Jamaica’s musical culture will be fully displayed during February as the country celebrates Reggae Month.

But, of course, added to the excitement is that two of the country’s most eminent music personalities, Bob Marley, the king of reggae, and Dennis Brown, the crown prince of reggae, were also born in February. Other reggae artistes born in February include Bob Andy, Horace Andy, Derrick Harriott, Bunny Rugs, Sean Kingston, Spanner Banner, Cutty Ranks, Carlene Davis, Baby Cham, Ky-Mani Marley, Sophia George, and many more.

Of course, it also doesn’t hurt that February is the month in which the Grammy Awards ceremony is held and Valentine’s Day is celebrated. I suppose one could say, “February likkle, but it talawah.”

However, the 500-plus pound question is: Why Reggae Month, solamente?

Jamaica has introduced several substantial musical genres that have achieved success. So why is an entire month dedicated to just one of its genres? Whatever the reason, it is a slap in the face of the other genres that preceded and greatly influenced reggae.

Past Jamaican musicians like Don Drummond, Jackie Mitto, the Skatalites, Stanley and The Turbines, et al must be turning in their graves at the realisation that their sterling contribution to Jamaican music has been relegated to the fine print of history.

Dedicating an entire month to one genre while ignoring the previous music forms is disappointing to many music lovers. Are the people who spearheaded the Reggae Month idea unaware of the significant success of our earlier genres, locally and internationally? It would be interesting to understand the thought processes which influenced the establishment of this designation while ignoring the other genres.

One proposal is that the island should instead celebrate a Music of Jamaica Month. The fact that our Ministry of Culture (MOC) decided that Jamaica needed to dedicate a month to celebrating the legacy of reggae is not the issue. But reggae did not just fall from the sky, it originated from somewhere. Jamaica’s musical journey is a story of rags to riches success. So the table was set, and guests were invited long before reggae showed up.

It is unfair for the MOC to bypass the origins and early bedrock of our music in favour of one genre. It is actually a short-sighted approach that acts to shut out the tremendous musical offerings of the earlier years. Furthermore, to the detriment of our other musical forms, the probably well-intentioned focus on reggae limits our expansive musical culture.

Genres evolve over extended periods within a nation’s history. However, as expected, each genre influences its successor and ultimately impacts the whole. Reggae represents another phase in an unfinished musical voyage and should be treated as such. The focus, and rightly so, needs to be on the entirety of Jamaican music.

One acknowledges that today’s reggae may be a more commercially viable product than earlier versions. But matters of culture must not be affected or held hostage by matters of finance. What is important is that current and future generations of Jamaicans should have a month dedicated to the entire spectrum of the island’s music.

The Jamaican music trek is a story of slavery, Emancipation, Independence, and the immense impact of a small Caribbean island on global music. This is the theme that the MOC needs to promote in the month of February. The more thought put into this, the more it is evident that February should definitely be celebrated as Music of Jamaica Month.

So which Jamaican genres are being sidelined by this Reggae Month celebration and how significant is their omission?

Mento proudly steps up to the plate. This was the first widely recognised music from the island and is considered purely Jamaican. Mento jump-started Jamaica’s music industry and created a market for succeeding genres. Most importantly, mento told the story of the primarily rural, recently emancipated Africans and their journey into freedom. At one stage of Jamaica’s growth, mento was the mainstay musical format at events of all sizes. Then, as genres usually do, mento gradually transitioned or evolved into a new genre called the ska.

Just as mento led the way from the dungeons of slavery and the rigours of Emancipation, ska ushered in Jamaica’s Independence. Ska signified the vibrant new beginnings of a people who had yearned for freedom from their coloniser. This upbeat, fast-paced music gave fun-loving Jamaicans the joy of being authentically Jamaican. Most important, ska formed a bridge between rural and city folks, with the music now attracting the Jamaican aristocracy. Many say that those pre-Independence days were the happiest times of Jamaican history.

