The four-day 2010 International Reggae Conference at the University of the West Indies, Mona, which ended yesterday (Saturday, April 19), will be remembered mainly for its acknowledgement of and trying to come to terms with the serious image crisis reggae music now faces.

In presenting her paper, Reggae’s Crisis of Image, publicist, Dr Hume Johnson stated that while the Jamaican music is largely respected worldwide, it is working itself through a crisis of image.

Dr Johnson lamented the fact that there is a growing perception that the message of “one love” which was synonymous with reggae, has been drowned out and replaced by what some have labelled hate music.

“But there is justified criticism and consensus that Jamaican music has tumbled as a source of education, inspiration, progressive ideas and socio-political change,” Dr Johnson admitted.

“The world,” she bemoans, “is now becoming increasingly familiar with the crude behaviours, vulgar messages emanating from Jamaica through music. This is what we now face — deejays banned from performing in different countries across the world. Although the media regulatory agency in Jamaica — the Broadcasting Commission — has taken a decisive stand against music with violent or obscene content, it is notable that regulatory agencies in a range of countries, Germany and Belgium attach the term “hate music” to reggae and have enacted legislation to ban “media harmful to children/society”.

Drawing on recent and well-known examples of artistes in crisis, the lecturer in journalism and communications at James Cook University in Australia explored how the deficits in public relations and effective crisis communication within reggae and dancehall music culture have helped to further consolidate its declining image; and the ways in which this could be counterbalanced with effective communication strategies, crisis planning and reputation management.

“I am not talking about spinning to make bad artistes look good, but maintaining stores of favourable opinion and positive relations with your various publics….Let’s start with the most recent and perhaps most tragic example — Buju Banton, homophobia and the American gay lobby. With more than 20 years experience in reggae and consistently effective management, Buju is not only media savvy but he has an understanding of reggae and his place in it; an appreciation of his duty and obligations to his race and his nation as evidenced by the quality of his music. Much of the international media coverage of Banton in recent years has focused on negative aspects of his message, personality and behaviour, notably his widely publicised clash of ideas with the gay lobby over homophobic lyrics. He is not alone. Elephant Man, Sizzla, TOK etc face similar challenges.

“Given that the popularity and success of many entertainers in Jamaica can be attributed to outlandish behaviour and shock value, the communication strategies applied to repair their image in a crisis is always going to be a challenge.

Artistes in crisis are, however, obliged to acknowledge failings, apologise, and then put the events in the past as quickly as possible,” she concluded.