Feature Interview:
Rev. Dr. Stephen Jennings
Lecturer at UTCWI
“Reparation and the Church”
Articles:
• Reggae Ambassadors Round the World
• DJ Proclaima - Straight Outa di UK
• Film Review - Joseph: An AfricanCaribbean Drama
Also Inside:
• KIDS CREW: Black Like Me Part 3
• Reggae in Zambia: Informal Chat with DJ Sanctified
• 11 Questions with Muma Lucee (Nigeria)
• Music Scores from Kom Mek Wi Worship
The KW magazine is an intriguing, informative, and delightful addition for readers in cyberspace. I am particularly pleased with the quality of the artwork and layout. The features especially on Africa are very current and “up to the time.” As a collective we have not properly grasped the notion of advocacy to its full effect especially as it relates to culture. As such the KW magazine is a wonderful opportunity to make ‘CREWshall connections’. p
‘aka’ Shezzie, singer, UK
When I heard about the KW Magazine I was excited to get my first copy as I’d never before come across a culturally relevant Christian publication and what a great read it was! Articulating issues of race , social injustice and Black history, this publication is a step forward towards educating diverse communities, sharing our evolving spiritual activities, while encouraging a productive network of like- minded individuals from across the Diaspora. So let’s continue the dialogue Kingdom People! p
The last few months have been like a quantum leap into the future! I won’t even try to count all the many things that have happened. Some of us are set to SCREAM if we ever hear the words COVID-19 again!! So this issue is not about the
CoronaVirus, but the issues we will deal with affect the whole world just like the virus is doing right now even as I write. The first topic we chose was Reggae gospel around the world. Has it spread globally as much as straight reggae music has? And trust me … it has! I won’t forget going through immigration in Benin in 2003. We were there to conduct a songwriting workshop to create new songs for the church in a number of language groups. The immigration officer, when he saw my Jamaican passport, shouted in glee and demanded that I sing one of Bob Marley’s songs before he let me in. In Burkina Faso where I lived for a short while, even Ramadan was closed out with one of Bob’s anthems at 4:00 in the morning. No question - our reggae music has spread like a virus all over the world!
As I was trying to answer that question (about the spread of Reggae gospel), the matter of reparation was brought to my attention. But should Christfollowers be concerned about people of African heritage being compensated for the atrocities perpetrated against our forefathers during the Transatlantic Slave Trade? In trying to answer that question, I was faced with the question of whether we should be seeking reparation or reconciliation.
This is how we ended up addressing these three matters in this one issue! And then, as if to confirm that we were on the right track, the whole world, it seems, joined African Americans in protesting the ongoing violence being perpetrated against their people, especially by the police, after the public murder of George Floyd while he stated repeatedly “I can’t breathe!”
Come along with us. We are praying that ultimately, we will see transformation as we love and embrace ourselves enough to realize that we do deserve to receive all the benefits of being human, take another step toward repairing the breach between us and our brothers and sisters from every ‘race’, and celebrate the gospel of Jesus Christ shared through the medium of the gift of Reggae Music all over the world!
We have set up a group inside Facebook to take the conversations introduced in this magazine off the pages for greater impact and influence. The best part of this group so far is the conversations we have been having weekly, covering topics such as Racism & the Church, Garveyism, and Repatriation. Please join us there if you will. Here is the link: www.facebook.com/groups/ CREWShallConnections/ p
KW Magazine is an almost quarterly magazine of CREW 40:4 - a non-profit entity based in Jamaica, whose mission is to spread the message of the gospel of Jesus Christ through culturally relevant expressions of worship. The magazine’s aim is to facilitate conversations about worship and cultural identity among Christ-followers on the African Continent and in her Diasporas.
Disclaimer: We may not agree with all views expressed by contributors or interviewees.
Editorial Team
Jo-Ann Richards Goffe
Marcel Goffe
Angela Slack
Sylvia Gilfillian
Telephone: + 876 820 0258
e-mail: kommekwiworship@ gmail.com
Website: www.crew40-4.com
Interview with the Rev. Dr. Stephen Jennings, past president of the Jamaica Baptist Union, lecturer at the United Theological College of the West Indies, and present pastor of the Mona Baptist Church in Papine, Kingston, Jamaica. Rev. Jennings also serves on the National Reparations Council of Jamaica.
KW: What is your working definition of reparation?
Reparations has to do with repairing
damage that has been caused because of a breach/breakdown of relationships. It comes from the latin ‘reaper’ - to fix what has been damaged; to mend. Relationships were damaged because some people have enslaved people and damaged them by a distortion of relationships.
KW: How do you see this working out in the context of people who are victims of the Transatlantic Slave Trade?
This works out in the context of the Transatlantic Slave Trade because the enslavers were largely EuroWesterners of Caucasian background in countries such as the USA, Canada, South America, Australia, New Zealand and Southern Africa. The enslaved were largely of African descent. People were taken from Africa and used in the aforementioned places. Reparations means that as a group, the descendants of those who benefitted from the institutions they formed, like churches, universities and businesses, and other proceeds of enslavement, should out of their own means and the accumulated profits they have made seek to compensate the descendants of those who were enslaved. This should take place economically, psychologically, spiritually, socially, theologically, culturally - by issuing words of apology, asking for forgiveness to heal the hurt, by returning things wrongly appropriated, (aka stolen), helping people to have spaces to express themselves, listening to people, helping people to come to terms with themselves. They themselves in turn can learn and benefit a lot by listening to these persons; treating people with respect, dignity, equality, and a sense of freedom. All these and more are crucial ways reparations can take place to correct a system that was in place for over 400 years, affecting over 13 million people, led to the underdevelopment of Africa, and prevented people from being able to develop their full humanity because
they were the chattel property of others.
KW: How relevant is the concept of reparation to the church, both on the African continent and in her Diasporas?
Reparations as a concept is relevant to the church wherever the Church is, because the Church is in the ministry of reconciliation. Reconciliation means making people who were formerly enemies friends again. Clearly because of what was done by oppressive peoples to others, enmity occured. The concept of reconciliation therefore is that through Jesus Christ by the Spirit we become friends and we learn to work with each other. However, reconciliation is not a concept in and of itself. It is always linked toward repentance (confessing and turning from sins, turning to God for help, and to others) and reparation (repairing the damage in all the ways I mentioned before). References in Old and New Testament books talk about the need to make economic payback, helping people to have a sense of dignity and self worth. Sometimes it is called restitution - giving justice to those who were unjustly treated. It is part of a package.
KW: There are people who say as people of God, we should be forgiving. They use this to justify their view that we should not ask for reparation. Is there any Biblical ground for seeking reparation?
People who speak about forgiveness as enough reason not to ask for reparation really fail to understand what I just described. Forgiveness is not in isolation from other things. Forgiveness is part of a package. In the Old Testament when people sinned, they not only had to offer sacrifices to ask for forgiveness, but they had to make restitution and reparation to repair the damage that was done, as part of their repentance. In the New Testament it continues. John the Baptist for instance speaks about people who said” don’t just come and say we are children of Abraham. Bear fruit worthy of repentance.” That for him was practical. If you stole from somebody, pay back with interest. Stop oppressing, extorting and exploiting. Change! So these are concrete things. There are stories in the bible that speak about people who have been forgiven, but that should show in how they treat the people, by making economic restitution, and reparation as part of repairing the damage. Not just asking for justice but doing justly, and that includes economics. So reparation includes all of that, and there is much Biblical ground that we could give for that. Passages in Exodus and in Leviticus could help people to look at that. One has to look no further than the story of Zacheus in Luke 19:1-10 for just one example. When Zacheus said “Look! If I’ve robbed anybody, I’ll pay them fourfold what the law said. If I robbed from the poor I’ll give them back double.” And Jesus said
“Ahhhh! Today salvation has come to your house!” Not that he’s saved because he’s doing it, but that today is the day that you show that you’re saved because you’re going to do it. Faith without works is dead. Asking for forgiveness is not enough. One needs to show that one is serious about it. And this is true not just about reparation but about anything! It’s not just enough to say we’re sorry. We need to show that we’re sorry in practical ways.