As with mento, ska gradually evolved into a new genre called rocksteady. This music, with a nice laid-back groove, emphasised the drum and bass of the country’s predominantly African legacy. Some musicologists consider rocksteady as Jamaica’s most influential musical form. Rocksteady was said to have captured the essence of the previous genres (mento and ska) and became the pathway to future genres like reggae and its various offspring (dancehall, rub-a-dub, etc).

Rocksteady’s introduction to music’s modern instrumentation brought Jamaicans face to face with the new sounds emanating from the American mainland. So Jamaicans were now hearing new and different musical styles. This added an intriguing dimension from which the rich sound of reggae emerged.

As Jamaica busily appropriated the surrounding sounds from the USA, the reggae genre slowly took hold locally and in the UK, which then became the platform for the launch of reggae globally. The music stormed through Europe before coming full circle to envelop North America.

Reggae, which started by mimicking the Americans’ flowery lyrics, dress styles, and group format, was gradually assimilated into the doctrine of the Rastafarian movement. As Rastafarians became more influential in Jamaican music, reggae transitioned from the initial romantic prose and became more religious, social, and revolutionary.

Superstar Marley was one of the leading proponents of this new reggae style and content.

It is accepted that Marley, the Rastafarian movement, and other artists and musicians took reggae to the zenith of its popularity and respect worldwide. This fact is not debatable. In addition, reggae, as a stand-alone product, may have made more money than all other genres combined. But, as said before, cultural issues should not have a price tag.

There is no doubt that reggae, thanks to Marley, has taken pride of place in Jamaica and the global musical space. However, its significance must not be touted at the expense of the other genres that have played critical roles in Jamaica’s social and cultural evolution. This is especially so in the context of the country’s growth and maturity over the years.

Reggae has provided much to the Jamaican psyche. It has influenced several genres like hip hop, reggaeton, Afro beat, and others. So it is understandable that it has garnered tremendous love and respect globally. However, reggae is merely another step on Jamaica’s musical staircase. Plus, this Reggae Month celebration can become a slippery slope. For example, what happens when demands are made to have the other genres similarly recognised?

Dedicating an entire month to reggae as a stand-alone product is unreasonable. It does not stand alone. Out of many, it is one genre.

If the idea of a Music of Jamaica Month is taken on board, then radio and other popular musical platforms should be encouraged to promote the different genres via special programmes throughout the month. In addition, the MOC could engage in parish tours, similar to the road shows during the Festival season, targeting primary and high schools to heighten awareness of the varied genres. After all, the priority ought to be the musical socialisation of current and future generations.

The aforementioned is not a flat-out criticism of the MOC. On the contrary, Reggae Month is a welcomed first step in honouring our musical culture. This debate is, however, focused on the fact that the country is missing the opportunity to promote the remarkable story of how our music evolved from the horrors of the plantation system to charm kings, queens, princesses, and presidents. There is a much bigger musical picture for Jamaicans and foreigners to explore than just reggae. We must honour and promote the entire journey as an example to future generations of the rewards of hard work and perseverance.

Many early Jamaican musicians and fans are genuinely offended by Reggae Month’s seemingly exclusion of the island’s other genres. They argue that the pre-reggae genres have been treated with total disrespect. Everyone supports the MOC’s Reggae Month agenda but recommends that the much broader cross section of the country’s music be honoured.

Thankfully, this does not call for a big fix. With one swipe of a pen, the MOC can declare a Music of Jamaica Month. Reggae has paid its dues and is Jamaica’s most famous cultural product. Nonetheless, we should keep the other supporting genres on pedestals too.

The mento song Day O found its way to the world’s first million-unit-sales album. Reports show that more than 100 ska bands currently exist in Asia, Europe, and the Americas. Jamaica’s dancehall is still holding its own, while reggae and Jamaican jazz styles are experiencing a resurgence.

We must promote all the genres equally and bask in the aggregate benefits thereof. After all, as old-time Jamaicans would say, “We cum yah fi drink milk, we no cum yah fi count cow.”

Rohan M Budhai is a tax consultant, writer, and history enthusiast. Send comments to the Jamaica Observer or mariobudhai@yahoo.com.