Abstract Describes "Rasta" as a form of religious and cultural expression. Discusses the link between "Rasta" and contemporary music, the political/cultural influences, such as Pan Africanism, the Back-to-Africa movement, and the popular culture of modern Jamaica.
From the Paper "The purpose of this research is to examine the effects of Rastafarianism on contemporary music. The plan of the research will be to set forth the popular-culture origins of Rastafarianism as a mode of religious and cultural expression and then to discuss ..."
Abstract This paper explains the rise and spread of Rastafarianism and how reggae helped popularize these beliefs. It looks at different songs and lyrics by the famous Rasta singer, Bob Marley, which called for a change in attitudes towards the Rastafarians.
From the Paper "Influenced largely by New Orleans Blues, (urban American pop music of the 1940's) the style of reggae adopted rhythms which shifted their accents off beat. "This new style was called reggae, for its ragged cadence, and its lilting and mesmeric quality seemed especially suited for new dimensions of storytelling and social commentary." (Rolling Stones, March 2005: pg 72) In Jamaica, music was used as a means to tell stories or pass on tradition or information. It was because of this musical acculturation that a new form of music was initiated and the people had a catchy way to express their emotion. "It was music that gave a displaced population a way to tell truths about their lives and a way of claiming victory over daily misery, or at least of finding a respite." (Rolling Stones, March 2005: pg 70) Reggae was a form of expression.'"
Abstract This paper provides an overview of the central aspects of the Rastafarian Movement and attempts to examine the links between the various cultural, social and philosophical aspects of the Rastafarian Movement. In particular, the paper describes the historical, cultural and social aspects that have influenced the rise of this movement. The paper emphasizes the influence of 'Ethiopianism' on Rastafarianism.
Table of Contents:
Introduction
Methodology
The Rastafarian faith and Ethiopianism
General Characteristics And Beliefs
Social And Philosophical Aspects
Conclusion
From the Paper "There are a number of estimates of the extent of the Rastafarian movement in the world. One general estimate is that there are approximately between 3,000 and 5,000 Rastafarians in the United States. A problem with the estimate of Rastafarianism is that many individuals who dress or adopt the outer appearance of Rastafarianism are in many cases not true Rastafarians. (Rastafarianism) This is partly due to the popularity that this movement has acquired through its views and music since the 1960's. Worldwide, the estimate of those following the Rastafarian faith is approximately 1,000,000 people. (Rastafarianism) In terms of further significant demographic facts, it is also clear the majority of the members are male. "Traditionally, women have played a very minor role in Rastafarianism," (Rastafarianism) and "Women's role in the Rastafarian movement is at best a subordinate one..." (Barrett, 1997, p.78)"
Abstract This paper explains that Rastafarianism, although not truly biblical, is still an established religion and is protected by the First Amendment of the US Constitution. he author points out that the legal conflict is the smoking of marijuana as part of the rituals, which violates the government drug laws; but everything else the Rastafarians believe abides with the law and is perfectly legal to practice. The author believes that the First Amendment rights to practice one's religion do not permit one to practice illegal behavior; the law takes priority over religious freedoms in this instance.
Table of Contents
Background
Conflicts
Doctrine as Compared to Biblical References
Summary
From the Paper "Marcus Garvey was born in 1887. He was one of the people responsible for the Rastafarian movement, because of his philosophical ideologies. He was the founder of the "back-to-Africa" movement, as well as an influential spokesman during the early 1920?s. Garvey predicted the coming of the Rastafarian's redeemer, and just a few years later, his prediction came true, when Haile Selassie was crowned King of Ethiopia. Marcus Garvey had been said to be only second to Haile Selassie. His philosophy was credited as the beginning point of Rastafarianism. Rastafari comes from the word Ras, meaning "prince", in the Amharic language, and the word Tafari, which was the name of the emperor of Ethiopia."
Abstract This paper traces the origins and development of the Rastafarian religion, beginning with the spokesman, Marcus Garvey. The contributions of Emperor Haile Selassie are focused upon and the development of the religion in Jamaica is studied. The philosophy behind the religion is explored and its doctrine is laid out. The religion's colors, symbols and rituals are explained and the external influences on the religion are looked at.
From the Paper "However, the Rastafarian movement gained a following and formally began in 1930, after Selassie was crowned and the evident completion of the millennial expectations of Marcus Garvey. Furthermore, one of its early leaders Leonard Howell, who in 1933 was arrested by the Jamaican government for preaching a revolutionary doctrine (The Perennial Dictionary of World Religions, Keith Crim, editor, p. 601), helped formed the theology of the movement. His arrest helped shaped the movement's organizational structure."
