caribbean traditional music || traditional music in jamaica

TRADITIONAL MUSIC IN JAMAICAAuthor(s): OLIVE LEWINSource: Caribbean Quarterly, Vol. 29, No. 1, Caribbean Traditional Music (MARCH, 1983), pp.32-43Published by: University of the West Indies and Caribbean QuarterlyStable URL: http://www.jstor.org/stable/40653588 .

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32

TRADITIONAL MUSIC IN JAMAICA

by

OLIVE LEWIN

In order to build a nation and prepare for the future, it is vital for a people to know whence they came and who they are. Hence, it is important to study various aspects of cultural heritage. Over the years, several individuals realizing the importance of developing such an awareness have worked with enthusiasm and foresight in the areas of their special interest. National organizations have also been protecting historical monuments, undertaking archaeology and océanographie research and investigating local speech, drama and dance forms. Apart from the dedicated interest of a few voluntary workers, however, music lagged behind until 1966 when the Government of Jamaica established a research project to begin an in-depth study of Jamaica's musical heritage.

This project revealed that, beneath the surface and away from unsympathetic ears and eyes, Jamaica had a wealth of traditional music inseparably bound up with the day -today living of those who created and made use of it. Traditional music, quite apart from that used in the educational system and the established churches, was not a social grace or a commercial commodity, but an integral part of living.

The music which is most alive today has been carefully and, at times, secretly guarded. It has survived in spite of misunderstanding, suppression and even at times being outside the law. Because of its deep significance to those who cherish it, prying eyes, cameras and tape recorders are often not welcome, and even when accepted may result in a subtle retreat and exposure of surface manifestations only.

This music by its very nature is almost meaningless without its surrounding and supporting lore. It is therefore only healthy and wide-spread respect for the people concerned, for their philosophies and their way of life, which will open doors to the knowledge and understanding of these traditional forms of cultural expression which have been nurtured through the years and can teach Jamaicans so much about themselves, as well as about their rich ancestral traditions. Most of these ancestors were uprooted from Africa as early as the sixteenth century. As a result of colonialism there has for centuries been every inducement for Jamaicans to grow away from their African roots. Music with strong African characteristics was neither understood nor respected, and has until fairly recently been considered unwholesome and backward. There is no denying that Jamaican music has also been genuinely influenced by the music and dance of the European society which has been here for hundreds of years, but the acceptance of these influences has been quite out of proportion to their significance. Fortunately, this picture has under- gone dramatic changes since the 1960s.



33

The study of Jamaica's traditional music has also revealed a view of life and society completely different from that popularly held today. There is abundant evidence of the belief in one all-encompassing and eternal life, which includes the various levels of society: Gods, Saints and Heroes, Ancestral Spirits, human beings, animals, plants and the elements. The prime aim of life at all levels is to maintain and, when necessary, re-estab- lish harmony between all its manifestations, seen and unseen. This view of life holds that since matter is the manifestation of spiritual things, problems that exist in the world of matter originate in some spiritual shortcoming, and must therefore be solved at a spiritual level. This explains why it is the cult leader whose advice is often sought whether the problem be legal, social or physical. He can guide matters towards the re-establishment of the vitally important harmony which will automatically solve any problem. Basically, the question is not how the problem situation arose, but why, and for this one may need to go beyond the mind of man, which, no matter how brilliant, is limited. To this end, music, and especially its rhythm, is often used to induce trance states which facilitate direct communication with Gods and Spirits, unseen sources of information.

In addition to the specific use of music as a psychic force, it is also widely used in all levels of community activities. When the outside world of jobs, schools, established churches, mass media and all the trappings of modern living are left behind, the creators of such music retreat into their own safe familiar habitats - physical, emotional and spiritual. The whole rhythm of life alters and takes on new significance. Music then stretches across the whole spectrum of life's activities, from secret ritual to ceremonial, from work and social to recreational. Songs are used formally and informally - for praise, for derision, to teach, to warn, to admonish. Thus, to understand Jamaica's traditional music, one must understand the total environment of the people who create, adapt and use it.

