Hidden Symbols and Soft Disclosure in “Independence Day: Resurgence”

Twenty years ago, the first Independence Day film was released about an Alien Invasion that wished to eliminate human life as we know it. This year of 2016 brought back the premise of an Alien attack right on Independence day once more. This article will touch on certain themes that can only be understood in the knowledge that Hollywood does everything it does with ulterior motives and hidden agendas. Many of us are not even aware to the extent of what actually occurs behind the scenes, because there have been many talks in the recent years about secret space programs within the government infrastructures of the world.

This new film that has been released is one that reveals many interesting things in terms of what is known as “disclosure,” the movement to reveal all hidden information and evidence that suggests that human life is not the only conscious life in the universe. Part of this movement is to expose that there has been many civilizations that have been in contact with Earth throughout the planetary development. The reason this theme is relevant in the movie is because there are parallels between the film and information shared by secret space program whistle blower Corey Goode. Also, the information within the film highlights some concepts that are mentioned by Cobra, blogger and spiritual catalyst in revealing planetary, galactic and universal knowledge.

These men have been working hard in recent years to expose certain truths about the way our world is operated and more relevant to this topic, about the suppressed Alien technologies that are purposely hidden away from the everyday folks.In short, these men reveal that those in power are the ones that feel the need to exploit the Earth’s resources for personal gain. Although this theme is not necessarily represented in this new Independence Day film, there are hints that suggests that what Corey and Cobra speak about has truth.

For those that may not have this level of understanding, movies reveal much more than meets the eye, because its one of the most unique ways to communicate with the masses; people will sit for hours absorbing a concept and using their imagination also in identifying with actors. The Hollywood industry has been researched and exposed by many mainstream and independent researchers, journalist and artists. Nevertheless, if you are willing to consider that there are hidden messages within the films and TV shows that millions watch daily, then let me explain what I have gathered from recently watching the new Independence day film.

Right at the beginning, we are shown a picture of the planet being targeted by an Alien race. After a motion graphic zoom of the Earth through galaxies and solar systems, we are shown that the president of the United States in the old film is somehow connected to the happening because he wakes up as if it was a dream. This is the first instant of a telepathic connection that is present throughout the film. Afterwards, the Earth is shown to have anti-gravity technology, a woman president and a more united concept within the psyche of humanity. The dialogue explains that after the Alien threat humanity became more cohesive as a species. This dialogue is very interesting as president Ronald Regan gave a speech to the United Nations that the world would be much more united is they faced some kind of Alien threat:

 

Notice how his speech does not include this mention of an “Alien threat” as a casual comment, but rather he insists again by saying we need this threat to achieve commonality. Perhaps more interesting though is that in the reality within the film, the speech by Regan turns out to be true. Independence Day has many elements that allude to something much greater than can be explained away because this film cleverly blends the theme of what many consider “science fiction,” with actual historical events and the resurgence of what many so called UFO proponents have been saying for years.

Cobra mentions that in 1996, there was an actual Alien invasion that steamed from the region of the Congo in Africa. He says that after this invasion, the whole surface population was implanted with advanced technology in order to keep the people more docile, passive and less aware of what was actually taking place. This might sound very strange to people that are not familiar with Cobra’s work and have not researched him. As an individual that takes an analytic approach, I found to be interesting coincidences in the movie that reveal some “soft-discousure” about this. The African in the film lead a group of people that had reengineered the weapons of the Alien invaders, and only he knew how to kill the Aliens with a machete! Moreover, he and the tribe had comprehensible knowledge of their language.

Now this is where the movie gets little more interesting. There seems to be a strong telepathic communication between the humans and the Aliens in that there are many individuals drawing that which looks like a sphere. Coincidently, the humans shoot the sphere ship that shows up in protection of the Earth and its humans from the incoming Alien Invasion. The remains of what is shot out of the atmosphere is recovered and taken for research. After the orb is opened and active, the sphere turned out to be a special intelligent life form that is seeking to put an end to the invasions that have been taking place with the race that is coming to devour earth. It turns out that this is a battle that has been going on for eons of time, whereas the Earth is just but another victim of thousands of other conquests in order to take the planet’s energy within its core. Its revealed that the Earth is meant to be the decisive battle that will affect the whole universe.

Putting the movie plot aside, there are just way too many overlapping elements within this film that have been pushed by scientist such as Dr. Steven Greer and others about the Alien presence in this solar system. Secret Space program whistleblower Corey Goode has mentioned that there is something called the sphere being alliance that is assisting Earth’s humanity in freeing themselves from tyrannical rule on Earth, Again, if you’re not familiar with Corey Goode’s work, he was part of many space missions since he was a child, and in recent years has been dedicated to exposing such truths to the world. Regardless if you believe it or not, the film clearly shows that there was some kind of sphere beings that were fighting to end the Alien race that exploits planets and kills all life by stealing the energy contained within the core.

Shall our minds be expanded to consider that perhaps Hollywood knows something we don’t? Well this is where it gets more coincidental if you will, because there have been thousands of videos captured by regular people around the world that depicts orb-like beings floating around in our skies. It may even be harder now to separate fact from science fiction.

 

After studying film for its religious symbols, I’ve always gone to watch films with the mentality of obtaining higher knowledge from what is actually being presented. I make no mistake to expect that there is moe to this film than a simple entertainment motive behind the narrative. I actually feel that there is something bigger that is about to occur in humanity’s history that is being hinted at within this film. The reason is the obvious comparison of the Aliens that want to mine the Earth’s core, and those so called wealthy individuals that want to deplete the planet’s resources without any concern or regard to humanity and all of life within the planet. In essence, Cobra’s mission has been to impart the knowledge that the ones that are in charge of the Earth’s resources have not been humans in their total sense of composition, but rather representatives of Alien forces that impose their will on humans.

In the end, the film concludes with the triumphant victory of Earth’s inhabitants in the retreat of the Alien forces, hinting that another film is on the way very soon. Regardless of the marketing strategy, I quite enjoyed the film because its always pleasant to see humanity overcoming all odds and obstacles. This feeling is also shared by the last remaining sphere being in the movie when it says: “you are a remarkable species.” Whatever Hollywood’s intention with the making of this film, I sense a synchronistic merging of fact and fiction. In addition, I feel that something much more is being projected than just a fiction movie.

This fourth of July 2016 will bring about some very interesting happenings because of the following reasons. Not only does the new film hint at a possible disclosure and some possible global announcement, it also suggests that there will be a possible abrupt changing of presidency like is shown in the movie. Because this year is an election year, I find it interesting that this film depicts political upheaval that results in the swearing in of a new president.