In addition and in conclusion, I just want to say we need to see reparation as being central to the gospel and not peripheral to it. It isn’t a passion and hobby of a few but is the obligation and passion of everyone who is serious about being Christian. Whether or not we were a part of the system we all in many ways are involved in it, whether as beneficiaries or the exploited ones, or rather, descendants of the exploited ones. A lot of the problems we have in the world, and in our side of the world, can be traced back to it. The type of crime we have. The way in which infrastructure cannot be developed without loans. (The fact that other places and peoples have loans to give show that they themselves benefited from being developed in particular ways, which came on the backs of those who were exploited as labourers and machines, in a system that eventually brought
certain countries to be developed in their status.) So in one way or the other people have been a part of this. All we are saying is let’s try to level the playing field and equal the scales. This should be something that any well-thinking Christian would be interested in, because we want to make sure that the societies we are living in are ones that can be a blessing to everybody and that we can flourish as long as we are on earth, and that when we go to be with the Lord, we would have heard the “well done good and faithful servant”
because we would have played our part in helping the world to be better, and people to give God thanks for a good life rather than to question God or curse God because their lives are so hard and so oppressed, and so full of exploitation. So any wellthinking Christian should have this at the centre of their agenda once they understand the issues. I pray others will see the importance of this and that the KW Magazine will be a part of spreading the word. God bless! Thank you! p
DJ Proclaima was born Bernard Reilly in Nottingham City - famous for Robin Hood - at the heart of the Midlands in the United Kingdom. His two radio shows are syndicated on over 100 FM, Digital and online stations around the world. His YouTube channel gets somewhere between 10 & 20,000 views every single day. All in all, he is able to reach over 1 Million people a month. His channel has just hit 50,000 subscribers. In the midst of all this busyness, the KW Magazine was able to snag a conversation with him just before going to press!
KW: At what age did you encounter
Christ and how did it change your life?
PROCLAIMA: As a child I remember a few things that later made sense to me when I gave my life to Jesus. My granny used to take me to Catholic Church, which I never really understood. But there was something about her that was good. I remember meeting a street preacher who was an old man and when he spoke to me I felt God’s power. At the age of 21 I became a Christian and it completely changed my life.
KW: How did you become a selector? How old were you when you started?
PROCLAIMA: After being saved for a few years God delivered me from music! I had an amazing collection of hard to find white label records, many of which had to be imported. God made me give it away and as soon as I did it I felt like something was lifted off me. God revealed that music had been my idol. About 4 years later He spoke to me in a very profound dream and told me He had made me to be a DJ for Him. He told me that I was to start a ministry called ‘Soulcure’, a name I had never heard before. He showed me a vision of myself playing a sound in a community centre in Nottingham called the Marcus Garvey Centre. I was about 28 at the time.
KW: Why did you choose the name DJ Proclaima?
PROCLAIMA: God has given me a real love for people and the joy of being an evangelist. Wherever I go and whenever I play, I ALWAYS proclaim the Gospel hence the name Proclaima.
KW: Who were your early musical influences?
PROCLAIMA: I was brought up in a black Caribbean community so was heavily influenced by my peers. I remember as a little boy
standing alongside the selectors and mic chatters at local events whilst the other kids ran around playing. I had a deep passion for reggae artists such as Dennis Brown, U Roy, I Roy, Gregory Isaacs, Bob Marley and more. Plus, I grew up on disco or what we called Funk music, Earth Wind and Fire, Kool and the Gang, Funkadelics, Parliament and many more.
KW: Were you a ‘dancehall’ selector before becoming a Kingdom selector?
PROCLAIMA: I was always that guy asked to play a couple of tunes at parties. The anointing flowed even then.
KW: I know you play different genres but why such a strong focus on reggae music?
PROCLAIMA: To me Reggae is the foundation of most modern black music. From I first heard ‘Money in My Pocket’ (Dennis Brown) and ‘Night Nurse’ (Gregory Isaacs) I was hooked. The sweetness of the original reggae riddims are as profound as Mozart and Handel and should be treated with the same respect in my view.
KW: One of the first things I noticed while listening to you is
that you don’t just play music; you minister unashamedly. What can you tell us about your call to minister using this method?
PROCLAIMA: I respect that everyone has a view, but how can it be that a Rastafarian can boldly represent Rasta, and a Christian be shy? The Gospel has to preach, and I will share the Good news of Jesus Christ until He takes me home. I was called and anointed by Him for this purpose. As a result many thousands have turned to Christ.
KW: Have you played outside of the UK? If so, what countries?
PROCLAIMA: I play mainly to the black communities in Florida … so the USA is my biggest overseas gig. This year I was due to go to Canada for the first time, but Covid has delayed that. I have also played across Europe. My last two events were in Paris, France.
KW: As a white male growing up in England, what is your view on reparations for people of African descent?
PROCLAIMA: The truth is that much of the wealth of Europe and the Caribbean was built off the back of slavery. Therefore, it is only right that the descendants of slaves receive reparations. I also believe that there need to be national days of repentance, and
heads of state including the Queen should issue formal apologies. Any nation involved in the slave trade should be seeking to help affected black communities to recover, and should invest in their infrastructure.
KW: Have you seen where reggae music can play/has played a role in reconciliation between blacks and whites? What about between churched and unchurched?
PROCLAIMA: Reggae music is black music, but many white people feel a strong connection to the art form. In the UK there are many white people who genuinely love black people without reservation. Sadly, there will always be those who choose to reject people because of their skin colour. But this is what I tell people: “If you do not like black people, do NOT go to heaven as you will feel uncomfortable!”
Since Papa San, Chevelle, Stitchie, Junior Tucker and Sasha crossed over I think the Church is more accepting of Reggae music now. This is a good thing as Reggae music is a great way to make a joyful noise to the Lord.
KW: Do you think we have enough Christian songs that challenge issues in society such as injustice and racism?
PROCLAIMA: I think there are
some amazing tracks that speak to real issues. Eddie Neblett, has a track called ‘Mr Musician’. This track talks about the responsibility of the music industry, asking their position on promoting violence and sexual sin.
I also love it when artists sing about their life experiences and how Christ has made them whole. The truth is that whatever problems we face only through Jesus can we find real solutions.
KW: Who are some of the memorable reggae ambassadors you have worked with?
PROCLAIMA: I have done so many great events and had so many fantastic moments over the years. I have met and worked with the following: Lt. Stitchie, Goddy Goddy, Papa San, Chevelle Franklyn, Junior Tucker, can’t forget Sista Sasha, Kary Diamond, DJ Nicholas, Jason Mighty, Carlene Davis, Abi MacDonald, Chozenn, Darren Grant, 2nd Chance and more. Plus, I must shoutout the amazing talent we have right here in the UK: Peter Spence, Leroy Morrisson (RIEP), St Andrew, Lytie, Annette B, Joshua Kesler, King Arthur, JayJayBorn2Sing, Cudjoe, Lita Marie, Denis Maclean. I also have to acknowledge the amazing gifts of the artists from other islands: Sherwin Gardner, Positive, Jaron Nurse, Saiku, Naycha K.I.D.
and more recently a young man called Farenite. To be honest I could keep going all day (Please forgive me if I missed anyone).
KW: What are the top 5 songs you would want played at your thanksgiving service?
PROCLAIMA:
this is a big question for me. I want my funeral to be a complete celebration and a time of joy as I will be jumping around with my Saviour. But I also want the Gospel preaching, so it has to be an outreach.
I would choose what I call BIG people tunes
1. Papa San – Hail Him Up
2. Ketch a Fyah – Prodigal Son
3. God’s Love – RickBlazze
4. Jaron Nurse – Jesus Youth
5. Papa San – Perdominent (I have a crazy Gospel special on this)
Sorry you have to get 10 tunes …. BIG funeral
6. Chevelle Franklyn – Special
7. Peter Spence – Special
8. Leroy Morrison – Special
9. Yankee B – Special
10. Shelly Thunder - Special
KW: Bless up yuself Proclaima!