Our forefathers, brought as slaves to Jamaica, came from various linguistic and cultural backgrounds. Verbal inter-communication was often impossible. Gradually, however, they learnt to speak in ways that they all could understand. They evolved and passed on methods of communicating secretly, even through non -verbalised sounds, with the spirit world, the world of the living and the world of nature and elemental spirits. They learnt quickly that what could not safely be said could be sung. Songs were used to convey messages. They still are. Songs were used to express sadness and the pain that was never far off. They still are.

Ex. 1 All dem οΓ one dead an' gone (x3) An' we nevva to meet again Mourn Dayka mourn Ο mourn Dayka mourn (x2) An' we newa to meet again.

Our forefathers also used music to express innate confidence in and knowledge of that Creative Spirit of which all living things have always been a part and with whose plans they should work to harmonise. Music was used to bolster belief in the inviolable law of cause and effect, the laws of Nature which had placed them in the dreadful circum- stances in which they found themselves. Thus, they used songs to give strength so that the karma could be accepted in order that the next stage of life could be on a higher plane.



34

After Europeans began to evangelise the slaves, new influences crept in. In spite of indica- tions to the contrary, these influences have remained superficial. Ex. 2 Although the road be rocky an' steep

I ask my Saviour to be my guide King David slew Goliat' wid a sling

an' a marble stone . . .

Chris(t) is coming, an' me no wan' no condemnation

So me pick up me cymbal, me lick dung me cymbal

Cymbal a go roll away There were certain aspects of the new religion that fitted in with the slaves' basic

belief. Christ Jesus, for instance, was highly respected and His life and work could be accepted without question, with less question perhaps than by Christians. His conquest of death was also symbolically important. The practice of Christianity, however, puzzled, and at deep levels still puzzles, many Jamaicans. The instinctive view of creation, life and death makes it difficult for many Jamaicans even now to accept a religion that seems to be focused on a particular place and a particular time. For the traditional Jamaican, there is hardly any line of demarcation between what is sacred and what is secular.

Ex. 3 - When I turn my eyes up to Heaven I saw Mary at her Master's feet An' me say bam Uncle Rufus sen' me dung

a Brown's tung fe go hear dem sing dem cyan sing at all - a rum dem want a Mama Tully yard

King David slew Goliat' wid a sling an a marble stone -

This example illustrates that to the traditional Jamaican the whole world is the Creator's Temple and all life and all things are in His hands.

It is not possible to determine exactly how the slave forefathers of Jamaica used music, but it is safe to say that they used it widely. Adaptation, variation and improvisa- tion seem to have been prevalent. As research has shown, one tune may be used on various occasions and by very different groups. However, while the words may be more or less the same, the timbre and the rhythmic setting may vary considerably according to the function and the particular occasion. On the other hand, words and tune may bear close resemblance, but be used in totally different styles. Thus, one can carefully transcribe the melody, words and rhythm, measure the instruments, and get all their specifications, and yet learn little of the traditional music of Jamaica. It is the intangible qualities so difficult to express in words, that will truly convey the essence of this music. For the traditional Jamaican, it has been one manifestation of basic philosophies, attitudes and beliefs; a vital link with the past from which they had been so rudely uprooted; a link with the cosmos for which the need was probably more deeply felt in the new setting; a means of relieving pent-up emotions which could and did destroy lesser people. It is likely that it was ritual, ceremonial, social and work music that were most used and these types of music still carry great cultural weight.



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Short Categorisation of the Traditional Music of Jamaica Ritual - This type of music reflects the attempts of traditional musicians to communicate with their gods, ancestors and heroes as well as with the forces of nature at levels at which the outsider is only rarely allowed to observe. Such observers know better than to divulge the secrets of rites with which they have been entrusted. Suffice it to say that much of the music is improvisatory and largely under the control of the spiritual leader and traditional musicians. Often it is the work of many years to be able to become a lead drummer in this sort of situation because accurate knowledge of rhythm is vitally important. Confusion of rhythms would be extremely serious. Specific rhythms act on and are used for specific conditions, in ways similar to particular drugs in the field of medicine. Ceremonial - Rituals which are largely secret are often surrounded by ceremonies which are more accessible to other members of the group as well as to interested members of the public. There are also ceremonies that take place on their own. This category of music deals with a very wide range of subjects such as Baptism, Thanksgiving, Mourning, Invo- cation through Ancestral Spirits, attention to graves, Spiritual Uplift and in certain cases services to attract new members. Ex. 4 Plant de letta pon de seal an' mek