Its important to note that I only wish to compare and contrast the images present within the film to those details and intelligence provided by individuals experienced with hidden technologies and extraterrestrial contact. Perhaps I can invite you to bask in the feeling of overcoming adversity like the film represents, and whatever happens this July 4th, trust that it will be great news in the long run. I definitely think that independence day 2016 will be an unforgettable one, but perhaps a moment where hidden truths are finally revealed and definitely not like what Hollywood wants to project into your mind.

Benefits of Sea Moss

 

When it comes to natural health, many of us are not as well informed as we should be. There are many products derived from nature to help humanity with everyday challenges. Currently, humanity is in a state of being that is extremely unique in its time of progress. Also, I must say this time is extremely dangerous due to the rising number of diseases and illnesses. If we consider the evolution theories, humanity has traversed millions of years from the ocean itself into modernity. Its only in the last 150 years or so that humanity has taken big steps towards modernization and away from nature.

Sea Moss or Irish Moss is a mineral or plant vegetable that comes packed with about 90% of the minerals that the human body is made up of. The body is made of 102 minerals and most of them are present within Sea Moss. I personally use Sea Moss to make what I call “nature’s milk,” a blend with hemp seeds and dates for a sweet taste. I call it this because it is an excellent source of calcium. I learned of the Sea Moss because of the natural path and healer known as Dr. Sebi. When I traveled to his center located in the country of Honduras, I was even more amazed at the uses this herb has.

Dr. Sebi mentions how important Sea Moss is towards his daily intake of calcium and how it has kept him in the best shape regarding his bones and mobility. This now is a man well in his early eighties. He displays his confidence on Sea Moss through this short video when he falls on his knees in a hardwood floor. What makes this important to me is that I know for sure that my grandmother and grandfather, that are much younger than him, will not be able to do what Dr. Sebi does on this video:

 

When I traveled to his wholistic center in Honduras, all of the people staying there received Sea Moss in the evenings to supplement the lack of dinners. Because I was fasting, I received two portions a day in order to not get hungry. Apparently, Sea Moss expands in the stomach and gives the body a tremendous amount of energy that one does not truly need to eat anything. Because of Sea Moss, I was able to complete my 45 day fasting without any problems and its a great asset to have for any juicing and cleanses.

While I stayed in the village using the natural saunas and thermal waters, I was given Sea Moss as a topical, along with pink himalayan salt for the skin and scalp. I have to say that the results were phenomenal, and I continue to use it. I used to suffer from dry scalp and psoriasis, and the use of Sea Moss has brought my natural skin radiance back. In the past, I could only wash my hair with cold water because if I washed with hot water, I would be suffering immediately after. Now, because of the treatments with Sea Moss, there is a tremendous difference, and I can chose whether or not to use cold or hot water whereas before I had no choice.

I can’t help but think at the reason why this vegetable from the sea would be so beneficial to the human body. It may be related to the theories on evolution and our slow development from sea creatures into land mammals. Whatever the case may be, this product is a must have because it nourishes the human body in a way no other product on the market can do. With humanity’s current trajectory, it is safe to say that the way back to nature will lead us into a more brilliant and healthy future. Sea Moss is just one example of the healing that is available to humanity.

RASTAFARI MYSTIC: THE PRINCIPLE OF WORD, SOUND AND POWER

To the living memory of Ras Tehuti, For his teachings, guidance and love.

Tommy Lockward April 11th 2016
Dr. Gwendolyn Simmons Department of Religion University of Florida

 

ABSTRACT

The stereotypes that surround the Rastafari Religion or movement, as it is recognized, are such that many have come to know through the popularity of reggae music. The movement’s rise out of colonialism give the Rastafari phenomenon a unique origin that extends far beyond the island of Jamaica, into African and other ancient customs. This thesis focuses on the all-encompassing principle within the movement that includes music, speech and culture across all groups and organizations that identify with the Rastafari phenomenon. With the guidelines of study in mystical experiences, Psychologist William James developed the frame work of direct experience and the divine within. With this approach, I outline the ways in which the principle of Word, Sound and Power is essential in understanding Rastafari and its ideals on divinity. The short film and documentary segment extends the academic and field research into a direct experience on the Rastafari way of life. The video segment centers a discussion with one individual, and does not detail a communal examination of the movement as a whole. In its overall exhibition, this thesis analyzes the mystical elements of Rastafari by providing examples from scholars, practitioners, and readily available works on popular media.

 

INTRODUCTION

When considering the word “Rastafari,” the image that most likely comes to mind is that of dreadlocks and heavy volumes of marijuana smoke. In fact, most people have heard of this word through the rhythms of reggae music in a sequence that is loudly chanted as “Jah, Rastafari!” In this present time, this Religious phenomenon has been widely studied, written about and investigated. The main figures associated with this movement are former Ethiopian monarchs Haile Selassie I and Empress Menen, Pan-Africanist Marcus Garvey and reggae musician Bob Marley. There are many books and sources that document the movement’s chronological progression and its cultural impact within the Island of Jamaica and the African diaspora as a whole. In this thesis I do not attempt to give a detailed account of the historical origins of the movement, but rather I focus on the mystical aspects that surround it. It is said that Marcus Garvey prophesized that there will be a king crowned in Africa who would bring redemption to people of African descent, and certain groups in Jamaica saw the fulfilment of this Prophecy when the Ethiopian monarchs—Haile Selassie I and Empress Menen— were crowned in the year 1930. It was then that the Rastafari ideology was officially born.

The Rastafari phenomenon sprang out of Jamaica to earn worldwide recognition, primarily through reggae music. Due to its ability to affect the masses and reflect grassroots ideals, the Rastafari ideology has been rendered as a movement. The living components within it also make it a culture in itself; with its unique form of speech, customs, norms, dress and community relations. Reggae and Rastafari are generally regarded to go hand in hand, and it is in this way that the ideals of the Rastafari movement are mainly communicated. In the documentary Coping with Babylon, the poet Mutabaruka states that the “first contact that people outside of Jamaica have with Rastafari is through the music,”1 which functions as an effective outlet for elements within the culture to be considered by people all over the world. The word reggae as is attributed to Rastafari is the sound that is “comin’ from the people. Everyday t’ing, like from the ghetto…when you say reggae you mean regular.”2 In other words, it’s a genre that represents the interests of the people and reflects the social dynamics present in a Caribbean island with history of slavery and colonial rule. Due to the popularity of the music, the movement has been embraced by many but it is largely viewed in terms dreadlocks, reggae and the smoking of cannabis; regardless of its much richer symbolism. There are some truths to these associations, as will be discusses later in this work, but these have been subject to much media bias and misinterpretations that prevents any alternative analysis and perspectives for consideration. During my academic research, I have found much information by scholars and other investigators that directly contradict my personal experiences with those in identification with the movement. One such example is the claim made by the scholar, Leonard Barrett and his statement that to the Rastafarians, “The White person is inferior to the Black person,”3 which he stated to be a major Tenant of the movement. However, such claims quickly fall short when considering that the Rastafari movement actually represents the humanitarian efforts that have been established by the Ethiopian monarchy as explained by the song War, written by acclaimed reggae star Bob Marley. It is an adaptation of the speech given by the Emperor Haile Selassie I to the United Nations in 1963. The message within the song defies any attribution towards hatred and racism within the Rastafarian ideals:

Until the philosophy which holds one race superior and another inferior is finally and permanently discredited and abandoned; that until there are no longer first class and second class citizens of any nation; That until the color of a man’s skin is of no more significance than the color of his eyes; That until the basic human rights are equally guaranteed to all without regard to race…Until that day, the African continent will not know peace…4

Although the theme of race is expressed within the Rastafari identity in terms of venerating elements and figures from Africa, it is one that stems from a people with history of oppression and slavery. Marcus Garvey, the Jamaican Pan-African activist and national hero was greatly responsible for the rise in African centered ideas in Jamaica and the diaspora. It is generally acknowledged that he was a catalyst for the Rastafari movement during a period in Jamaica’s history known as Ethiopianism; a time in which the African diaspora traced its African ancestry and heritage back to Ethiopia. Garvey is noted for his statement in connection with this: “a people without the knowledge of their past history, origin and culture is like a tree without roots.”5 The focus and pride on racial identity is used as a means to lift up a people that have been subject to foreign rule, denigration of their language, culture and as a call for these people to remember and take pride in their origins. This is not to be confused as an exclusive color-based movement. I have been able to obtain a deeper analysis of the movement’s ancient past and the current trends expressed within the music, via research and personal exchanges with my friends Ras Tehuti and Rau-set Sylvia.6 My purpose and aim is to explore the theological and mystical facets that help explain the Rastafari phenomenon in a way that genuinely reflects and honors my personal experiences. I was told early on by Ras Tehuti that Rastafari is a “livity;”7 a whole spectrum of principles that guide the way of living within. It is my claim that the Rastafari phenomenon is a rich and spiritual tradition that has been greatly misinterpreted by the modern world, due to the fact that ones outside of the movement author most of the information.

In this thesis, I seek to provide a different analysis of Rastafari by allowing the views and perspectives of individuals within the movement to be expressed and bringing to the forefront the ideas held within reggae music; using sources available through popular media. I intend to explore practices and traditions outside of Jamaica that have re-surfaced from Africa and are present within the Rastafari culture. I have obtained from my years of involvement with the movement, that the principle of Word, Sound and Power is key to the Rastafari way of life, and will be the central theme of discussion. The medium of music is important within this principle because it contains the essence of all of these categories; casting its power of influence worldwide. In addition, an audio-visual portion will compliment this writing about the movement’s way of life and cultural expression. This will provide a means of direct experience in alignment with what I call the ‘Rastafari Mystic;’ the spiritual values that are outside of what can be defined as “religion.” I aim to project aspects of Rastafari that are not readily obtained from academic sources, and to provide a direct experience of a Rasta elder. The audio-visual portion documents the family man Ras Kimbu, who will share his own ideals of what Rastafari represents and its connection to spirituality and music.I include the information I have obtained from my time spent with Ras Tehuti and Rau-set Sylvia as an integral reference about the movement. In view they function as proper informants, on the topics that will be discussed. I have organized the writing of the sections accordingly to examine the Rastafari movement in connection to the spiritual and mystical phenomena. In the thesis’ chapter on Word, I will go into depth about the Rastafari usage of words and language, exploring the root of biblical and African traditions. In the chapter on Sound, I will detail the movement’s impact through music, the history and ideals within it. My chapter on Power discusses the culture’s health regiment and use of cannabis as a sacrament to harness the power of nature. Lastly, the reader’s experience of the audio-visual portion of the thesis with Ras Kimbu and his reggae band will give the viewer access to a Rastafari practioner who shares his reflection on the overall significance of the Rastafari movement. I anticipate that, in the concluding thoughts of this study, those with little or much knowledge about the movement will gain valuable information on the esoteric nature of the Rastafari mystic.

 

It is important to discuss a few important points before going forward so that my intentions and key terms are properly defined for this study. Many would regard the Rastafari phenomenon as a “religion,” but also many within the movement say that it is a way of life, and that there is an important and significant distinction. The etymology of the word religion can help explain this difference in that its origin is derived from the latin word ligare, which is to bind, and the prefix “re” that gives the meaning to be “bind again.”8 The way of life, as is expressed by many individuals within the movement, is a spiritual “state” of being outside of the dogmatic, confined, binding and constricting perspective that dominates the concept of religion. Specifically, in consideration of the history of slavery, spirituality represents a freedom from being bound or constrained to foreign practices. During the time I spent with Ras Tehuti and Rau-set Sylvia, I became aware of the diversity within the movement by the manner in which this couple expressed their Rastafari way of life. They did not engage in the smoking of marijuana or readily study the Judeo-Christian Bible. It is generally regarded that Rastafarians engage in and encourage these activities, but then the question arises as to what makes one legitimately a Rastafarian? Scholars like Leonard Barrett have attempted to answer this question with his ‘Rastafarian Tenants,’ but to what extent is there accuracy with his and others academic interpretations? There are, in fact, many definitions and examples to be found within the various groups and people that identify with being a Rasta or Rastafarian. In alignment with expressing a unique perspective of the movement through my informants, Ras Tehuti defined himself as a mystic, and he held the natural world as a way to directly experience the divine. I have gathered that through this mystical lens or perspective, the principles discussed can be better grasped and a unique version of the Rastafari way of life can be brought to the surface.

 

The psychologist William James dedicated much research to the theme of the mystical experience, explaining; “personal religious experience has its root and center in mystical states of consciousness…For some writers a ‘mystic’ is any person who believes in thought-transference, or spirit return.”10 James also makes a distinction between organized religion and personal religious experience as feelings and personal relationship to the divine. He argues that all these arise from mystical states of being in accordance to the genuine individual experience, with a vague definition of what is considered divine because this can have numerous interpretations. This allows for the word ‘mystic’ to have a loose terminology and can apply to a personal knowing of the divine; independent of categorization or logical definition that are mentioned in the noetic qualities of the mystical experience.11 Such experiences are outside of language articulation and the realm of organized religion because they take place in an intimate level for each individual. For my purposes, this perspective on the mystic realm is in line to describe the Rastafari phenomenon, in that it can only be fully grasped in terms of the way one chooses to live his or her life in accordance with the divine within.

