The chapter deals with the contrast between defining aspects of religious rigidity, a socio-historically derived counter-narrative, and anti-consumerism in Rastafarian philosophy and culture on one hand and the universal message and commercial success of the music on the other. After discussing the status of the genre as part of Jamaican national culture, the inherent socio-political claim of Reggae and Rastafarian culture are put in context with the conflicting claims of superiority and non-partiality that can frequently be found in the (...) music. Along the lines of religious doctrines in Rastafarian culture and the attempted spiritual transcendence of racism the chapter closes with an exploration of the genre's signature tropes of social justice and anti-materialism, also considering the less strictly defined identity-constructions of recent artists linked to the Reggae Revival movement. "Martin A. M. Gansinger's study of Reggae and class employs Rastafarianism as a key ingredient of both concepts. Gansinger contends that Rastafarianism offers a "spirituality-based consciousness" that lends itself to an egalitarian-driven social consciousness. Reggae's strong social, political and culture capital as a philosophy of liberation owes much to Rastafarianism, which, for all its contradictions, embodied in categories such as the "righteous" and the "wicked", as well as its segregationalist and patriarchal past, offers a means through which the music advances a socially transformative spirituality that may play a part in the rediscovery of a truly social consciousness." (Ian Peddie, Introduction to The Bloomsbury Handbook of Popular Music and Social Class). (shrink)

While US-Hip Hop has been attested considerable influence of the controversial Black supremacy movement Five Percent Nation, a similar pattern can be observed with the rigid Rastafarian doctrine of the Bobo Shanti Order and Jamaican Dancehall-Reggae. Considering the commercial relevance and global popularity of both musical styles, this study attempted to shed light on the question if either artists are using controversy for promotional agendas or it is them being used for missionary purposes in turn. A multi-layerd cross-case study (...) based on Critical Discourse Analysis as well as ethnographic research has been conducted to determine the degree and direction of Bobo Shanti-representations in Jamaican Dancehall-Reggae as compared to Five Percenter Rap in the US, focusing on visual representations, declared affiliations as well as claims of moral superiority and gender roles in reference to doctrinal sources. -/- . (shrink)

This book is discussing patterns of radical religious thought in popular forms of Black music. The consistent influence of the Five Percent Nation on Rap music as one of the most esoteric groups among the manifold Black Muslim movements has already gained scholarly attention. However, it shares more than a strong pattern of reversed racism with the Bobo Shanti Order, the most rigid branch of the Rastafarian faith, globally popularized by Dancehall-Reggae artists like Sizzla or Capleton. Authentic devotion or (...) calculated marketing?Apart from providing a possible answer to this question, the historical shift of Bobo adherents from shunned extremists to firmly anchored personifications of authenticity in mainstream Rastafarian culture is being emphasized. A multi-layered comparative case study attempts to shed light on the re-contextualization of language as well as expressed dogmatic perceptions and symbolism, attitude towards other religious groups and aspects of ethnic discrimination. Further analysis includes the visibility of artists and their references to practical and moral issues directly derived from two obscure ideologies that managed to conquer airwaves and concert halls. (shrink)