me read it (x3) Bansman de note a blow

(Revival) Ex. 5 Ο poor Wilhel oh, a weh him deh

Hear Wilhel a bahl a wood hole, a weh him deh

Me hear toad a akse fe him, Wilhel no deh yah

Ο poor Wilhel oh, a weh him deh

(Goombeh) Ex. 6 Day dah light eh, mahnin's star

We say, we dah come oh, mahnin' star (Kumina)

This category of music also includes a wide range of beliefs. They range from those reflecting ancient African philosophies, as in Ettu, Maroon, Goombeh, and Kumina, to others which have incorporated Anglo-American Christian thought, such as Pukko and Zion Revival. Ex. 7 All dem stumblin' block will has to remove

We ha' to break down Satan Kingdom an' buil' up de Church o' God

An all dem stumblin' block will has to remove

(Revival) Rastafarianism is comparatively new, yet has exerted considerable influence on

recent Jamaican thought and lifestyle. In Rastafarianism the influence of the Coptic Church is evident and the prophecies and writings of the Old Testament are highly respec-



36

ted. In addition, there is strong allegiance to the late Haile Selassie, sometimes referred to as Negus or Rastafari, The religious music of Rastafari varies considerably, with the best of it being extremely original and improvisatory, at times hypnotic. Drums and chanting play fundamental roles.

Although the range of expression is so wide and many of the groups are unsympathetic to each other, there is nevertheless an underlying similarity of thought which revolves around the basic belief in one life and the necessity of striving for peace and love at all levels by spiritual means. This is reflected in the music which also is wide-ranging in style and presentation.

It is interesting to note that in many traditional ceremonies, leadership is taken by either sex and is completely accepted, regardless of the attitude of outsiders.

Social Music -This refers to life's stages -- Birth, Puberty, Marriage, Death - and to activities concerned with the day-to-day life of the group. Songs in this category are full of topicalities, substitutions and a characteristic type of humour. They include songs of censure and advice, songs of praise and derision, songs that show the attitudes and the social and moral standards of the group.

Ex. 8 My man does'n treat me like he use to do For he loves annada girl wid me An' if a ketch dat gal, I'm goin' to beat her

Ex. 9 When me fahda a go dead him newa mek no will But him lef one cow fe de whole a we An' me bigga bredda rob i weh from me Glory be to God, me ha fe me own, me own

a me own

The life of the slave was short. "Death" was always near, either by separation or by loss of life. Thus it is not surprising that most of the songs to do with life -stages concern death. Physical death was a welcome relief from hardship and a chance to live again and to live better. Those who were left behind were expected through ceremonies, songs, dancing and the playing of music to help the departing spirit on its journey to another plane of existence.

Ex. 10 Den I saw my fahda Abraham stretch forth de palm of his right hand to take me over

Jordan plain - Say who will go and die for Adam fallen race I will go, - I will go

Ex. 1 1 One blow me blow Sityra, one blow me blow Sityra me madda, me bradda an' me sista Bury dung a riba side

Work Songs - These sprang from the slaves' need to communicate and to lighten their distressingly hard work. Talking was often prohibited but they could chant what they wished to say without incurring the wrath of their masters. Chants took on the rhythm of



37

the work which they accompanied, and so these songs are as varied as the several tasks the slaves were required to do. Many also reflect the differences in the tasks to which each sex was assigned.