 

My encounters with Ras Tehuti were filled with encouragement for personal religious experience with breathing exercises, meditation and fasting to reach a state of mystic consciousness and a heightened state of awareness. However, in a more concrete way, the Rastafari movement is also inextricably linked with biblical folklores and symbolism that are readily noted by modern scholarship in books, articles and films about the Rastafari movement. Such connections give the impression of a religious presence within the movement, but there is more to be found underneath the legends and stories that connect Rastafari and the Bible. The author Virginia Lee Jacobs explains that:

To understand the Rastafari Movement is to understand the life of Haile Selassie, who is, in fact, the enigmatic Ras Tafari…A direct descendant of the Judeo-Christian tradition, he claims his ancestry from King Solomon and the Queen of Sheba. Fundamental to his spiritual make up is the Coptic Christian belief of Monophysitism, or the indwelling existence of Christ in each of us. In this sense, Ras Tafari is God…12

The emperor Haile Selassie I is indeed a key figure within the Rastafari movement and Pan-African consciousness. His name is sung often within reggae music, and many outside the movement regard him to be the “God” Rastafarians pray to. It is also true that some groups within the movement regard him as a messianic figure, but the reality is more complex that most can discern. It is important to consider not only his tittles of “King of Kings, Lord of Lords, the Conquering Lion of the tribe of Judah”13 as biblically significant, but also his position as emperor in the ancient land of Ethiopia. According to Archbishop Yesehaq, an authority figure within the Ethiopian Orthodox Church that helped extend the church’s influence in the West, “when one speaks of the Ethiopian Church, one also speaks about the people and government of Ethiopia,”14 which illustrates the multifaceted position that Haile Selassie I held. As emperor, he represented an ancient tradition that rendered him a ruler, political figure and one with spiritual authority; being a leader in the Ethiopian Orthodox Church. As such, he was able to do many great things within the faith community of Ethiopia and Chrsitianity as a whole. To further expand on the themes guided by my understanding of the word ‘mystic,’ the emperor himself relates:

In the mystic traditions of the different religions we have a remarkable unity of the spirit. Whatever religions they may profess they are spiritual kinsmen. While the different religions in their historic forms bind us to limited groups and militate against the development of loyalty to the world community, the mystics have always stood for the fellowship of humanity.15

It is these kinds of ideals that power the thoughts of the Rastafari movement in its mystical aspects of unity consciousness. This is the reason why the movement has transcended racial and cultural boundaries in harnessing that “unity in spirit;” primarily expressed through the medium of music.

It was “Bob Marley’s career that the floodgates for the internationalizing of reggae. From 1973 to 1980, Marley would string together a contracted ten albums in seven years for Island Records.”22 These albums would provide the outlet for socially conscious lyrics to be heard with African rhythms. Many songs induce the unity of spirit, as stated by the Ethiopian Monarch in their ability to affect people of different cultures and backgrounds. Music is known to be a powerful force in bringing people together, and many reggae songs express the necessity for people all over the world to gather as one. In the documentary Heartland Reggae, clips of the performance where Bob Marley holds hands with two opposing political party leaders is shown. In those times, the island of Jamaica was divided with violence between these two political parties, but Bob Marley was able to use the power of music as a unifying force.23 There are many well-known anthems of the era that capture this notion such as “One Love, one heart, let’s get together and feel alright.”24 On the surface however, one may not consider the serious and dangerous consequences that have taken the lives of artists including Bob Marley, Peter Tosh, and Hugh Mundell among others for representing the Rastafari ideals within their music. In his song Natural Mystic, Bob sings that “there is natural mystic flowing through the air; if you listen carefully now you will hear. This could be the first trumpet, might as well be the last. Many more will have to suffer, many more will have to die, don’t ask me why.”25 Marley’s use of the word mystic can be a reference to the last book of the bible and its seven trumpets, but also it can be seen as a self- fulfilling prophecy that explains Marley’s passing.26 Revelations is a mysterious and esoteric book in the Hebrew Bible in terms of its prophetic imagery, nevertheless Marley’s lyrics imply the importance of prophecy within the sound of music and it’s spiritual role.

 

My personal involvement with the movement started with exposure to the music, as I was born in the Caribbean and identify myself as part of the African diaspora. When I needed help to improve certain aspects of my health, I was led to a couple that represented the Rastafari ideals of healthy living on a physical and spiritual level. I remember the first time I traveled to the farmer’s market to meet Ras Tehuti and Rau-set Sylvia; their locks were wrapped in headdresses that created an almost “bulb-like” effect behind their heads. They sat behind a small table with glass jugs containing colorful teas. As I approached, the smell of incense was very pleasant and they acknowledged me with a gentle gesture, their hands placed in the heart region of their bodies followed by a slight bow. That experience caused me to know I was in the presence of special individuals, an impression that can only be felt in the humility and manner that they communicated. I began doing foot reflexology sessions with Rau-set Sylvia to relieve a pain in my left foot. Over a short time, the injury was healed and I kept a regular routine of drinking cleansing teas, eating proper food combinations recommended by them and practicing fasting techniques. I quickly began to notice great improvement in my overall wellness. In all the time I spent in contact, I gained valuable spiritual knowledge of Rastafari through these reasoning27 sessions at the market. Ras Tehuti became my mentor and counselor as he shared his experiences, advice and world-view of what it means to be Rastafari in this time. I became more aware about the differences that compose an individual’s spiritual way of life in contrast to belief systems and religious limitations.

 

I noticed during our exchanges that The Rastafari culture is one that is happening in the now, just as God is active in everything that exists and moves in nature. The principle of Word, Sound and Power are referred to by those within the movement as one holistic concept, but I will elaborate on each of these individually to go in depth with their significance to the movement. This all encompassing principle is one that is actively flowing in everyday life, hence the Rastafari approach is to harness that power in the manner one behaves, dresses and talks. The usage of words is very important because these can carry complex ideas. When referring to the human body, Ras Tehuti would say the “goody;” to imply that the word “body” is too close to sound of the word “bad.”28 When we would speak about meeting some time in the future, he would say “next strengthy” instead of “next week” because the sound of “week” is too close to the word “weak” or “without strength.” In order to have a better grasp on this and its importance in the Rastafari community, the African Earth Keeper Ras Ben explains this about the English language:

Because of its Babylonian roots, it has us babbling, and when you study the tower of babel it was all about the confusion of the tongues; to mix man and man and to divide one against another, but also to divide a man against himself…a babel language is one that what you think and what you say don’t match. One may have the intention to say I comprehend something or grasp it, and then you’ll use the word I ‘understand.’ And if you visualize yourself understanding something it means that thing is above your head; it’s beyond your comprehension.29 In this case, the Rastafari community uses the word overstand as opposed to the word understand, when grasping a notion or topic. The relationship that each Rastafarian has with the Bible is unique and is not to be confused with a strict reverence to it, although Ras Ben has utilized the Bible to get an idea across. There are obvious affiliations between Rastafari and Christianity in the way that the culture has reverence for Christian monarchs and Ethiopia, a country mentioned numerous times in the Bible.30 The reality is that the connection goes much deeper and further back across historical time, as Ras Ben among other scholars have explored the connection between Egypt, Ethiopia, Judaism and early Christianity.31 For this reason, the Bible in itself cannot be made into a generalization that is agreed upon by the various groups within Rastafari. The movement is diverse with its interpretations and regulations. In truth, I was surprised to know that my mentor Ras Tehuti did not ascribe much importance to biblical literature. He advised me to obtain the Metaphysical Bible Dictionary by Charles Fillmore to gain esoteric knowledge as opposed to any literal interpretations. This is because, to Ras Tehuti, the Bible is not a historical document, instead its content has a more direct and personal application in symbolism. Also, when speaking about the Ethiopian Monarch Haile Selassie I, he does not regard him as a return or reincarnation of Jesus Christ. Many groups within the movement vary in their thinking about the roles that Haile Selassie I fulfilled during his time as Emperor, but they all revere the monarch in one way or another.

