Edward Seaga
The following is a continuation of the Edward Seaga inaugural lecture at the Mona Visitors' Lodge recently. Portions of this section were published in error last week. We apologise for any inconvenience.
THERE IS an active stream of personality development in folk society with its own social and cultural manifestations. Although discipline is intended to bring order, the application
is moreso impulsive and ad hoc than a systematic attempt
to establish regimentation. As
such, individualism becomes the preferred mode stressing individual ownership, impulsiveness and creativity.
Creative individualism is so enshrined in the cultural identity of Jamaican folk society that central to the folklore is the hero of all individualists Anancy. Brer Anancy is a small spider who continually battles with the physically imposing Brer Tiger and wins. He uses his brain and conmanship.
The creativity of young Jamaicans, particularly in the inner city, has created legendary success in giving their creation of Jamaican popular music, reggae, global reach and recognition. The Jamaican style of improvisations also created deejay music which is the base of the national musical idiom, hip hop, in the United States.
Intuitive painting and sculpture, dance, style of dress, elegant flourishes in sports, phraseology in speech and mode of business
are all parts of this creative individualism, which stand out in the cultural identity of folk life.
ROLE OF FOLK CULTURE
Those who live in traditional Jamaica have never had the assertiveness of a free people able to redefine their identity. Indeed, since emancipation, apart from the Morant Bay Rebellion of 1865, which tried to define new entitlements for the poor, the assertiveness of redefined concepts of race, colour, workers' rights and nationhood, had to await the strident advocacy of black consciousness of Marcus Garvey 50 years later, followed by the islandwide protests for workers' rights led by Alexander Bustamante and the struggle for political reforms championed by Norman Manley, to peel away some of the layers of self-denial and dependency.
The role of folk culture in defining the traditional society of Jamaica has been an unwitting social statement of being, a celebration of the African aesthetic in religion, medicinal practices, food and drink, song and
dance, gestated under slavery, which characterises downtown
as different from uptown; differentiates urban and rural; and defines the difference between a more Eurocentric culture and an African heritage, mirroring the split between the traditional and modern societies of the two Jamaicas.
The traditional society is a cultural well-spring of historic wisdom, a cradle of heritage, the crucible of an entrapment of poverty out of which has emerged artistic and athletic giants and the rewarding achievements of those who were forged by determination to overcome the hardships of life's experiences.
ACHIEVEMENT AND SELF-PRIDE
Others seek respect from learning and earning, despite the shortcomings of a society which has never succeeded in educating the poor. They commit them-selves to achievement and self-pride through work. Their success has stamped the identity of Jamaicans as a people who, in the right circumstances, are able to achieve, capable of rising with excellence to the top in the arts and entertain-ment, athletics, scholarship, enterprise, science, politics and almost a candidate for the presidency of the United States. The creativity and achievements of many have imprinted the face of Jamaica on the map of the world. To them, every 'respect is due'.
But most Jamaicans in traditional society stamp their characteristics of cultural identity as a people of deep and abiding faith in the ancient wisdom of the roots of their heritage and the divine guidance of their God, securing a stable space in life where they live with respect and in respect. It is they who have planted the strongest, deepest roots of all in the culture of folk society.
The wealth of religious denominations in Jamaica indicates the desire of folk society to have religious experiences that respect their individual beliefs, whether it be the black monarch God of Rastafari, a personalised liturgy as in the 'spiritual' churches, or
as even an indicator of high
social status as is demonstrated
by membership in the "established" churches. It should be no surprise that the 2001 World Christian Encyclopaedia lists Jamaica as having approximately 173 denominations, operating in 5000 congregations, excluding the indigenous revival cults numbering over 50,000 members. Jamaica could qualify as one of the most 'churched' countries in the world!
But there is a counter culture which has grown substantially in depth and strength. It is composed of those who have strayed from the stabilization of their families and have abandoned the faith of their fathers. They have become rootless and, therefore, ruthless, relying only on their upbringing to guide them in the use of might to secure respect and right at any cost because in their isolation many see themselves as "done de'd a'ready".
This dynamic segment is to be found among young people who have shallow religious roots, are detached from civil society, distanced from the traditions of the family, impatient with frustrating economic barriers and deprived of social space, creating their own order rooted in their own values and imperatives. They translate this into a way of life honouring "respect", power, money and sex and, where necessary, the retribution of violence. They exist in a counter-culture which has broad support without theology, ideology, or even social commitment. It is individualistic and impulsive, deeply grounded in an expressive and creative self. As such, it carries a powerful base of cultural release which has solidly captivated a generation of youth as a renegade route to achieve "respect". The indicators of success emphasise material wealth. The sub-culture allows those with few resources to access the "bling-bling" indicators of material success, ensuring that they can never be ignored. Dancehall is the musical expression of these realities.
In a broader sense, there is another lifestyle which is identified as the "Jamaican way". It compels every Jamaican overseas to long for the day of return to the "rock" to enjoy greater leisure, even indolence, as an escape from hardship.
And if everything else fails, there is always the cunning of Brer Anancy or the fighting spirit of Brer Tiger, to struggle for space and a way out.
Jack Mandoora, the soothsayer of Jamaican folklore, says, "me no choose none". Jack Mandoora is wrong. In all this mix of many traits that identify folk Jamaica culturally, many Jamaicans will be identifiable because they chose one which mirrors them or attaches them to the strong and persuasive roots embracing the traditional folk society; in this, they will find their true cultural identity.
Edward Seaga is a former Prime Minister. He is now a Distinguished Fellow at the UWI.
