Lamentation in the Rastafarian society through music

Lamentation in the Rastafarian society through music

Music is a feature of daily life, representing an array of constructs and thoughts from different cultures. Songs of lament function as an emotional release during crisis, death, or tragedy. Mostly, the songs end by indicating that there might be hope in the future. “Rivers of Babylon” has been chosen for this essay. It is a song of lament that was sung by The Melodians, a group from Jamaica. The song was recorded in 1970 as a Rastafarian song. Rastafarianism refers to a religious association amongst the black Jamaicans that explains the restoration of Africans and their going back to Africa. The Rastafarians employ the usage of marijuana as a ritual and honor Haile Selassie as a god. In this paper, a lyrical analysis of the song will be provided. Therefore, it will give a better understanding of how this song is lamentation.

. The “Rivers of Babylon” adapts its lines from the Bible in psalms 19 and 137. The only line that was adapted from psalms 19 was, “let the words of my mouth, and the meditation of my heart, be acceptable in thy sight O Lord, my strength, and my redeemer” (Rivers of Babylon 17-22). The expression was used as a closing phrase often added to psalms as a form of closing “amen.

” The rest of the lyrics were adopted from psalms 137. The chapters are hymns that express the laments of the Jews in exile after the Babylonian conquest of Jerusalem. The people who live in western riches and peace hardly understand what living in exile feels like. However, the song articulates ancient anguish, pain, and separation or emotions (Stowe, 100). Chebar River, the Euphrates River, and its branches are considered the rivers of Babylon. In the faith of the Rastafarians, the name Babylon refers to any legislative system that is either unfair or oppressive. Also, the term is used by the Rastafarians to speak of the police who are viewed as the cause of oppression. They are considered that way because they arrest the members of the Rastafarian community for using marijuana. Hence, the song, “Rivers of Babylon” talks about living in an oppressive society just as the Israelites in captivity, and the wish for freedom. Psalms 137 was adapted into the song to increase the consciousness of the public about the rising of the Rastafarian movement. Also, it was a call for social justice and liberation for black people.

The Rastafarian movement rejects western society referring to it as “Babylon,” which is corrupt. Further, this Babylon is said to be a rebellion against the “Earth’s Rightful ruler” ever since the reign of Nimrod. The Rastas acknowledge that “Zion,” which is to them Africa, particularly Ethiopia is their promised land. In a previous mix, the song had been performed in a German TV show. It was sung as “How can we sing King Alpha’s song” which was changed to “How can we sing the Lord’s song” according to the bible quote. King Alpha referred to Haile Selassie (Stowe, 107). Also, in the line “they that carried us away captive requires us a song,” in psalms 137, the word “they” was replaced by “the wicked” (Rivers of Babylon 5, 6). Further, “O Lord” in the Bible is replaced by “O Far-I” in the line “Be acceptable in Thy sight, oh Far I” (Rivers of Babylon 19). The Rastafarians creatively used psalms 137 to penetrate what they view as the mask of great silence on the “rape of Africa” in the time of Christian and Muslim colonialism, slavery, and oppression of the Africans. They broke the silence by hijacking the song, which had been created by the Hebrews by the rivers of Babylon.

The song was abducted at a hermeneutical point, that is, the Rastafarians used their method of adopting and understanding the scripture. The Rastafarians used this song as a revolutionary call for protest against Babylon, liberation, and justice. Therefore, like a Rasta lamentation, psalm 137 inculcates faith and hope in a cause that seems hopeless, that is, the political, economic, and liberation of human beings. The singing of the psalm in the Rastafari ritual cultic celebration or the Nyabinghi is among the most passionate and authentic expressions of the spirit of the Rastafarians. A spirit of the active rejection as well as the dissonance of the Babylonian culture. The expressions are evident, particularly when the song is intoned on guitar, the bass, and the repeater and tuned to a reggae beat. Also, in what may be taken as a worship service for Christians, the Rastas’ Nyabinghi, the speeches that are made are all against the Babylonian system (Stowe, 110). The heroes of the Rastafarian community and the courageous members are honored, and Jah Rastafari is praised and appreciated.

Instead of hanging their musical tools on the willows that are close, the Rastafarian song holds that the reaction needs to be changed. They should not stay silent, but must go on with the singing, and sing more insistently and louder for freedom. “Sing it out loud; Sing a song of freedom, sister Sing a song of freedom, brother” (Rivers of Babylon 11, 12, 13). The last verse of psalms 137 is not included in the song since the lyrics of the song replaces a desire for fierce revenge with a call to add an agency in singing itself. Therefore, the song changes the proclamation about mourning and memory into an appeal to protest and fight through music.

Work Cited

Stowe, David W. “Babylon Revisited: Psalm 137 as American Protest Song.” Black Music Research Journal 32.1 (2012): 95-112.