 

My mentor was not necessarily a member of a specific group or section within Rastafari, and so I understand his own definition of character with choosing the word ‘mystic.’ For this reason, I will not focus on the various “Houses”32 within the movement, but will aim at providing a unique perspective of it. Ras Tehuti’s teachings involving Rastafari are outside the dogmatic interpretations ascribed by those not in affiliations with the movement, and I will illustrate this by recounting my experiences and conversation with him.

I learned while being around Ras Tehuti and Rau-set Sylvia that Rastafari represents the balance of the divine feminine and the divine masculine energies,33 and it’s one of the tangible elements that goes directly back to an African tradition. That balance was exemplified in the 1930’s when “his Imperial Majesty Haile Selassie I was crowned along with his Empress, the honorable Empress Menen.”34 This ancient custom in the Nile valley, Ethiopia’s geographical location, showed that “the throne of power rests upon Auset’s personage. Ausar sat upon the throne literally and figuratively since the lineage passed through Auset who co-ruled a gender-balanced culture that was matrilineal.”35 That African tradition has generally been present in ancient Egypt and Ethiopia, but still remained intact in the coronation of the Ethiopian Monarchs. Moreover, other cultures have drawn from Ausar and Auset as it has been subject to much research and claims such as:

Christianity itself received its impetus from the model of the Ancient Egyptians’ history of the birth of Heru (Horus) from the union of Ausar and Auset (Osiris and Isis). Thus early European Christianity had the Black Madonna and Child (Auset/Isis and Heru/Horus) as its most venerated symbol of Christianity.36

The Rastafari phenomenon is one that goes beyond the Island of Jamaica, even though the music and culture arise from the island itself. However, it can be stated that there are clear synergistic connections with Ethiopia, Egypt and even India when analyzing aspects of their way of life. In fact, Ras Tehuti related that his name derives from the ancient scribe that lived in the lands of Egypt described by the royal papyrus as one of the “Neter or Gods.”37 Reflecting on the name of the movement ‘Rastafari,’ Rau-set Sylvia remarked, “Ras is a tittle given of governance in Ethiopia that in a spiritual application signifies self-governance,”38 but I claim that the similarities between the deity Ra or Amen-Ra is also within this tittle and reflect its Egyptian similarities. In examination of Ethiopia in it’s close connection with Christian symbolism in Egypt, “Amen means the hidden or holy one; the name Amen Ra meant that the God dwelt within the King, resemblance to the Judeo-Christian Amen, a blessing to the divine, is striking.”39 In The Ethiopian language of Amharic, the word ‘Ras’ literally translates as ‘head,’ and it signifies the spiritual idea of the “god-head.” To further express this idea of the divine within, Rasta-woman, Empress Sharon, explains in an interview that “good and evil live in flesh; people don’t want to accept responsibility for their own actions. But God is real and alive in man and woman.”40 As this statement indicates, the acknowledgment and identification with being a “Ras” is in line with accepting responsibility for one self. This responsibility is emphasized in a theology that originated in an island with a history of slavery, as an encouragement to have personal authority with one’s beliefs and spiritual practices. The statement by Empress Sharon draws more from the ancient Egyptian tradition than that of the Biblical interpretations of good and evil, and it exemplifies the teachings imparted to me about the mystery origins of the Rastafari movement.

 

Chapter 1. WORD

One of the most fascinating elements in the Rastafari movement is the use and interpretation of the Holy Bible. There is in fact, a whole spectrum of emotional responses that encompasses the movement’s approach to the western compilation of the Christian scriptures. A recent documentary titled Rastamentary shows individuals within the Rastafari movement like Billy Mystic and others living in communities expressing their view of God as intrinsic within humanity. This is due to the worldview of humans as the highest beings upon this earth in terms of self awareness by the conceptions held within modern science. The logic follows that if God decides to manifest physically on this earth, it will do so in human form and not as an animal or some other so-called lower form. Some members of the Bobo-Shanti community in the hills of Jamaica express that the word has to manifest in flesh to do the work,59 and this relates more in a general way rather than specifically regarding Jesus Christ as the only divine figure in human form. Although this is a Biblical explanation for a central Rastafari viewpoint, it really is more mysterious and mystical in nature once examined. I distinctly remember Ras Tehuti’s reply to my questions about the Bible when he would repeat, “yea but it say the word was made flesh,”60 and he would look to touch his arms signaling his own presence in that it really signifies the divine within himself and every human being. Apart from this, Ras Tehuti used the words of Haile Selassie I to illustrate his views on the Bible, which is, “for my part I glory in the Bible.”61The use of this quote is to express Ras Tehuti’s view that the Emperor glories in the Bible because it is a re-telling of the ancient Nile valley myths and narratives; therefore a part of Haile Selassie I’s ancient heritage.62 The reggae band Steel Pulse also reinforces the African centered views of the Bible in a song titled Not King James Version, and it’s message of “out of Africa came the garden of Eden.”63

It is very important to know and acknowledge that there are individuals within the Rastafari movement that subscribe to the Bible strictly because Haile Selassie I carries titles reserved for Jesus Christ in the book of Revelations. The Archbishop Yesehaq, when he brought the Ethiopian Orthodox Church to the Caribbean encountered many Rastafarians seeking to join the church. In his book The Ethiopian Tewahedo Church, he mentions that “to write a detailed and overall account of the Rastafarians and their beliefs in relationship to the Bible is a very difficult task. This is because there are so many different concepts to be found among Rastafarians today.”64 In fact, many Rastafarians will say that one must read the Gospels, Matthew, Mark , Luke and John to be able to relate to Rastafari theology. According to Ras Tehuti, the problem is that many within the Rastafari movement are caught up in the language and mistranslations of the Bible, taking away from one’s personal experience with the divine by having something outside of oneself dictate moral values.65In this sense, the Rastafari movement represents taking responsibility for one’s self, and this process begins by the way one chooses to use the power of words.