Ex. 12 - Field labour - men Bomma Ooman is a people Work gang (bobbin) Grumble too much Bomma Dem a wuk dem grumble Work gang Grumble too much Bomma Inna church dem grumble Work gang Grumble too much

Ex. 13 - Hauling - men Leader When I was in America I

hear de soldiers groaning Men Ο ο pullaway Leader Sally ha one steamboat a run

over yanda Men Pullaway Yankee pullaway Leader Pullaway to London pullaway oh Men Pullaway Yankee pullaway

Ex. 14 - House cleaning - women Good mawnin' Missa Potta Good mawnin' to you sah A come to lodge a complain to you now sah A plant a piece a red peas a red Sally Ian' Mary Jane and pigen come eat i out sah Come out a me yahd me nevva call you yah For yuh house rent money no dun pay fah

Ex. 15 - Lullaby e - women Done Baby done cry yuh madda gahn a fountain Sweetie water nevva done yu get i dung a fountain Milky water newa done yu get i dung a fountain

The style, texture and scales of some work songs hark back to Africa, but many of the melodies and harmonies are western European in style.

A few work songs reflect some of the other ethnic influences on Jamaica's culture. The rice-beating songs, for example, show strong East Indian influence. One song has also been salvaged out of the Chinese indentured period while another, used for women's work, refers to the Middle Eastern peddlar of by-gone days. Ex. 16 Quatty a yahd oh

Saloh Some a buy one yahd Some a buy two yahd Some a buy half a yahd oh Saloh



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Recreational Music - There was little opportunity in old Jamaica for the use of purely recreational music, though celebrations like Jonkunnu and Set Dancing certainly started during the days of slavery. At Christmas, slaves were by law given time off and, though life always returned to the old privations and distress, on the whole the slaves seemed determined to make the most of their short respite. There were processions with drums and fifes, fully masked dancers and prancing crowds. Influences were at first predomi- nantly African, but elements of English Morris dancing and mummery as well as French sets were absorbed - the overall style developing into something uniquely Jamaican.

Vestiges of slavery were completely abolished in 1838 during the reign of Queen Victoria and the significance of this is recorded in the Bruckins music of 31 July to 1 August song/dance contests.

Ex. 17 God bless de noble Queen Victoria Who set Jamaica free You no yerri weh me say You no yerri ban' a play Deestant marchin' roun' de bood

After emancipation, Jonkunnu was also used as an integral part of first of August celebrations.

Quadrille and other types of dance music flowed into the Jamaican heritage via the Great House.

Ex. 18 Try dear don't tell a lie (x3) Or I will nevva marry you Try to tell the truth me dear An' you will get the ring me dear (x3)

Such recreational music still enjoys great popularity for folk celebrations, as well as thea- trical performances.

However, Jamaica's indigenous dance-song style is Mento. It is characterised by the accentuation on or in the last of four beats in the bar and very topical words, which are often fully understood only by members of the group creating or using the particular song. The popularity of Mento fell after transistorised media brought foreign popular music within easy reach of even remote areas of the country, but recent years have seen it climbing into its own again.

Dance songs related to games are used in Jamaica by both adults and children, but often on separate occasions. They include ring and stone games which adults use at death ceremonies, village festivities, and for relief from stress, while children use them for normal play and also at moonlight gatherings or moonshine dahlins.

Ex. 19 Zackie you knee cyan ben ) Ben i dung ) (x2) Ben i like a leaf pan tree ) Ben i dung ) (x2) Ben i dung to grun' ) Ben i dung ) (rep.)



39

Ex. 20 Jump bredda rat, bredda puss a go ketch you

Leh, leh, jump an' de leh Jump, jump, jump fe you life Leh, leh, jump an' de leh

Music from many other forms of folk entertainment has also survived, for example, Tea Meetings, and Pleasant Sunday evenings. These grew largely out of European traditions and have retained mainly European features.

Instruments A wide variety of instruments is used at the grass roots level in Jamaica. Of these,

drums are the most widely used. There are several types, for example, Bass, Goombeh (Ex. 21) (a square frame drum), Tin Drums, Fundeh, Repeater, Kbandu, Side Drum or

EX. 21 - GOOMBEH DRUM

wooden inner frame which presses against skin according to the depth to which supporting peg is driven thus altering tension and pitch of drum head.

*^s^^ Supporting *^^> Peg

end of inner frame ~^l] ^^

tapering peg -~ *| I

Reproduced from the collection of the National Library of Jamaica



40

EX. 22 - RHUMBA BOX

metal thongs stroked by player who sits on box

Photo by Leahcim T. Semaj , Jamaica School of Music collection.