Abstract In this article, the writer notes that the reggae music artist Bob Marley used a speech by Ethiopian leader Halie Selassie for the song "War." The writer points out that Selassie was an African leader and also a major figure in the religion of Rastafarianism, of which Marley was a member. Marley was also known for his lyrical content in terms of his ability to directly address political issues of the time. The writer discusses that by looking at the song lyrics to the Bob Marley song "War," the listeners of the music and the readers of the lyrics can see how the artist is first of all a Rastafarian by religion, and then an activist by political involvement: the song shows both sides of Marley, the Rasta side and the political side. The writer maintains that despite an observation of his being above politics, Marley was also linked by association with politics by the explicit political themes he often chose as his message. The writer concludes that the result, whether through misinterpretation or intention, was not universally positive or peace-love, either.
From the Paper "Bob Marley was seen by many as a representative voice of the Jamaican lower class and Rastafarian religion and culture, and there are explicit political connections to be made between his music and society, especially his work with the Wailers, during which time the song "War" was co-opted from Selassie's speech. At many times during Marley's life, the connections he made with politics were explicit, as when he used his stage to unite political leaders in a spirit of friendliness and hand-shaking, or when he sang about the dire situation in Africa in songs like "War," which as mentioned was directly taken from a political speech by the Rastafarian deity and Ethiopian dictator Haile Selassie. But at the same time, there is a tension between politics and religion/mysticism in Marley's life and lyrics that makes calling him a political leader or saying that he chose political reggae music difficult. To a true Rastafarian, which image Marley adhered to even at the heights of his international pop-stardom, involvement politics was to be avoided at all costs as a function of Babylon. But at the other end of the spectrum, Marley was definitely involved in political activities, and "War" signifies lyrically what is basically a political message about African unity and peace, only to be achieved through freedom from bondage."
Abstract The purpose of this paper is to introduce and analyze the documentary film "Roaring Lions" which chronicles the origins of the Rastafarian indigenous social movement in the Caribbean. It looks at how Rastafarianism is much more than reggae music and the tunes of Bob Marley, although those cultural items have introduced many people to Rastafarianism around the world. It contends that Rastafarianism is a social movement working to become an accepted religion in Jamaica and other Caribbean nations.
From the Paper "Essentially, the Rastafarian movement began in the 1930s, when Jamaicans discovered the black emperor of Ethiopia, Haile Selassie I. One Rastafarian in "Roaring Lion" says, "In Jamaica, we always worshipped a white Christ, and a white king, and a white queen" ("Roaring Lion"), which helps the viewer understand how a black king would be such a strong, magnetic draw for these people. They raised Selassie to the status of God, (they call him "Jah") and believe he is part of a Holy Trinity foreseen in the Bible and destined to return to Earth. This movement, like many indigenous social movements, began in the poor communities of working and peasant blacks, and it has spread throughout the Caribbean and far beyond, to be embraced by people all over the world. "
Abstract This paper begins by describing the Reggae singer, Bob Marley and his origins and traces the beginnings of his musical career. The factors that influenced his music are explored, such as his early life and his conversion to the Rastafarian religion. The themes of his songs are dealt with, and his life in Jamaica is included in the study. The paper looks at Marley's contribution in introducing Rastafari, reggae, and Jamaica to the rest of the world.
From the Paper "Bob Marley was born Robert Nesta Marley, O.M., on February 6, 1945, in a small Jamaican village called Nine Miles. He was the son of an English Army Captain, and a Jamaican woman named Cedella Malcolm. The Captain never married Malcolm, but he gave Marley his name. Eventually, he and his mother moved to Kingston, and lived in the slum called ?Trench Town.?"
Abstract The paper examines the persuasion of people using music (lyrics and melody). It focuses on Bob Marley and his ability to influence entire cultures in a political/social movement. The paper shows how Marley's music and lyrics worked as the rhetoric of the Rastafarian movement against oppression, exploitation and racism in Jamaica. Using metaphors to describe the hardships of the political fights of Jamaicans and Africans, the paper shows how Marley established himself as the spokesman of a race and culture.
From the Paper "Some of the most attainable goals of persuasive songs are those focused toward a particular movement's members; such as reinforcing the ideas of the movement, promoting unity, and maintaining high confidence among members. In other words, songs of persuasion may prove to be effective in terms of reinforcing the beliefs already held by movement members and sympathizers. Rarely do such songs succeed in their attempt to reach those who are not already sympathetic to the cause (Sellnow). Although Marley never intended to recruit as many people into his particular beliefs, his standpoint on peace and unity was felt throughout the world."
Abstract This paper discusses the life and works of Bob Marley. The paper contends that while Marley's suggested reforms did not being peace and transformation to the poor of Jamaica it did succeed as a general international music of protest. The paper explains that as the music became more popular and more commercially viable, so it was seen from some perspectives as having lost touch with the 'purity' of its essentially Rastafarian roots. However, in spite of this division, the paper illustrates how the music of Bob Marley played an extensive part in the activation and motivation of many protest movements against colonialism and racism throughout the world.