 

The Rastafari culture is one that emphasizes the positive usage of words, and whose vocabulary is tremendously witty and unique in its logic. The level of expression that the culture exhibits is outside of grammatical rules and regulations that allow a wider array of significance to be communicated. The Rastafari speech is one that can be examined through the historical lens that enveloped the island of Jamaica when slavery and colonialist imposed societal values. Among these are the the religious authorities of Christianity and the Bible. In his book The Rastafarians, Leonard Barrett writes that in order to gain a proper perspective of the movement, one must dive into slavery and the religiosity that stems from the mixture of European and African traditions,66 and this is definitely accurate. It seems that with its blend of influences, the people of Jamaica have sought a way to express themselves spiritually within the different religious movements on the island, such as Pentecostalism and Revivalism.

According to the scholar Barry Chevannes and the fieldwork found in his book, Rastafari: Roots and Ideology, the origins behind the Rastafari use of language stems from the social arrangements within the colonial island of Jamaica. He explains that it is not natural for the peasant class or worker to speak Standard English due to the combination of European and African culture.67 As the perspective of the Rastafari movement originating from such a mixed culture, an interesting dynamic occurs when examining one of the most common terms used in Rastafari speech, which is the use of the vowel “I” in substitution for “me.” This is done as a way to communicate a personal relationship with God and all that is contained in the realm of creation:

The religious meaning behind this substitution is that the Rastafari is also part of God, and if God is a visible, living man, it must mean that the Rastafari is another Selassie, another “I.” Because everyone is an “I,” one does not say “we” for plurality but says “I and I.” As the most central word in Rastafari speech, “I” transforms other words as well. “Brethren” pronounced in the dialect as “bredrin,” becomes “Idrin” ; “eternal,” “Iternal” ; “hour,” “Iowa”; “times,”; “Imes” ; “creator,” “Iretor” ; and so forth.68

In my personal exchanges with individuals within the movement, it is true that the significance of “I” is used to acknowledge the divine within. In focusing on the positive, Ras Tehuti would always enthusiastically say “yes I” as a greeting or any affirmative expression. Rau-set Sylvia always greets with the hand pressed on her heart as she would say “I, I.” The use of “I” is that which dwells within every human being as “I and I,” the omnipresent spirit of God. In general terms, this way of speaking has been nicknamed as Iyaric,69 by those in the movement as well as scholars and investigators.This substitution phenomenon within the language can be grasped in the context of the Biblical narrative in Moses’ encounter with God revealing itself as “I am that I am.”70 More importantly, is that the use of “I” is a tool that connects people instead of the divisive “you” and “me” that simulates the form of the ‘religious other.’ Ras Tehuti expressed in the use of “I,” as a connection to the divine within himself and all beings in effect. This way, petty prejudice and racism is not a factor and instead exemplifies the honor of the divine within; expressed as “I and I.”71 Further exploring this idea, Jacobs writes “I and I reflects the basic Monophysite belief of the Ethiopian Orthodox Church that the divine nature of God and the human nature of Jesus is one and the same.”72 This theme is central to the mystic world-view of the Rastafari culture in the manner one relates to oneself and the rest of existence. While in an interview Rastaman Jab states, as he stares at the one asking him questions, that when he looks at him he is “looking at Christ,”73 establishing further the spiritually intrinsic use of “I and I” and the Monophysite elements of the indwelling existence of Christ in each human being.

 

It is important to acknowledge that the figure of Haile Selassie I carries that same “I” that is intended upon the use of the vowel. Haile Selassie I in Ethiopic translates to “the first power of the trinity,” which is also emphasized in the word ‘Rastafar-I’ as an indication of the “far-eye;” the eye that sees far or the spiritual “third eye”74 that is expressed by some individuals of the Rastafari community. In essence, the use of these words is intended to invoke universality and spiritual symbolism that express the highest ideals conceivable to man and woman. The purposes that the movement has in use of specific words is to point out the limits of language, as expressed by the African Earth Keeper Ras Ben with his explanation of the word understand. In popular media, music has been the best way in which these ideas have been communicated worldwide due to the continual popularity of reggae. Currently, the roots reggae group Midnite, have been the pioneers of including such information within their music. In the mid 1990’s, Midnite released their album titled Ras Mek Peace, which carried slow synch-pated music with cleverly arranged lyrics expressing complex cultural and political ideas. In the song Foolish and the Wise, singer Vaughn Benjamin expresses that “semantic double-speak all of your languages have, you say the “pro” is good, you say the “con” is bad. Well is the “prostitution” good? And is the “constitution” bad?”75 Its an interesting viewpoint that the Rastafari community has about English as a limited system of expression that is confusing in its use of diction. The singer Vaughn further expands his message politically in connection to the military as he sings “left, right, left, right march, and when we left right, that’s when we went wrong…they say to “enjoy,” and they end your joy.”76 Within the same album the song Pagan, Pay Gone relates that we’re “living in a system pagan; every time you get pay; pay-gone.”77 Music with such lyrics challenge heavily the status quo and seeks to actively bring about social change. This aspect or dynamic is something that Leonard Barrett calls cultural dissonance,78 which alludes to the tremendous social tensions that such lyrics evoke. The usage of words in a creative dialect is one way of creating social awareness, but when these combine with messages that seek to change the social realties within a colonial world, there will naturally be some form of social tension. This is what justifies such associations of cultural dissonance in the tremendous role that music has within the Rastafari movement.

 

Chapter 2. SOUND

Examining the origins of Rastafari and music, one finds that the history of Jamaica is very significant to the development of this Rastafari cultural expression. “To understand the importance of Rasta music, one needs to take a look at its development through the drums. Used in the Rastafari community for “eartical” or “churchical” purposes, the drums are three in number: the bass drum, the fundeh, and the repeater (peta).”79 Together, these drums create and mimic the human heartbeat, and such a sound pattern has formed as a saying amongst the community known as “do-good, do-good,”80 like that of a beating heart. The origin is documented to have previously been Burru music from the days of slavery that later became “praise songs of original African tradition, which would expose the good or evil of a person or a village.”81The spiritual element has always been a part of the music in Jamaican culture as these traditions stem from various parts of Africa. Considering this, the drumbeat became a channel for communal gatherings with prayer, the smoking of ganja, praises and chants. These community gatherings became known as the Nyabingi,82 whose ceremonies gather many different houses together within Rastafari.

 

The Rastafari movement is regarded mainly to have contributed reggae music to world culture. Ras Tehuti and I would spend much time discussing in depth about the music and the main message of the Rastafari community. He mentioned the sound of the band Midnite and how they are currently the main group that represents the authentic Rastafari roots sound.83 He would talk about the song Bushman and its lyrics “you are worried about the state where you reside, but what about the state of your mind?…what do they have in common, this tell-lie-vision, in this civil-lie-zation you learn pure lies.”84 Ras Tehuti enthusiastically encouraged me to play this song on repeat because it represents a way of life that is not so oriented in the materialistic city life, but rather one that is more intimately connected with nature and oneself. The Rastafari community would say such a state of being is called Irie,85 likened to being in bliss. When I would visit the farmer’s market, there was always reggae music playing from the other vendors within the Rastafari community and many conversations were about music.

