The subtitle of this self-described DVD: The Definitive Story of Reggae and Jamaica’s Musical Culture is divided into two parts: Part 1 Revival; Part 2 Ranking Sounds. 

As an anthropologist, first introduced to the subject of slave archeology at U. of Mississippi, in Oxford, Mississippi, part one “Revival” caught my attention from the first frame. I am deeply familiar with the history of Africans in America, and with the African religions that hold ancestor worship dearly. There is also a belief in the very rebirth of those ancestors. And it is the rituals of slavery, by way of Africa, that gave rise to original music from black people the world over. Thus a series such as this one could not “speak truth to power,” without the inclusion of African religions and slavery experience in the Americas. 

Deep Roots is the authority on Jamaican music and reggae (a generic term). It was originally shot in the 1980s just after Bob Marley’s untimely death. The film-maker Howard Johnson conducted the interviews of some of its biggest stars. He interviewed cultural historians, folklorists, musicologists and toasters. Johnson also interviews those who helped to create this Jamaican-borne music, and produce the records of a sound heard ‘round the world.

Deep Roots Music 1 series is the essence of black roots—mother Africa. Jamaica,  just as America, was equally infused with slavery, African religions and cultures. One must pluralize all three because history tells us that blacks from Africa were brought from more than one locale within Africa. While few if any came from countries such as Zimbabwe, South Africa or east Africa, most slaves did come from west Africa and parts of the interior. One thing that many enslaved Africans held in common: religion, either Muslim or indigenous African religions, which featured possession (or riding) of the worshipper by one of its many deities.

Revival - Part One

“Revival” details, with footage, the dancing and singing of musical and ritual forms common to African slaves. Some of the names, such as kumina, poco, and burru may be unfamiliar to most. However, make no mistake, black Africa alone informs reggae music, and the reggae-style dancing which accompanies it. The dance form known as “ska” has its genesis in the mocking by blacks of white dance forms.  It may not be ballroom dancing, but it fits the music. 

Ranking Sounds Part 2:

“Ranking Sounds” part 2: Here a little history is in order: Ras Tafari. This movement was born of a music that also became its anthem. However, it is not only the Rastafarian who loves his reggae. Everyone knows that the “Rasta” typically grows his/her hair into long dread locks; not uncommon in other Asian and middle eastern religions—hair as religious icon, or commodity. It is precious therefore never cut. But for the black Rasta, it looks unique. And in the form of dreads, it is pure invention. But most may be unaware of its other features—vegetarianism; the smoking of marijuana, and worship of the former Ethiopian Emperor Haile Selassie. Some little-known trivia comes by way of this name: Ras Tafari. Actually, Emperor Haile Selassie’s name, before he became Haile Selassie. Thus the movement took his name and combined it with worshipping him as the reborn Jesus Christ. Bob Marley, while not the creator of reggae, is probably most iconic to this music. Bob Marley is the interview the DVD may be lacking. But the beat goes on. Why? Because the entire island and the people of Jamaica give themselves holistically to this musical genre: It genuinely infuses the people and imbues completely the culture.