Waak gud, an wan lov! p
MAWULI GAVOR ALISON HINDS CHRISTOPHER MCFARLANE
ALSO STRARRING GLEN CAMPBELL STOGIE KENYATTA SHANTOL JACKSON SIKA OSEI MIRIAM OWUSU-POKU
A STEP BY STEP PRODUCTION SCREENPLAY BY MARCIA WEEKES AND DELPHINE ITAMBI DIRECTED BY MARCIA WEEKES
‘Joseph’ is a narrative of race and identity set in the Caribbean Islands of Jamaica and Barbados and also in Ghana, West Africa. It traces the roots of an affluent Jamaican family of doctors, the Kings, back to Ghana. Joseph King, heir to the King’s medical empire, develops a brotherhood with Kweku, a Ghanaian medical student studying in Jamaica. This friendship provides the bridge for him to flee from a family conflict, fulfil his grandfather’s dream of repatriation and to also validate his belief in bush medicine. It provides social commentary on class, status, gender and PanAfricanism.
2019, was Ghana’s ‘Year Of Return’, promoting the return of its diaspora to their motherland. Joseph’s release complemented this auspicious milestone and engendered discussion around the narrative of repatriation and reconciliation.
Historical records show that the enslaved West Africans brought to Jamaica were predominantly from the Ghanian Ashanti Kingdom, a tribe of warriors. I have to say
that having grown up in Jamaica and subsequently residing in the UK for the past 18 years, I have experienced the uncanny feeling of ‘familiarity’ every time I have had the opportunity to relate to a Ghanaian.
The Black Peoples of The Americas struggle with identity and feelings of displacement. They express their need to reconnect with their African ancestry in various ways. Joseph King, the protagonist, experiences this through his years of close relationship with his best friend Kweku. His grandfather expressed the same feelings of displacement through his preservation of the African retention handed down to him in the Accompong Maroon Village and also through his longing to return to the homeland of his ancestors.
The film places that need for ‘connection’ within a sociohistorical context. It shows us that there is a genetic and psychological connection that can’t be erased with time or space. We are given a lens through which we can acquaint ourselves with Ghana and make comparisons from which we can derive an
understanding of our place in the world.
African stereotypes were debunked as Joseph’s journey unveiled Ghana as a thriving nation and Accra, a metropolis with all the degrees of prosperity found in the world, from the state of the art Kotoka International Airport to bustling market places, commercial and corporate spaces. The manner and energy of the people, the food, dress, music and dance, provided the impetus for the diaspora to make the journey where we lacked either information or courage.
The Kings’ exploration and immersion in the Ghanaian culture created opportunities for the viewer to make a comparative analysis of ‘there and here’ and ‘them and us’; slowly the distance and indifference of ignorance crumbled with the realisation of how much we have in common. This ignorance and subsequent prejudice was a recurrent theme in the film and the Kings were ironically clueless. Though well ‘educated’ they had no window to the world outside of their medical ‘Ivory Tower’.
Historical information was creatively interspersed throughout the film.The conversations between grandfather King and
Joseph and also between Joseph and Kweku provided enough information to stimulate enquiry and the opportunity for reflective learning.
We see moral lessons played out as Joseph battles with the conflicting values of ‘medicine as healing’ and ‘medicine as money.’ Dr King Snr decries everything grandfather taught Joseph as backwardness and mediocrity. As far as ‘bush medicine’ is concerned it will never happen in his hospital and as for philanthropy, Joseph is chagrined to realise that as heir to their hospital he must learn that, ”Preserving the family legacy entails preserving its wealth.”
Investing in people rather than in things was portrayed as the moral high ground. Joseph sacrifices his kidney to save a patient in need of a transplant who cannot pay his fees. Sadly, his ‘Noblesse Oblige’ is seen as foolhardy and passe` by his family.
However, two worlds collide when ‘bush medicine’ faces off with modern medicine. Joseph is up against it in a foreign country with no licence to practice medicine. He rushes in to save a very poorly child using a medical procedure but has to rely on the anaesthetic properties of ‘bush medicine’ to ease the child’s pain. In a clash with the ‘Bush Doctor’ a resolution
is reached that both approaches to healing can coexist. Joseph finds his life’s mission at last - the use of herbal remedies as medicine.
The film encourages family values and hope. Love and forgiveness triumphed over infidelity and malice as Dahlia’s paternity was revealed. It was honest about the pain of familial challenges seen in the sibling rivalry and the rift Dahlia created between herself and Joseph. It was resolved with forgiveness on Joseph’s part and with humility and vulnerability on Dahlia’s part; they both needed each other.
The role of the mother in the home was balanced as she read the pulse of the family accurately and called a truce to all hostilities. The Kings’ emotional struggle and handling of these issues provided enough points for the audience to become emotionally invested in the characters’ personal development and for the story to be believable and entertaining.
Sadly, the undercurrent gender bias that created Dahlia’s insecurity, competitiveness and later her fall from grace remains a challenge for the modern woman. No matter how capable or qualified, she is not ‘good enough’. Conversely, the King men enjoyed the lion’s share but were not necessarily the
stronger characters. Dr.King Snr. fell apart during Joseph’s hiatus but the women carried on.
The high point for me was the scene of the bones of grandfather King being carried through the ‘Door of No Return’ on Ghana’s’ historical Slave Coast, with his progeny in tow, followed by the ancestral celebrations. What a tear-jerker! They had all come to terms with themselves.
Overall, I enjoyed ‘Joseph’ and caught myself wearing a silly grin as I saw Joseph’s elated expression; knowing that he had fulfilled his grandfather’s dream, resolved the rift with his sister, reconciled with His father and established his respectability on his own terms.
The shallow values of ‘keeping up appearances’ were challenged as saving lives, living with and learning about people and ourselves was portrayed as being a much more sustainable value than pride and arrogance.
I felt a surge of empathy fill my heart and a beckoning to make the journey of return to Ghana soon; to be greeted with the word, Akwaaba! p
Angela B. Slack educator, curriculum/ literacy specialist, technical author, editor and publisher.
In 1985, CHANGE emerged on the scene, a reggae gospel band bringing a major challenge to the churched and unchurched in Jamaica. Twenty-five years later the KW Magazine has a chat with Founding Director Patrick Kitson, when they are in the middle of preparing for a RETURN Concert
which has been ‘Covidized’.
The founding members of CHANGE were Patrick Kitson (Founder and Leader, vocals and guitar), Rohan Reid (Bass Guitar & vocals), Mark James (Keyboards & vocals), LLoyd Geddes (drums) and Henry Morrison (vocals and
percussion). On lead vocals was the only female member ever of the Band, Merle Gayle.
The name CHANGE was chosen because the male founding members were members of another Gospel GroupINSIGHTS GOSPEL GROUP - so this was a change. Patrick Kitson suggested the name CHANGE and it was accepted. Later on they developed an acronym for the
word CHANGE: C-controversial H-hardcore A- aggressive N-no nonsense G- Gospel E-expression. Their delivery was just as their name suggested.
When asked about his earliest musical influences, Kitson replied: “I can mention the Groups of the 70s with some wicked harmony arrangements. The grooves of the Disco era with those groovy basslines and rhythm guitars of Nile Rodgers of Chic and Earth Wind and Fire. Reggae influences are many and strong. Out front though is the King, Bob Marley, Third World, Steel Pulse and Native.”
The response of the Jamaican Church to CHANGE was varied, pretty much as it is today; some liked it and some didn’t. But as the words of one of Patrick’s songs titled Ain’t Giving Up says: “I’ve been discouraged so many times, but all these discouragements I left behind. I don’t care what the people they say.” Kitson affirms: “This song was definitely influenced by the negative responses.”
KW asked: Why did you choose reggae music?
Patrick’s simple response: Reggae was chosen as our music of choice simply, because as Jamaican Christian Band it wasn’t up for a debate.
KW: Which song had the greatest impact on the group?
Kitson: I believe the songs ‘Take the Lord in your life’ and ‘We have a Message’ had the greatest impact on the Band.
KW: And on the public?