The media representation of the Rastafari movement is one that has a wide spectrum, but most publications about the Rastafari movement are associated with cannabis and Bob Marley. However, I’ve gathered from many published interviews and my communication with Ras Tehuti that Bob Marley was a young Rasta compared to some of the elders in the hills of Jamaica, signifying that Bob Marley’s example of Rastafari was not necessarily the most mature one.86 Ras Tehuti would say that it is not every song of Bob Marley he likes, that sometimes entertainers also entertain spirits or other entities.87 Many have been perplexed at the passing of Bob Marley at a relatively young age, and there are all kinds of ideas and theories on the subject. One thing is for certain, Bob Marley was able to have tremendous influence on the world at large and was recognized as a symbol of freedom and peace.88 Ras Tehuti once spoke about a time when he was at a gathering talking about Bob Marley. Upon his turn, he talked about the song Natty Dread; Bob sings the main melody as the choir of women sing repeatedly “natty dread.” The song lyrics Bob is singing can be summarized on the theme of walking street numbers all the way to 7th street.89 Ras Tehuti revealed that the song symbolizes the Vedic 7-chakra system accordingly, and that the dreadlocks represent the crown chakra.90 This Vedic Indian reference of the chakra system is interesting; as there is evidence of the interaction between immigrants from the Eastern part of India who went to work in Jamaica after the economic situation changed with the abolition of slavery. In fact the word ganja, synonymous for marijuana, comes from the vocabulary of the immigrants from India for the plant.91

 

The author Virginia Lee Jacobs writes about the connection of the book of Revelations and the prophecy of the 7 seals as a direct correlation to the Vedicsystem of the chakras as the seven seals within man and woman.92 The song Natty Dread can then be interpreted as a reference to this Vedic chakra system due to the phenomenon of dreadlocks on one’s head. Ras Tehuti always kept his dreadlocks wrapped, and regarded it as an important spiritual habit of not having his locks exposed and left sensitive to other people’s energies.93 It is also the case that some Rastafari men and women don’t have such guidelines. With the consideration of dreadlocks having its significance depending on the individual, those who have them for spiritual reasons take is seriously. The Biblical perspective on the dreadlocks according to Archbishop Yesehaq is the Nazarite vow, described in the book of numbers in the Judeo-Christian Bible. Similarly, there is an Ethiopian tradition known as Bahtawi,94 ones who separate themselves to God and live in worship, but the dreadlocks are also embraced by these men. Accordingly, the connection of the holy and dreadlocks has been explored as a phenomenon that also exists in India’s Sadhus or holy men. There is an interesting correlation between the elements of vegetarianism, ganja and dreadlocks amongst Rastafarians and Sadhus.95 However, these elements are known to be central in the Rastafari way of life and widely expressed through reggae music as a phenomenon from the Caribbean.

 

In Jamaican culture, it seems that all that has occurred in terms of movements and spiritual expressions, has had a role impacting and shaping the Rastafari movement. Barry Chevannes notes that “the character of Rastafari has been shaped by Revivalism to a far greater degree than is thought, and therefore an examination of the belief system of the Jamaican peasant is in order.”96 To summarize this analysis, Chevannes attributes much of the Rastafari core principles of faith to be associated with the various modes of spiritual expression that have occurred in the island of Jamaica, and key to his stance is the embrace of the Rastafari movement by the peasant or working class.97 Likewise, in the evolution of musical expression, we find that reggae music comes together as a result of a combination of genres that are interrelated and reflect grass roots ideas. Bob Marley himself is noted to have said that “the three of dem [ska, rock steady, and reggae] can put together and mek one ‘ting still.”98 The latter is in order of emergence in chronological time in Jamaica, and the statement shows the connection that brought about the reggae phenomenon. Currently however, there is a contextual difference between reggae, which could be used in musical style by people all around the world, and authentic roots-reggae. The classification of the ‘roots sound’ is one reflecting the ideals of the Pan-African world and “stems from its social consciousness inspired by the teachings of Rastafari and origination in the culture’s theology.”99 The intentions of this genre of music is to face the complex social issues that pervade in an island under colonial rule. The peasant or working class had a legitimate outlet in which to voice its concerns, hopes and dreams. The example of Bob Marley being able to rise up the social class from humble beginnings was also major factor in the Rastafari phenomenon, as he exemplified the perspective of the peasant class and the issues of racial mixing between whites and blacks.

 

To further expand on the Rastafari movement and social tensions, the music can be analyzed as a direct confrontation of the status quo with the term of cultural dissonance. Such militancy has resulted in the mysterious deaths of many of the roots-reggae artists such as Peter Tosh, Hugh Mundell, Jacob Miller and of course Bob Marley. Hugh Mundell, a young voice in the Rastafari movement would be tragically killed more prematurely than Bob Marley while reasoning in a car with a friend.100 As a singer, his lyrics reflected the social consciousness intended to raise awareness in the Pan-African world. Mundell’s inspiration would be a spiritual one as it shows in his song Day of Judgment: “so do the things you know are right/and you will look better in Jah Jah’s sight.”101 The word “Jah,” as noted by the author Virginia Lee Jacobs, is used here to refer to the Judeo-Christian God known as “Jah- Weh.”102 In fact, the most common reference to God in the Rastafari community is “Jah,” and it can be heard in many reggae songs. The connection between Rastafari and Judaism is tied to the Ethiopian accounts of Solomon King of Israel and the Queen of Sheba.103 It is from this union that Haile Selassie I claims ancestry from, hence his biblical tittles become of even greater significance. The tradition holds the Kebra Negast, known as the Glory of Kings from the Solomonic Dynasty in Ethiopia. In contrast to what many Rastafarians say in regards to a black Christ, Ras Tehuti made it clear that he does not see the monarch as a re-incarnation of Jesus Christ.104

As mentioned, Ras Tehuti’s thoughts on Haile Selassie I’s glory in the Bible is that the ancient land of Ethiopia, in connection to Egypt carries the metaphors that are present in the Judeo-Christian scriptures. He stated that Haile Selassie I is the Christ, and that no one else would come forward as the Christians await the return of Jesus Christ.105 I am able to comprehend his seemingly contradicting statement in that the ancient traditions of Ethiopia and the region of Egypt, in its cosmology of the divine within, is the return of the Christ principle. This is due to the actions of Haile Selassie I in world affairs, such as when Ethiopia was liberated from Italian occupation, he said:

Let not our rejoicing be in any other way but in the spirit of Christ. Do not return evil for evil. Do not indulge in the atrocities, which the enemy has been practicing in his usual way, even to the last. Take care not to spoil the good name of Ethiopia by acts which are worthy of the enemy.106

I interpret Ras Tehuti’s statement as Haile Selassie I being the re-emergence of an ancient energy that needs to be regarded in this present time. The ancient tradition of co-ruling between male and female is a very important as Ras Tehuti would call Rau-set Sylvia his queen.107 It is these principles that are being projected in the music when one hears Haile Selassie I, Empress Menen and Ethiopia being mentioned. The phenomenon can be likened to a conscious awakening by those of African ancestry to their ancient past. There are numerous reggae songs that express biblical ideas written within the palms about Egypt, Ethiopia and the monarchy. It is my analysis that such themes are important because they reflect a forgotten legacy to the Africans that were taken from their homeland to be subjected to foreign regulations and cultural ideals.

