In the passage above, reggae historian, founding editor of The Beat magazine and showman, Roger Steffens, lauds Marley, the most internationally revered and popularly enshrined of reggae ambassadors by succinctly evoking 'remote,' 'pre-industrial,' 'timeless,' but particularly iconic and culturally, geographically, and historically significant locations of indigenous anciency and sacredness. On a mountainside above Lima, Peru, carved in huge letters, is the legend 'Bob Marley is King.' In Addis Ababa he is thought of as a modern reincarnation of the ancient Ethiopian church composer the Holy Yared.
In Nepal, Bob is worshipped by many people who regard him as an incarnation of the Hindu deity, Vishnu. Today, the Havasupai Indians who live at the bottom of the Grand Canyon regard Bob as one of their own, a man of the soil who revered Mother Earth and Father Sky as they do. Keywords: cross-cultural politics, Jamaican reggae, Native American popular music, Casper Loma-Da-Wa, Havasupai
#IN THE HOUSE IN A HEARTBEAT KICKASS CODE#
L'article s'attache non seulement aux interviews avec le chanteur, mais analyse également le code vestimentaire des performances, les illustrations des CD et le réseau métaphorique des textes des chansons.
#IN THE HOUSE IN A HEARTBEAT KICKASS PLUS#
La manière dont Loma-Da-Wa's enchevêtre reggae et western dans sa chanson "How the West was Won" met à jour des stratégies de résistance culturelle plus complexes, tant par rapport aux modèles jamaïcains que par rapport aux cultures indiennes locales. A partir d'interviews fouillées avec Casper Loma-Da-Wa, un reggae « singjay » reggae de la tribu Hopi, cet article plaide pour une approche plus respectueuse des spécificité musicales, idéologiques et personnelles des nouveaux usages du reggae. Analysis of performance costuming, CD cover art, and image clusters of song lyrics demonstrates how Loma-Da-Wa creates countertraditions to both Jamaican and Native roots musical traditions.Ībstract (F): Le propos de cet article est de démontrer que dans les analyses de la globalisation du reggae, le traitement de la manière dont les Indiens d'Amérique du Nord ses sont réappropriés cette musique est marqué soit par des clichés soit par des références au cinéma. Loma-Da-Wa's retort to the Jamaican romance with Western films in his song "How the West was Won' suggests cross-cultural dissonances. Based on interviews with Hopi/ Diné reggae and dancehall singjay Casper Loma-Da-Wa, the article insists that critics must engage critically with Native reggae artists in order to better understand their complex musical, ideological, and personal negotiations. Ribbon Shirts in Rasta Colors: Native American Syncretic Musical and Visual Strategies of (Jamaican) Resistance in the Lyrical Imagery, CD Jacket Art, and Performance Costuming of Hopi/ Dine Reggae Singjay Casper LomayesvaĪbstract (E): The article argues that in discourses narrating the globalization of Jamaican reggae music, references to the Native American interest in reggae have largely been generic or loaded with cinematic resonances. On Musical Contestation Strategie (Part 2) / Images in Advertising
The Visualization of the Subaltern in World Music.