Kitson: ‘Take the Lord in Your Life’ was very popular with the public as it was the closing song of a Popular Afternoon Radio Show on IRIE FM, and was also played on a Midday Show on the same Station.
KW: Is there a particular age group that responded to your music?
Kitson: Oh yes ..there were High School, College and University students then, who are still sharing their journey with CHANGE even today. Many folks still talk about their parents taking them to see CHANGE in Concert.
KW: Do you think that same age group will respond now? What is your expectation?
Kitson: I am expecting to see a wide cross section of today’s musicians who only heard of CHANGE but have never seen or heard them in performance. Not to mention those committed supporters over the years at home and abroad.
KW: What was your most memorable performance and
why?
Kitson: Many performances were memorable. Of course, the CD / Album Launch at Holy Childhood’s Stephanie Hall in 1996. The audience stood from the word go and never sat. White River Reggae Bash alongside Inner Circle, who recently celebrated 50 years. This was an awesome ministry. I have to mention a performance we did at Mandeville’s Cecil Charlton Hall. The audience was small but very appreciative. We sang all the songs in our catalogue and they were still asking for more. We managed to perform the last song and then wi done! No more! The audience stayed behind and just talked to us...OMG...awesome!
KW: Did you use the Jamaican language in any of your songs? Why or why not? Would you use it now?
Kitson: Oh yes, we will, or should I say, I will continue to use the Jamaican Language ina di sang dem we mi write. More so the new ones.
KW: What would you like to see in the Jamaican Music Community or in the Church musically?
Kitson: I would love to hear more of the songs being sung in Jamaican Churches being done with some serious Reggae rhythms backa dem.
KW: Tell us about your upcoming return to the stage. Why are you doing it? Are the same artists
going to be there or has there been some ‘change’?
Kitson: The last time CHANGE performed was in 1999 (20yrs ago) and demand for a performance has been coming at us from all angles. A RETURN not a REUNION was planned for 12th October 2020 but it has been COVID-19ed. This Concert would feature New and Old personnel performing New and Old songs. All I can promise is that, it’s gonna be really good. “Memba me told yuh!”
KW: WE! CAN’T! WAIT!! p
#IJustCantBreathe
Death by asphyxiation a modern day execution
Another Black body lays lifeless on our streets.
Another death statistic we’ve had to concede
Of all the things you may have achieved
Your final words are
“I Just Can’t Breathe!”
What’s the point of surrender if I’m going to be killed?
Say “yes sir, no ma’am” keep my hands on the wheel.
I’d rather go fighting, than begging to be freed.
I’d rather be upright than drop to my knees
Because whatever my decision
I still can’t breathe.
Bob says “my hand was made strong by the hand of the Almighty”
Hands of creativity now handcuffed behind me
Hundreds of years still shackled in slavery
Hundreds of years
And I just can’t breathe
Sermons of doom and the end of the planet
Doctrines of vaccines and Mark of the Beast
While Black lives scream loudly
“I just can’t breathe!”
My generation has somehow failed
To speak truth to power for fear of being jailed.
We’re upset, we’re angry and at times we’re aggrieved
But statuses on Facebook, Instagram, Twitter, will not help us breathe.
And now we come to our brother’s name
More than a colour, a type or a BAME.
I am George Floyd who was crushed by your knee
You’ll remember my name as you will my plea
Liberated, exonerated I am now free Released from your grasp
I can finally breathe!
© 2020 Claion B. Grandison Used by PermissionZambia loves Jamaica. Now, the popularity is because of the big sportsman himself, Usain Bolt. However, Zambia’s love for Jamaica began with the Rastafari community due to the music of Bob Marley. This I learned from one of my FB friends who calls me ‘Ma’, and I am happy to call him ‘son’! Here is his story ...
Royd Seya aka DJ Sanctified is a Zambian gospel reggae/Dancehall artist. He started music way back in Junior secondary school where they would toast on school notes in school textbooks. He was a fond follower of artists like Buju Banton, Culture, Sizzla, Cocoa Tea, Beenie Man, Bounty killer
and Anthony B. In high school he was commonly called Buju among his peers as he really loved to sing the Gargamel’s songs. He was born again in 2008, after which he switched to Gospel music but he still had a greater love for reggae music to the point that it really became a battle to “dash we di myuuzik” until he was introduced to Gospel reggae by a friend who was a gospel Dancehall DJ/Selector at that time.Then he started knowing artists like Prodigal Son, DJ Nicholas, Sherwin Gardner, Monty G and St Matthew. That’s how he switched to Gospel dancehall. Sanctified started writing songs of his own in 2010 when he stepped in the studio for the first on a friend’s
song. In 2013 he got an opportunity to voice on a riddim from Jamaica called Toolbox Riddim by a Jamaican producer called JProjek. However, he had challenges in sending the song due to technological issues so the song didn’t make it on that compilation. He did another song on the Island Jam Riddim from Riddim Culture in the UK. Due to other challenges again he couldn’t release the song but he still kept writing songs. In 2018 Sanctified had an official first single in his musical career successfully released. The song was called Champion on the Come Down Again Riddim from Weed G Sound Force Studios in Jamaica.The song received massive support and international airplay in Africa, UK, Netherlands, USA and the Caribbean Islands. Since then he has done other songs on other riddim compilations, the most recent one being the Jesus Christ Riddim 2020 by DJ G Bless from Costa Rica and DJ Righteous from the UK. He will continue to release a few other singles before embarking on an album or an EP.
According to Sanctified, Reggae music has a large following there in Zambia among the Rastafari community. Some time ago, there was one Jamaican who repatriated to Zambia, and was given a large piece of land on the western side of the city. Some of the Jamaican reggae artists who have visited are Luciano, Don Carlos, Ras Zachari and Brian Gold, not to mention Jimmy Cliff who visited in 1981.
lovers. However, there is no relationship between the Rastafari community and the Church. “The Church doesn’t take the Rastafari as serious people. They see them as people who are rebellious and are associated with Ganja which is prohibited here. Most Rastas are judged from afar.” Now, gospel reggae is on the rise. Jermaine Edwards’ music is being played on National television. They also play Chevelle Franklyn, Omari, DJ Nicholas and Papa San.
When asked whether he sees reggae music as a potential tool for reconciliation, DJ Sanctified responded: “Yes very much! I had an interview on national radio when I released Champion and other reggae songs. We had viewers calling in and saying ‘this is the reggae we want.’ It’s like people here want Christian reggae, but we do not have so many gospel reggae artists to feed people with the good music.
Some Christians attend these concerts, especially those who are keen reggae
Generally, gospel music is big in Zambia. There are many concerts with many attending, and people are coming to Christ. Gospel reggae is used in the churches, but the culture in the church is different from the culture in the gospel reggae concerts, especially with language. Whenever people hear you speaking Patwa, they equate it with Reggae and Rasta. Some know the difference but some do not. When asked whether people would listen to a Jamaican Christian explain the difference, Sanctified’s response was “Yes! Especially the reggae lovers who are Christians!” KW Magazine is praying expectantly for the opportunity! p
39% 51 - 60
23.7% 41 - 50
15.8 31 - 40
10.5% 61 - 70
7.9% 21 - 30
53.7% - Female
46.3% - Male
34.1% - Jamaica
22% - North America
14.6% - Caribbean
14.6% - UK
12.2% - African Continent
Do you believe that descendants of enslaved Africans should receive reparations for the damage done to them during the Transatlantic Slave Trade?
90.2% - Yes
9.8% - No
Redemption Song - 6
One Love - 5
War & Three Little Birds - 3
Interestingly, only two respondents named songs by Christian artists.
Question: Why ‘YES’ to Reparations?
Answers:
“The labourer is worthy of his hire.” No one should gain from another’s labour without payment or consent. Slavery provided neither for the enslaved. - Yvonne Coke, JA
This is simply put - a matter of human rights and justice. - Fr. Sean
Major-Campbell, JAOur society and economy has been directly undeveloped as a result and the sociological and psychological damage is beyond accounting for. -
Angela Slack, UKIt’s their right. - Hellen Mtawali, African Continent
Even more so than financial reparation there has to be an acknowledgement and repentance by white European government and institutions. Many young black people are turning away from churches because they wrongly see it as the white man’s religion and an oppressive tool to keep black people from being liberated . -
Denver Hamilton, UKThis would help with our economic development. What has been taken from us can never be replaced. -
Marcia Brandon, Caribbean
YES... Because their origin, heritage and identity will be defined. - Blessing M.