Outline
Overview
Political Protest
Conclusion
From the Paper "Bob Marley is credited not only with creating and popularizing a certain style of music, but also with using music to focus attention on the plight of black people around the world and on various social issues. While he was deeply involved with the context and culture of his country, Marley's musical influence was felt internationally. His style of music and protest lyrics was later to be identified with the larger social struggle against unfair forms of oppression and dominance in the world. The lyrics and style of his music were also a comment on society and had enormous political and activist appeal. Many of his compositions were "...couched in general terms of confrontation, uplift, and redemption" (Domenico et al. 69) "
Abstract This paper explains that Bob Marley was the first ever international Third World music superstar whose influence spread to every corner of the earth. The author describes, in detail, how Marley, who came from the slums of Jamaica, started his own band and record label and eventually toured the world. The paper underscores that, even now, more than 20 years after his untimely death, Bob Marley's name is known all over the planet and he is still the best-selling reggae artist in the world, controlling forty percent of the recent chart listings of "Billboard" magazine. The paper concludes that the key to Marley's success is not through advocating sex, money,or violence in his songs like current recording artists but through his religious beliefs of Rastafarianism and his message of love, peace and freedom for every living person, regardless of race, nationality or creed.
From the Paper "Bob's final world tour (1980) began in Gabon, Africa and moving onto Zimbabwe, were his music had deeply affected the countries politics. Zimbabwe was under British colonial rule for almost a century and had just been freed after a long and brutal war. Marley's song "Zimbabwe" was a call for change saying "It take a revolution, to make a solution". During this time of war, this song was a national anthem, representing what the soldiers were fighting for. Marley was the only performer playing at the concert that wasn't native but was allowed because of the effect his music had on soldiers moral."
Tags: jamaica, best-selling, rastafarianism, freedom, people
Abstract This paper explores the faiths of Rastafarians, Jehovah's Witnesses, Christian Scientists and Hindus, in order to examine the means by which their respective spiritual beliefs alter or deny medical treatment.The methodology of the research and its results are outlined. The paper notes the implications of this research for medical practitioners and concludes that the faster medical practitioners come to accept the fact that science is being affected by religion, the more efficient they will be in their practice. Finally, the paper offers recommendations for physicians who treat patients of different faiths.
Outline:
Introduction
Review of the Literature
Methodology of Research
Results
Discussion, Implications, Conclusion, and Recommendations
From the Paper "The medical practitioner for all intents and purposes is a worshipper of science, and empirical knowledge, or common sense. Relying on empirical results, the medical practitioner prescribes courses of treatment according to their most educated and informed guesses about the conditions and outcomes of diseases needing treatment. However, for many faiths, there are higher ideals or greater spiritual priorities than medical science, or any science at all. And this is their choice. The medical practitioner, including doctors and nurses, must accept and account for the fact that their recommendations for treatment will not always be heeded, even if they are in the greatest interests of patients from a rational scientific and medical perspective."
Abstract This essay discusses how Bob Marley & the Wailers' music brought the world together and looks at why they were able to start a reggae rage amongst people throughout the world, spreading reggae from a small sector of the world.
From the Paper "Many people describe Bob Marley as the greatest legend of reggae music and king of reggae. At the age of 16, Marley formed his first band, "The Rudeboys", which later became known as "The Wailers". The Wailers consisted of Bunny Livingston and Peter Mackintosh, now known as Bunny Wailer and Peter Tosh. By 1964, the band had created its first hits, Simmer Down, It Hurts To Be Alone and Rule Them Rudie.Bob Marley, a Rastafarian reggae musician idolized by millions of races, sang many of his lyrics in a sort of Jamaican accented Standard English, contrary to most of his reggae musician peers, who favored Creole."
Abstract This paper examines the philosophical, intellectual, and poetic nature of Tupac Shakur's and Bob Marley's work, as well as the political and social influence of their music. The paper describes each artist's background and illustrates how Marley's music expressed the social unrest and the spiritualism of Jamaica, while Shakur's music expressed the social issues and emotions of ghetto life in the United States.
From the Paper "Music is one of the oldest art forms. Every culture has used music to not only create mood and celebration, but to relate and express feelings and ideas. Most of us can easily strike images of laborers singing while they worked, tribes beating drums before a hunt or battle, bugles sounding as soldiers charge in attack, and love-sick poets declaring their ardor. Music has also been used as an expression of spiritualism, as well as personal ideals. In recent history, beginning in the mid-1960?s, music became a voice and spokesman for many to express political views, especially concerning the United States involvement in Vietnam. Folk and rock musicians wrote music and songs protesting the war and politics of the time."
From the Paper "The purpose of this research is to examine the Jamaican influences on the origins of hip hop music. The plan of the research will be to set forth the popular-culture origins of hip hop in the United States in the South Bronx of New York City, and then to discuss the influences and implications of Jamaican musical style on the development and dissemination of hip hop through American and non-American cultural venues.
The temporal origin of hip hop music, which is largely considered an American phenomenon although its influence has been felt in Europe and Asia, has been identified as the 1970s, and its origin of location as the South Bronx in New York. According to Dimitriadis, hip hop music was a key aspect of a more pervasive cultural innovation that exploited a species of performance art, flamboyant costume, and performer-induced .."