41

EX. 23 - BOOM PIPE

Boompipes, Jamaica



42

Ex.24

jU J J J IJ.^ IJ J J IJ!j[' ̂

| J J J |J, jJ- J'iJ^çj-Q-lr II Ex. 25 opening bars of song as transcribed by 3 musicians.

a ..ii - - - MW #j ■-■MB - - - p- ^ -- .

φ i J ■-■MB

JjJ J^ j Ν J J71 -- .

J /] JJ J I .Γ'Ξ5ξ3ξξ]

b> vs

c) wj

Rattler, Playing Cyas as well as drums made from whatever material is at hand that can simulate the sound needed. Other instruments used include Fiddle, Guitar, Banjo, Bamboo Saxophone, Benta, Bamboo Fife, Penny Whistle, Maraccas, Triangle, Tambourine, Sticks, Shakkas, Rhumba Box (Ex. 22) (the bass version of the Sansa or Likembe), Paper covered Combs and Boom Pipes (Ex. 23) (lengths of Bamboo, some blown into, others hit on the ground - each producing a sound of specific pitch).

In Jamaican traditional music, melodies often go beyond the scope of the twelve semitones of the well-tempered Western scale, and would be badly mutilated if forced within those confines. Music which definitely grew from European roots can of course be transcribed without suffering much loss in the process. (Ex. 24, Ex. 25 (a), (b), (c), and (d).) The vast majority of rhythms used, however, can at best only be approximated on

paper, and often a percussion instrument is used improvisatorily for hours. In addition, Jamaican traditional music rarely exists without a movement and mime dimension. Because of these characteristics, conventional transcription is a most unsatisfactory way of documenting this music for general use and, moreso, for posterity. It is therefore of paramount importance that high quality sound tapings be supported by visual documen- tation. It might also be useful for the African diaspora to give serious thought to finding a suitable way of transcribing its music. If Jamaican traditional music is to form the basis, of local Fine Art music, and it must, it has to be made widely available in forms that are usable to those trained in this area of the Art. Until a more practical method of transcription is found, some of the richest and most interesting sources of inspiration will be lost.



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Jamaica's popular musicians have fortunately not allowed themselves to be restric- ted by these problems. Since 1962, popular dance music and songs containing much social commentary have flourished. This music has evolved through Ska and Rock Steady to the now internationally accepted and popular Reggae, having originally emerged from Jamaican religious/ceremonial music. Rastafarian philosophies and musical styles have in recent years exerted considerable and increasing influence on both words and music.

Traditional music of Jamaica is as varied as the roots from which it has sprung. Some of these have fortunately been identified. Others have probably already been lost in antiquity. Every day an old Jamaican dies, irrevocably taking with him/her irreplaceable wisdom and knowledge of the past. Every day outside influences increase. So daily the task becomes more difficult as well as more urgent. Some Jamaicans are aware of this, but too many still remain mentally and emotionally enslaved to ideas and attitudes which cause them to bury their heads in the sand ratner than face truths which would compel a thorough cleansing of the mind. Too many Jamaicans are still eager to identify with cultures that are foreign, believing that these, by their very foreignness, must be superior.

Grass-root Jamaicans are generally not plagued by these conflicts. Certainty of their own being saves them. They know that they are inseparable parts of society as they see it. of worlds seen and unseen, through which runs that one Consciousness which unites all into one indivisible whole. Uprooted from their native physical environments, their ancestors had to leave drums, flutes, masks, inter alia, behind. They treasured them in their memories. They carried their spiritual strength and deep-rooted artistic talents with them.

What seemed like centuries of inactivity and forgetfulness were like seeds, within which lay the possibilities of a glorious rebirth.

Jamaica will always owe a debt of gratitude to those who have nurtured its music traditions in spite of separation, persecution and suffering, as well as the many whose hard work and dedication have sought to preserve this rich musical heritage. They have made it possible for Jamaicans to know themselves, and strengthen the foundations on which the nation's future may with confidence be built.



caribbean traditional music || traditional music in jamaica

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