Mupeta, African ContinentBritain stole the labor of our ancestors in order to build their country and in the process, seriously underdeveloped the Caribbean. We are still suffering the consequences of the enslavement of our ancestors and so Britain should pay for the repair of our societies. -
Sylvia Gilfillian, North AmericaYes because slavery has put the majority of black people in the USA, Caribbean and the UK in poverty and there is the sense that they cannot catch up with whites economically speaking. Many blacks are treated as inferior to whites. The educational, criminal justice, health care and family systems are subpar and broken because of the legacy of systemic racism due to slavery and it’s aftermath. -
Margaret Aitcheson, North AmericaThere was no correlation nor equity between the inputs of the slaves to the financial benefits derived therefrom by the owners, nor did the slaves have any option in determining any such equitable contract. The slaves, and by extension, their descendants, are owed that equity. -
Lt. Cmdr. John McFarlane, JA
We are simply claiming what rightfully belongs to us. Living here in the UK and seeing the major cities which have been built through slavery enhance my opinion. The next thing is that until 2015 descendants of slave owners were still being recompensed for the abolition of slavery. - Barbie
Chuvanai, UKBecause the same dynamics of the slave trade are still in existence today and still used to subjugate blacks and African economies to this blessed day. -
Matt George, African Continent
They built their wealth from free labor and became the richest country in the world, it’s time to pay. Furthermore the promise of 40 acres and a mule was reneged upon. The Jews got paid. The Japanese were paid. What about the most oppressed people - Black People? -
Len Chisholm, North AmericaReparations is a Biblical justice practice, a universal practice and the Caricom reparation Commission has made an ethical strong and morally potent argument for reparations. As former slavery colonies, people of African descent are one of the few groups in the world that have not benefited from reparations to the degree that the Transatlantic Slave Trade affected us.
- Rev. Vonnie James, CaribbeanThe damage done to black is worse, they must be compensated together with Africans on the landmass for the minerals stolen by the whites. -
Royd ‘Sanctified’ Seya, African Continent
It’s a matter of restorative justice. Generations of descendants of Africans are still suffering from the mental, psychological, social and economic effects of slavery and colonialism. Nations that have benefited economically from these crimes against humanity should make restitution. -
Owen ‘Blakka’ Ellis, JAI believe in reparations because descendants of enslaved people were and still are behind those of European descent because we lacked the ability to acquire property due to racist policies and have been suffering from the effects of generational poverty since the 1800s. -
Cheryl, North AmericaI believe that if it were not for slave trade, our African ancestors would have been further along in wellbeing. They would be better able to care for their offsprings and contribute more to their own wellness and to society. The injustice that was done to them has set both them and their ancestors behind for generations. -
Phyllis, North AmericaReparation is a justice issue aimed at righting the wrongs done by slavery and seeking to strive for equity for the economies and peoples of former colonies such as Caribbean states who continue to be at a disadvantage economically educationally and medically. Reparations cannot correct all the wrongs but it affirms that a wrong was done that continues to impact people today and for the sake of justice and mercy it acknowledges the descendants of the offenders who take responsibilities for the injustice committed by their ancestors. - Dave
Hazle, JAAnswers:
I mostly believe that white people whoever they may be, must do their best to erase racism first in their mind and teach their children that everyone is equal no matter the race or the color of the skin. - Jimmy, Caribbean
Because we should leave the Past IN THE past... AND, monetary reparations WILL START ANOTHER DEMON:' THE ROOT OF ALL EVIL' - Paula, JA
Because the imperialist system imposes their own Law. - Ricardi Joseph, Caribbean
We’ve always worked hard for what we have. We just need equal opportunities from here on out. - Canute Neil Ellis, North America
The question was asked: If you responded ‘yes’ to the question of whether victims of the Transatlantic Slave Trade should receive reparations, give one form in which you would like to see it made.
The majority of responses had more to do with reparations being made to affected countries rather than to individuals, which respondents felt would be difficult to determine equitably. Here are the top five responses:
Your immune system is in a battle everyday. That is its job. You’re protected by coordinated dense cells. Proteins and chemical signals join forces against bacteria, viruses, parasites and other pathogens. Your immune system also helps in wound healing, cellular and tissue turnover and repair. A healthy, functional immune system is a complex machine. It contains many layers, sub-systems, tissues, organs and processes.
• Smoking & second-hand smoke.
• Binge drinking.
• Inadequate sleep.
• Physical inactivity
• Carrying negative emotions.
• Ignoring personal hygiene, for example using toxic makeup.
• Misuse of antibiotics
• Insufficient water intake
• Stress
• Lack of sunlight. (In a country where access to sunlight is inadequate, Vegan source of Vitamin D3 supplements is advised.)
• Get your essential fatty acids (EFAs) from Flaxseeds, Flaxseed oil, Pumpkin Seeds, Walnuts, Almonds and Avocados.
• Stay active by walking, running, skipping, weight training, cardio and stretching.
• Practice deep breathing outdoors.
• Get your Vitamin D from the sun. Spend 30 - 40 minutes daily in the sun between 8:00 a.m. and 4:00 p.m.
• Get a massage or visit the sauna.
• Dandelion root
• Garlic
• Alfalfa
• Red Clover
• Echinacea
“... the Caribbean culture that was spawned in resistance has through reggae music given to the world a language of resistance against domination and injustice. The message of the Gospel using the potent vehicle of protest that
reggae music has become can have enormous impact in conditions of poverty and oppression. Not only ought the Caribbean person be true to himself/herself and his/her cultural heritage to be the outcome of the Gospel proclamation, but
the legacy and culture of the Caribbean are an important world resource for the message of the Gospel.” - Rev. Dr. Garnett Roper, Caribbean Theology as Public Theology, 2012, p.146
This statement by a prominent Jamaican evangelical church leader and theologian is an extremely bold one, given that even today, there are still some church spaces in Jamaica where reggae music is not welcome.
Let me break it down for you so you can see how BOLD it is! Dr. Roper is actually saying that we in the Caribbean developed our culture through resistance. In other words, we did not sit down and accept all the bad treatment being meted out to us by slave owners and colonizers. We resisted! I’m thinking he’s saying that had we not resisted, our culture today would have been identical to that of our oppressors. In our resistance, reggae music as a language of resistance was born … and we gave it to the world! He is saying that it would have a huge impact if used to spread the Gospel in places where there is poverty and oppression. Even more radical is that he appears to be stating that a true Caribbean Christian must be a reflection of their Caribbean culture! Finally, he says that our legacy and culture are to be given to the world to
use as a resource to spread the message of the Gospel.
One of the problems that many Jamaican church people have had with the use of reggae music is the fact that it was popularized by Rastafari. Christians consider Rastafari to be diametrically opposed to them and their faith. Consequently, anything connected to Rastafari - the music, the hairstyle, the colours of red, gold and green - was considered to be anti-Christian. Nevertheless, the most widely acclaimed Reggae Ambassador out of Jamaica, recognized both locally and globally was Bob Marley, who identified publicly with Rastafari. One can therefore understand the opposition from the church over the years to the use of reggae music. Unfortunately, many do not know that Marley was baptised into the Christian faith on November 4, 1980, in the Ethiopian Orthodox Church (www. caribbeannationalweekly.com, November 4, 2016)
Herbert (Herbie) Miller, Director/ Curator of the Jamaica Music Museum at the Institute of Jamaica identifies the global impact of people at the level of Peter Tosh, Jimmy Cliff, Third World, Burning Spear, Black Uhuru, Bunny Wailer & Bob Marley as being that of:
1. Political and social liberation in
2. Spiritual influence on the wings of reggae music, (in addition to the above-mentioned were people like Toots & the Maytals, Rita Marley, Judy Mowatt and Justin Hines & the Dominoes
He pointed out that original Rastafari praise songs predated Marley and the Wailers who sang Christian lyrics (eg. “Thank you Lord …”) before their conversion to Rastafari. Subsequent to that they began to chant “Thank you Jah …” Rastafari is the newest religion which became a way for many across the world to find spirituality. They were writing from the Bible, but were interpreting it differently from how they were being taught by the established church. In relation to spiritual impact, Miller said “people didn’t have to convert (to Rastafari), but they could feel the spirit and understand the power of the politics expressed even through how they ( eg. Gregory Isaacs) dressed.
