THOUGH criticism about the rhythmical and lyrical changes in reggae and dancehall persists, panellists at the 11th staging of Grounation last Sunday believe voices of political advocacy are still around.

Themed ‘Sounds and Society: 60 Years of Music, Political Activism and Social Change’, the free symposium welcomed an almost-full lecture hall at the downtown Kingston-based Institute of Jamaica.

Up for examination was music and political advocacy in colonialism — through federation and Independence.

“I’ll begin with the energy of Peter Tosh, whose militant approach is being reignited and invoked by artistes like Chronixx, Protoje, and Lila Ike,” senior cultural studies lecturer at The University of the West Indies (UWI) Dr Sonjah Stanley Niaah said.

Reggae poetry lecturer at The UWI Dr Isis Semaj Hall added names like Valiant, whose Don’t Judge Me delineates the fallout from limited opportunities for youth. She said the inability to immediately identify modern change agents requires a new approach to engaging music.

“We haven’t developed the skills for adequate listening; we’ve been listening on the surface for far too long,” she said.

Referencing Bob Marley’s Redemption Song, which charges listeners to “emancipate yourself from mental slavery”, Semaj-Hall posited that instructional tools are also needed to manifest change.

“They [artistes] want there to be advocacy and change, but they don’t have the tools themselves to instruct and guide individuals on how to achieve that, so I think that’s the part that’s missing — critical thinking and reflection on the works.”

Jamaica Music Museum’s (JaMM) director and curator Herbie Miller provided earlier references across the visual and performing arts, like Eugene Hyde’s 1978 Casualties series, which included Behind The Red Fence — society’s dreadful perspective of the newly erected Gun Court.

“When you think of Bob, Peter, and Bunny and the weight that their music had, it goes without saying that our artistes were a voice of the people,” Miller said. “We think about The Ethiopians’ Everything Crash in response to what was happening around 1967… Delroy Wilson’s Better Must Come; these were all the songs reflecting the hurt, pain, and optimism of people. What do we want against what we are having to deal with,” said Miller.

The question of a local response to such advocacy also arose, with Niaah arguing that foreign audiences are more amenable.

“We’re the only ones not listening to our musicians and taking our own advice… When I go outside of Jamaica, what I hear from people is that Jamaica is their example of how they should be in the world as black people…only that the Jamaicans don’t know this about themselves, that they are the ones inspiring people around the world.”

Miller highlighted the work of Burning Spear in globally expanding Garveyism and Tosh’s inspirational impact on South Africans during apartheid.

The JaMM orchestra added colour to the interactive discussions through a spirited set which reflected the discussed period. Feet tapped the wooden floors in unison and some women hit the aisles to showcase their moves to the vibrant horns of Tommy McCook’s Freedom Sounds. Other songs performed included Don Drummond’s Addis Ababa and Justin Hinds & The Dominoes’ Carry Go Bring Come.

Stalled for two years because of COVID-19, Miller said, “I was more than pleasantly surprised at the wonderful turnout. People just seemed to have longed to explode and express their appreciation for what Grounation is all about and for that I really thank them for the loyalty and generosity they’ve brought to the programme.”

The Grounation series continues on Sunday at the Institute of Jamaica located at 10-16 East Street. Start time is 2:00 pm.