have not experienced oppression in the forms
of slavery or racial discrimination. While reggae music has such a vast
audience, few truly know the evils it warns against. I am grateful for the
advantages IÕve grown up with, but still recognize Babylon as a force that I
fight against in my own life. As a young woman of the millennial generation, I
can firmly admit the disillusionment I feel toward my culture. I disagree with
the much of the politics, policy, and standards currently controlling society.
I see Babylon in the bigotry, xenophobia, and ignorance of American culture. I
know I am unavoidably a part of it, and do recognize that our society is not
all bad. However I cannot avoid feeling the same alienation and mistrust that
exiles in Babylon must have felt, or the outrage of the displaced Africans
brought to Jamaica as slaves.
Laws
seem to target my generation, assuming our worst and doubting our best. I
disagree with an extraordinary amount of what our government has done. Growing
up, I have realized that I am against my own governmentÕs policies concerning
international relations, drugs, gay marriage, abortion, crime, poverty, and the
climate crisis. Only recently has
my deep apathy for government slightly subsided. The election of President
Obama in 2008 was the first politically gratifying moment I have felt. His
policies, so far, have not greatly disappointed me. But Babylon is more than
who is in power, or what agenda theyÕre trying to push. To me, Babylon is the state of having
no means to change society. Babylon is being voiceless, powerless, to the
larger forces in control. I recognize there are some means for change, at least
in my own life, and that while Babylon is very real, my existence is not at all
bad. I am very lucky with what I have and can only hope to make that possible
for others. Focusing on Babylon is a negative path; reggae music has helped me
come to this realization. There are greater freedoms worth striving toward. I
feel that at some point, every young person has felt this way toward their
generation, the circumstances they were born into, the mistakes the previous
generations made. But there is no controlling the past, or Babylon. Moving
beyond the corruption and negativity in society make life worth living. Babylon
is the past and present, but not necessarily the future.
IÕve
attempted an interdisciplinary approach to better understand of the concept of
Babylon. From the Code of Hammurabi, the Maroon wars, Jamaican independence,
and the present, Babylon has evolved as an ideological construct that many live
their lives in opposition of. Originating from the exile of Israelites from
Jerusalem, Babylon has come to incorporate notions of evil, oppression, and
corruption for Rastafarians and reggae music. Babylon has different definitions
for different people. It is a concept that is dependent on context; what
Babylon was for Peter Tosh is drastically different than what Babylon is to me.
Yet the concept remains consistent. Babylon is relevant and relatable for
anyone facing a society that they disagree with. Babylon is a strategically
envisioned concept that names a common enemy of the Rastafarian movement and
its followers. As believers in
Rastafarianism and reggae music continue to Òchant down Babylon,Ó they inspire
new movements for liberation as well as music to supplement these ideas. Lyrics
from both classic and contemporary musicians show the prominence of Babylon in
a collective cultural consciousness, whether in reggae music or other genres.
While
Babylon does have negative connotations, it does not necessarily imply
pessimism. Rather, Babylon is an extreme where we ought to focus on moving away
from. As a concept, Babylon
teaches us to defy our oppressors, rebel from their control, and assert our own
freedom. To understand evil, one must identify it. The past suffered under
Babylon. The present still does. With hope for the future and an understanding
of the past, however, we can concentrate our energies, continue moving beyond
Babylon, toward achieving a better existence for all.
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