Without a doubt, the early Reggae musicians played a major role in the African liberation movement, in places like South Africa and Zimbabwe. When asked about the newer breed of roots reggae singers - eg. Kabaka Pyramid and Chronixx, Miller said “good as they are they don’t seem to be able to
inspire that natural empathy for humanity as the Marley generation was able to. That depth has become something seemingly contrived. It doesn’t seem natural. It seems forced; a project rather than an instinctive response. Today they carry the heaviest weight, but they aren’t as strong as the second tier groups from earlier, like the Diamonds among others. They couldn’t eclipse them. Back in the day, a group like Black Uhuru had a real connection to what blackness and liberation were all about.”
In talking about Reggae Gospel music, Miller asserted that it is very strongly supported in Jamaica but not as much globally. He pointed out that Jamaicans are very religious, because they are afraid of judgement; they are afraid of going to hell. The existence of Reggae Gospel gives them the opportunity to worship God while they dance and party to their heart’s content, although fundamentalist Christians see ‘reggae’ as sin.
The late 1990s was a significant era as strong reggae performers in Jamaica came under the influence of the Holy Spirit and stepped into the Kingdom. Outstanding among them were Lt. (King) Stitchie, Chevelle Franklyn, Papa San, Junior Tucker (now Pastor), Carlene Davis and Tommy Cowan. Paul Barclay - board member of
the Jamaica Reggae Industry of Jamaica (JaRIA), Vice Chairman of the Jamaica Association of Composers, Authors & Publishers (JACAP) and Founder of renowned Reggae Band Katalys Crewidentified Chevelle Franklyn as being the Gospel artist with the most international acclaim coming out of Jamaica and the Caribbean over the last 15 years. Another one out of the region is Sherwin Gardner from Trinidad & Tobago.
Meanwhile, over on the African continent, Christ-followers have been heavily influenced by our early artists out of Jamaica. In this very magazine we have testimonies from persons in Zambia and Nigeria. I caught up with nationally awarded Reggae Gospel artist Dave Azi out of Nigeria recently for a chat. In addition to the influential names called before, he also mentioned Luciano and Don Carlos. He said “100% reggae music has played a vital role in bringing love, peace and unity to people worldwide.” From his perspective, from the beginning, reggae has been gospel because they were writing from the Bible. The problem was in the lifestyle.
Both Dave Azi and fellow Nigerian Psalmist Enotudom have high regard for King Stitchie. According to Azi “He always link up with us his younger ones. Very humble soul. I
love and big him up to the max. He is like a father to me and many in Africa.” In addition to Stitchie they recognize Chevelle Franklyn and Papa San (Tyrone Thompson) and Lester Lewis of Winna Man fame.
Psalmist Enotudom has established some amount of influence by setting up a WhatsApp Group and Facebook pages Gospel Reggae Music Embassy (GRME) and Gospel Reggae Network (GRN). Initially set up in 2014 to publicize his own music, God stepped in and led him through the advice of popular Gospel Reggae Artist Righteous Man to turn it into a Network. On these pages Gospel Reggae artists from around the world share their work, relevant information, and receive encouragement in various ways to the glory of God.
Interestingly, the biggest gospel reggae band on a global level is Christafari, a US-based band that tours widely as what they call Musicianaries. Well, if as Rev. Roper said we have ‘given reggae music to the world’ then it should not be a problem at all that the biggest reggae gospel band is not Jamaican or even Caribbean! So what can we say? Mission accomplished?!? p
by Jo-Ann Richards Goffe Ethnodoxologist, Exec. Director - CREW 40:4
A young Jamaican girl learns to accept and love her dark skin
Characters: The child: Ebony, The adults Uncle Natty and Sandra Setting: Sandra’s car; Uncle Natty’s house in Stony Hills
Just outside of Stony Hill, Sandra made a left turn onto a dirt and gravel road and Ebony rolled down her window half-way so that she could breathe in the the aroma
of ripe jackfruit that always seemed to fill the air from the top of the road to Uncle Natty’s house in the valley.
Uncle Natty is the oldest member of Sandra’s family. He is going on ninety but is still spry and remembers well the days when his mother used to take him to UNIA meetings in downtown Kingston. He had seen the great man Garvey at least twice and often reminded his family that unlike many who turned against the leader during his time of trouble, his own mother remained a steadfast supporter to the end of her life.
Pulling into Uncle Natty’s yard, they could both see that the front door was open and he was not sitting on the verandah. Uncle Natty lived alone but had frequent visitors. His wife, Aunt Ann, had died soon after Hurricane Gilbert in September of 1988, from pneumonia contracted after the soaking that she took during the breeze-blow.
Uncle Natty had also outlived his three children but had fifteen grands and six greatgrands. Ebony liked her cousins especially because they were all black like her and never teased her about her color. She attended the same school as two of the greatgrands but as they were older, and in a higher class she did not see them every day.
Uncle Natty was heard calling from the back of his house, “Huol-aan out de an wait fi mi.” Uncle Natty soon emerged from a side gate in his backyard fence. He walked towards them, his white teeth glinting as he smiled broadly.
“Well sa. A wa breeze blow yu op-ya now?”
Soon he was leading them up the front steps to his spacious bungalow. Once they were indoors, Ebony looked around curiously to see if anything had changed since her last visit. As far as she could tell, the room was unchanged. Uncle Natty’s living room was nice. The walls were made of the most beautiful wood Ebony had ever seen. It was glossy with a bluish sheen and streaks of darker wood within lighter wood. She later found out from Uncle Natty that the walls were constructed from the national tree, the Blue Mahoe.
Ebony was not conscious of the change in her mood since she and her mom drove out of Kingston but her mother was pleased to see her smiling and forgetting the painful experience of being teased for her dark skin. Whilst Ebony walked around the living room touching the familiar objects strewn about the center table and the
shelves that lined one wall, Sandra seized the moment to take Uncle Natty aside.
She steered him outside to the back verandah to talk to him about Ebony’s troubles. When she was done talking, Uncle Natty patted her shoulder and kissed the top of her head before declaring, “Leave har to me mi daalin. I will get har head straight in a jiffy.”
When Uncle Natty called to Ebony and asked her to join him in the backyard, he had already walked down the steps to his fenced in goat pen. Sandra passed Ebony on the steps and told her that she was going to the car for their overnight bag.
While Uncle Natty talked, he filled a wheelbarrow with bags of goat feed and gestured to Ebony to open the gate to the goat pen for him. She did so and followed him into the pen that was rank with the smell of goat’s urine and grass.
Ebony wrinkled her nose and Uncle Natty looked down at her and laughed.
“Is di ram goat dat mek it smell so strong. Him is di king of renk. Wen uol-time people tel yu se yu renk like ram-goat, a big insult dat!”
Before Ebony knew it, she was laughing too and feeling better than she had felt since she was hurt by her friends.
As they poured grain into the feeding troughs, Uncle Natty asked a question she did not expect.
“Which one a dese goats yu tink I like di best?”
Ebony looked around at the herd of animals and saw so many colors, sizes and shapes that she threw up her arms and said, “How would I know? They are all different and they are just goats!”
“Uh huh, is so you think?”
Uncle Natty could sense that Ebony had had enough of the goats, so he turned the wheelbarrow towards the gate of the backyard and Ebony followed him through.
After they climbed the steps to the verandah, Uncle Natty pointed Ebony to a green rocking-chair on one side of a small table. He took the other opposite, settled his lanky frame and began to loosen his work boots.
When he began to speak, his voice was so casual that Ebony did not immediately
realize that he was addressing her.
“Me own all di goat dem in a mi pen and every single one is of value to me . I care for all a dem and I enjoy every spot or shade of color dat mek each one different. No matter how two a dem look alike, I know dem different and I enjoy di differences. Now mek me ask yu something, mi likl putus. If me, mere mortal man dat I am, can appreciate variety, how much more yu tink yu Faada, Papa Gaad who mek dis wol worl and everything in it, enjoy variety? If him did want only black, white or brown people, yu no tink him wuda know fi mek only one color?”
Ebony looked across the room at her blue/black great-uncle who looked so much like her, and smiled. In his face, she saw her own tip-tilted nose, cherry-red lips and when he smiled broadly back at her, she saw the same dimple shadowed by his sparse, white beard.
Uncle Natty rose from his rocking chair and made for the doorway to the living-room but stopped and turned to look back at Ebony before speaking.
“Tomorrow, I am going to tell you about your great African and Jamaican ancestors. I am going to tell you about the powerful Nubians who invaded Egypt and became their pharaohs and Moses’ black wife. I will also introduce you to the work of the great American historian named Henry Louis Gates by showing you a video he made on the great kingdoms of Africa.”
Ebony nodded, her eyes bright with anticipation. Her mind was no longer filled with hurt and shame about being black. She was now hungry for food but even more, for all that Uncle Natty would tell her about African History. p
teacher Martins Olubiyi Olaitan who replaced Blackman as the choir master.
“Not now; maybe sometime in the future,” my mum replied.”
A few years later, we moved closer to a branch of the church and then my dream came true as she gave her approval to join the choir as promised. This marked the beginning of my musical journey in 1980.
It started in Ibadan, Southwest of Nigeria as I hit two wooden sticks together for the choir to sing. That was the job of a time-keeper in music. I later progressed into playing several Yoruba local drums. In 1983, we organized a Christmas Carol that was shown live on the State TV called Television Service of Oyo State (TSOS). The carol attracted one of the leading Musicians in Nigeria called Blackman Akeeb Kareem who later joined our church and started teaching the choir members song composition, guitars, piano, drums and training our voices. Afterwards, he led us to the studio and we recorded our debut Christian album titled “Baba mi Loloko” [Meaning my father (God) owns the car]. The song was a hit in 1984 with the “Only Jesus is the answer” track. Subsequently, I learnt to play the acoustic guitar with the help of my
That same year, I gave my life to Christ during a crusade organized by a church called Deeper Life Bible Church. However in 1985 Blackman left Nigeria but then we had recorded other albums with him. Following this, some of the choir members decided to form their personal Bands. Some of these Bands include Tap Root Band, Wale Jingo Band presently known as Wale Thompson Band, CCC Olorunsogo Choir and the Emeralds Band. This experience exposed me to playing different styles of music such as Highlife, Reggae, Juju, Blues, Jazz, Afro, Funk, Fuji and other indigenous styles of music. Thus, I continued to feature in several albums as I worked with many music studios.
In 1988, my journey took another turn as my desire for fame and money drove me into playing worldly music. I joined D’ ROVANS Band founded by Late Chief Francis Aiyegbeni as an instrumentalist and singer. It was a band with 45 experienced men in music; the only Band in Nigeria that sang in 16 different languages and wellstructured with a music studio, video production studio, trainers in music and dance, sophisticated musical instrument and security.
“Mummy, can I join the choir?” I asked.
The Band created a music style called “Highlife- Juju music” and in 1991, we released two debut albums titled “D’ROVAN HighlifeJuju hits” and “Highlife Music hits”. Subsequently, a hotel was built named after the Band (D’ROVANS HOTEL in Ibadan, Nigeria).
The Band was very popular and was nicknamed the “West African Band”. Through the Band, I played with Late Eddy Okonta (Obi of trumpet), Victor Uwaifo and met with other leading musicians in Nigerian like Fela Anikulapo, Shina Peters, King Sunny Ade, Ebenezer Obey, Evy Edna Ogoli, Christy Edna Igbokwe, Onyeka Onwenu, Alex O, Alex Zitto, Charley Boy and so on. I was very busy playing in nightclubs, hotels, TV shows, parties, music concerts like “Lekki SunSplash ” in Lagos. I made some money and fame. Our band was “talk of the town” and the envy of other musicians. I deserted the church and concentrated on the world and all it had for me. But with all these, I had no peace. My future was bleak. My gift was being used to promote sexual immorality, drug abuse, gambling, promiscuity, hooliganism and innumerable evil vices. At the peak of it, some of us were advised by other musicians to join a cult in order to fortify ourselves in the spirit and maintain our fame, but we refused.
In 1991, I yielded to an old friend’s advice to further my education in Accounting. Following this, I relocated to Jos, the Northern part of Nigeria. That was when my journey took another dimension as I returned to the Lord that same year. After my studies, the Lord told me to remain in Jos till further notice and he also restricted me from playing worldly music. It was difficult for me because music was my source of livelihood. At that time, music in the Northern part was not as profitable especially in the church. Some Christians even frowned at paying musicians in the church but forgot to think of how to meet their daily needs.
It was a tough decision for me but I obeyed the Lord and started my life afresh. I had to live by faith, one day at a time, as I prayed, studied the Bible and depended on God for my daily needs. Through it all, God was faithful. As I walked with him, I experienced righteousness, peace, joy and love. Subsequently, God instructed me to teach his Church what I had learned musically and spiritually. This was what gave birth to my ministry and I have been using my gifts as a tool for evangelism, discipleship and reaching out to the unreached.
Over the years, I have helped to start many bands and choirs from scratch. I produced many
gospel albums and discipled many people through music, both old and young. Some of the people have also developed into Music directors, Producers, Choir masters, Band leaders, Pastors, Bishops, Evangelists and Songwriters. I have performed at several crusades, music concerts, led conferences and workshops within and outside Nigeria. In addition, I got married and God blessed us with two beautiful girls. I obtained my Bachelor of Arts (BA) and Master of Arts (MA) degrees in History and international studies from the University of Jos. I also
studied Advanced Ethnoarts in PAYAP University, Thailand after I joined an international mission organization where I was trained as an Ethnoartist. I later became the Ethnoarts Team leader and Partnership Director of the mission organization. God has transformed many lives through my music and ministry and this has filled my heart with joy. God has made my musical journey very sweet!!! p
Peter Nwufo Ethnoarts Team Leader & Director of Partnership, SIL Nigeria
worship. He said to her: “You worship what you do not know; we know what we worship.” There has to be a knowing; a deeper revelation of who God is and what God will always be for worship to come from the heart and for worship to be true. You can’t worship what you don’t know. You can’t worship what you do not really understand.
3How strong is the European influence in the Nigerian worship space?
We had a situation where choirs and worship leaders would do more of foreign worship songs. But to the glory of God, a few years back, we came up with a lovely situation where a number of Nigerian gospel artists began to record a number of wonderful and powerful worship songs, and that automatically changed the atmosphere, because suddenly the church began to do a lot of songs that are Nigerian worship songs. Bringing back numerous languages into our worship became a natural thing that came with the new songs. It has been a wonderful experience that in a way took off the serious European influence that used to be there.
4At what moment did you come to the realization that reggae music was the genre you wanted to pursue?
Reggae music has always been my passion. From 1998 when I had released my first album, some of the most popular songs were reggae songs. But specifically in 2007 I had an encounter with the Lord. Before then I wasn’t really ready to take up reggae music. I thought - what if everybody looked at me and thought that I was a Ras? I was really afraid because of the misconceptions over the issue of reggae music and the lifestyle of the Rastafarian. So I had an encounter in 2007 where the Lord visited me and He said to me: “Reggae music is my music. Do it well because if you do it well, the rich will come, and the poor will come.” I was shocked to hear God say this, and He explained to me further: “What happened to reggae music is like what happened in the parable with the sower, where the sower went to his field and sowed good seed; but while men slept, the enemy came and sowed tares. So now we’ve got the wheat and the tares doing reggae together.” That opened my eyes of understanding and gave me the confidence and strength I needed to do what I do the way I do it today without being apologetic about it.
5With your understanding of what God wants from us when we worship, how do you facilitate a deeper, more authentic worship experience for believers in your country?
Going back to John 4:23, Jesus said something again about worship. He said “But the hour is coming, and now is, when the true worshippers will worship the Father in Spirit and truth, for the Father is seeking such to worship Him.” And in :24 it says “God is Spirit, and those who worship Him must worship Him in Spirit and in truth.” Knowing that we are a generation that is called to worship in spirit, having no confidence in the flesh, what I do to facilitate this kind of worship experience is to stand in the place of worship in spirit and in truth.
6How does the perception of reggae music in the world affect the impact of your message?
Generally, and particularly on my side of the world, people think that if you do reggae, you are either a Rastafarian, or you are not actually born again. But to the glory of God, it’s gaining acceptance. I want to testify that I took a stand where God wanted me to stand and God is glorifying Himself by making people fall in love with reggae today more and more and more. I’m actually amazed right now how reggae is now gaining acceptance even in my own local church.
7As one who understands the misconceptions surrounding the use of reggae for worship, what would you say to those who are still uncertain about it?
I would tell them to be focused, live a life in Christ, continue to improve on what they do. Be ready to take a stand that will work by paying the price. Let them strive to carry the presence of God. I’ve seen situations where you stand to worship in reggae, and the whole atmosphere goes on fire, and people begin to fall on their knees to worship. So it is when we pay the price to carry the presence of Christ and are ready with the anointing that we can take our place.
8The music scene has evolved since 1992 when you started. How have you adjusted your strategies to remain relevant while still keeping to the unadulterated truth?
Part of what I’ve done and am still doing is improving continually, remaining consistent, improving lyrically, and in every way that it is required to meet the standard of what I do, that anyone in the world would want to hear when it comes to reggae music. So I live a life that is Godly because light will always attract. Understanding and striving to do what God wants will always make us remain relevant.There is power in continuity and there is power in remaining consistent. The Bible says “Show me a man diligent at his work; he will stand before great men. It’s about understanding the fact that we have to continue to improve in every way necessary. I can tell you that because God is constant, and God is
new every day, and if we remain with God, we will always come new. When you come back new all the time, you remain relevant.
9How has your style of music been challenged?
Like I said before, the church was yet to understand the fact that reggae music was also God’s music. People will literally come to you and say: “Why don’t you change your style? Are you not interested in selling globally? Why don’t you do something that is more generally acceptable?” All of that came up from time to time. But when you know exactly what God has called you to do, and you choose to stay in the place of obedience, challenges will come, but they will always pass. I want to thank the Lord for how He has been helping me over time to overcome the challenges. Sometimes you are discouraged like every other person. Sometimes you lack funds like every other person. Sometimes you miss some programmes because some people don’t understand why it has to be reggae. But in all of that God has been very very faithful. Those who threw reggae away before are picking it up, right here in the sight of the world!
10
What plans are there for you in your future as it relates to your music?
souls for the Lord, I intend to release more songs and albums, create more relationships globally with great artists who love God and want to glorify God all the days of their lives. I also plan to develop programmes that will reach more people, like radio, online and television programmes, because I know that we still have a lot of people out there whose salvation is actually tied to gospel reggae music
11What verse of Scripture keeps you grounded and focused?
1 Thessalonians 5:18 - In everything give thanks, for this is the will of God in Christ Jesus for you. This is one of my best Scriptures.
K E Y S E R V I C E S
C o r p o r a t e T r a i n i n g
- S o f t s k i l l s a n d
E m o t i o n a l I n t e l l i g e n c e
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C u s t o m e r S e r v i c e a n d
S a l e s
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First of all, because I do missionary reggae with the aim of reaching
C o m m u n i c a t i o n a n d
C o n f l i c t T r a n s f o r m a t i o n
C o n t e n t M a r k e t i n g
C a r e e r P i v o t i n g
S t r a t e g i e s
S o c i a l E n t e r p r i s e &
E n t r e p r e n e u r s h i p
C o n s u l t a n c y
a m s c o
Everyone knows that famous passage of Scripture in Matthew 5 where Jesus teaches on the BeAttitudes. The “Blessed are they that…” scripture. Let’s look at this chapter, but being a trouble-maker, I’ll begin at the end and work my way back to the beginning.
You see, we all ignore the last part because we don’t know what to do with it. These hard sayings of Jesus are bothersome not only to ordinary church folk but theologians as well. Quite frankly we all are embarrassed that Jesus is reported to have said these things. Best to skip over it or we’ll never make it to heaven. O you don’t know what I’m talking about? Read Mathew 5 starting with the last verse first and work your way back to the beginning, then we can chat.
The chapter’s topic becomes A Perfect Heart. And the reason we avoid these verses is because everyone knows that’s
impossible….except for Jesus. He alone is perfect. We can never be ... on this side of eternity. Isn’t that our thinking? And Jesus’ commandment becomes basically unreasonable.
So what to do with verse 48? We basically gloss over it and think that it’s better to have an impossible standard than none at all, so it doesn’t mean that Jesus’ instructions can actually be followed. Nobody can be perfect like God is.
We love the ‘Blessed be’s’ but these hard sayings make of all of us murderers, fornicators and adulterers through sins of the heart. Like the Pharisees, we have a legalistic approach to God and to each other. The Law judges behaviour…. action. It largely ignores intent.
But under the Grace of the New Covenant, Jesus gives just One Law, not 613 nor the ten special ones arbitrarily selected and made into doctrine by
us. Where do we find this law? Which chapter and verse? The ‘verse’ is not written on papyrus, etched in stone, or printed on paper. That law is written in your own heart. Your conscience. That law is love. Whoever loves knows God in spirit or understands the spirit of God for God is Love. Whenever we break the golden rule of Love, we injure our conscience. Our hearts become defiled or bitter.
Learning God through ‘teachings of men’ like the Pharisees doesn’t allow us to discern the Beauty and Simplicity of this new covenant. Love is pure. Perfect. It’s not an obligation to follow (Jesus said his yoke is easy, his burden is light). Love is an intent. A good intent. Do you intend good for another, for yourself? If so, that’s perfect. That’s a perfect heart.
We don’t think like that because we use the law to control others. The law needs somebody to get mad at. To lock up in jail. To throw into the dungeon. But if you’re not mad at anybody but like a little child can only see good, that’s the innocence of love.
Because of our legalistic orientation, we think of sin as breaking the law….and so we get our list out like the Pharisees and recite: I don’t drink, smoke, go to parties, kill, steal or fornicate. Therefore, I am not so bad. But all those laws were thrown out with Jesus’ new covenant, and for those who think that means license to do everything, Jesus demonstrates to frustrate these legalists….things actually get worse for you. Because your outward behavior
might look clean, but is your heart?
Jesus covers bad behaviour in the new covenant. Prostitutes, thieves, murderers, are welcomed and accepted under this new dispensation… once one decides to keep the one and only law that matters.
Love won’t deliberately hurt another. If it does by mistake, it will stop (repent) and repair what’s broken. Fix what has gone sour. Love will forgive. Love will help the weak and broken. Love is God. This frustrates the Pharisees who want to be rewarded for their good behavior and condemn others for their mistakes.
While Pharisees debate on when divorce is appropriate and under what circumstances one might kill, Jesus simply says to us, “Be perfect like a doting Dad to his darling daughter”. Then it’s easy, even in anger to sin not. Because your heart is never set on revenge. There is no root of bitterness defiling your conscience. All you want, for everyone, is the best thing you would want for yourself.
All those hard sayings now make perfect sense. Don’t be modern day Pharisees. Don’t be defiled by the imperfections of others. Just love them. That’s perfect. Of course, we’re prone to mistakes, but we all want somebody to help us get back on track when we fail, so do the same for the people who bother you. That’s applied Christianity….and how we end up with the BE- attitudes. p
Yekengale Communicator
Score by James Gilliland of Diver seChurchMusic.com