 

Chapter 3. POWER

The reverence to nature is among the highest ideals within the Rastafari culture because it seeks out a natural way of life and relief from the modern societal industry. In this way, those within the movement promote alternative eating habits that reflect this natural outlook. One of the sayings within Rastafari culture is that in terms of cuisine, “I-tal is vital.” Rau-set Sylvia and Ras Tehuti have said, “Rastafari is not a religion; it’s a livity and that’s something that cannot be faked.”108 In other words, Rastafari is about the principle and not something done once a week or on Sunday service. I know that there are many that still identify as Rastafarian, but have different views and dietary habits not considered ‘I-tal.’ However, the knowledge imparted to me about this subject is that the abstention from flesh or meat is necessary to be in that Rastafari ‘livity.’ Among other reasons, it is because it develops awareness of other sentient life. Rau-set Sylvia expands on this, stating that nature gives what she can replenish and when we eat vegetables, fruits and herbs we can re-generate ourselves because nature can generate it again. When one eats flesh, that life cannot be brought back again. One also reflects the animal or primal instincts, because the animal’s emotions are also ingested, and can influence one’s thought pattern.109

The Rastafari mystic essentially harnesses the power of nature, as the origin of the movement is thought to stem from the peasant class or those that worked the land in Jamaica. As a matter of fact, this is one of the most positive aspects of the movement in that it has brought back awareness for the necessity of communal relations and sustainable agriculture. It is in working the land that most Rastafarians in the Caribbean earn a living, as it has been documented by Chevannes during the time of his research in Jamaica. From that perspective, the Rastafari community embraces Marijuana as a natural plant and creation from God; used as a sacrament and cash crop.110 Ganja, another name for Marijuana, is an extremely beneficial and medicinal plant that has been used since civilization began. In fact, it is speculated that Marijuana may have been the first cultivated crop in humanity’s history.111 It is with this in mind that the Rastafari community still choses to embrace Ganja as a natural healing plant, instead of honoring man-made restrictions of it. As before mentioned, Ganja is openly smoked in Nyabingi ceremonies and social gatherings but not everyone in the community has the same views on the plant.

Marijuana may be one of the most misunderstood facets of the Rastafari movement, simply because in the mainstream media it is used as a way to discredit the Rastafari as one that promotes drug use and criminal activities. In order to pierce through such a veil of misinterpretation, it is necessary to examine the crop itself and its history in Jamaica. “When marijuana was smoked in the fields prior to capitalism it upheld the system. When Rastafarians—a resistance group that threatened the social order—became associated with marijuana, there was legal cause to round them up and incarcerate them.”112 It is clear the the outlook of the plant changed once there was a shift in the economic arena, but the aspect of sacredness still remained through the changes that took place in Jamaica. This is because the marijuana plant itself is generally agreed upon by historians to have arrived via the East Indian laborers that migrated to work alongside black Jamaicans. In that regard, some speculate that it was the syncretism between Christianity and Hinduism that gave the language and context in which to make ganja sacred.”113

Together with the I-tal vegetarian regiment and ganja smoking, it can be analyzed that the movement is an attempt to relate to the natural world in a way that is seen unconventional to the colonial customs. The power behind these elements stem from a syncretism that is undoubtedly present within the Rastafari’s cultural history.

The smoking of ganja as a ritual and holy aspect of ceremonial gatherings is one that can be traced back to the manner in which India’s holy men use the plant. Likewise, the connection goes further in that the people of Nepal hold a festival in which they smoke ganja in reverence to the god Shiva, and the holy men from the area are dark-skinned men with dreadlocks.114 The world view that the ganja plant is holy is derived from the knowledge that nature in itself is to be regarded as such. In consideration, the ritualistic aspect of marijuana use was a serious sacrament in the ancient world and Rastafari symbolism of dreadlocks, vegetarianism and ganja is one that extends beyond the known history of Jamaica, and these can be seen as the driving force or power behind the movement’s appeal. The notion of dreadlocks can also be explained as it symbolizes the root system present within the plant kingdom, and it is no surprise that in this current time, many would associate anyone with dreadlocks as a marijuana smoker.

 

Ras Tehuti was the first Rastafarian I met that did not partake in the smoking of ganja and I learned that there are many that chose to abstain from it as it is noted in Rastamentary. On the other hand there are others that claim to have had significant revelations after they have consumed marijuana.115 Simply stated, Ras Tehuti said that he just never liked smoking, but that there are still many uses for the plant such as oils for medicine, food, clothing and paper among many other uses.116 It is my analysis that ganja represents the mystic power of nature for those that chose to embrace it, they are essentially exploring the human consciousness by interacting with nature. By definition, it is closely associated with shamanism and visionary states, as such can be likened to the religious experience described by the psychologist William James. He claims that the realm of public opinion and ethical philosophy does not diminish and still bear witness to the reality that individuals have legitimate mystical experiences while engaging in substances that alter the consciousness.117 Much like the individuals that have had deep revelations while smoking marijuana, the noetic quality of mystical experience describes “states of insight into depths of truth unplumbed by the discursive intellect.”118

 

As a mystic, Ras Tehuti was well aware that many cultures throughout the world use natural mind-altering substances in ritual context to communicate with the spirit realm. For him, herbs in general will clean out an individual of both physical and emotional traumas, and help to reach a higher level of awareness and spirituality. He related to me the times he’s had psychic experiences while fasting and drinking cleaning teas,119 which he describes as a communication with plant life. The strength behind the Rastafari way of life undoubtedly is one that arises from nature itself in the use of plants that are psychoactive and non-psychoactive alike. In essence, the symbolic power behind dreadlocks, natural nutrition and cannabis is nature itself; a creation of God and therefore holy in all its forms. Due to the attention to global warming and drastic changes in our environment, the Rastafari movement is having more and more appeal to people with the desire to live in a more natural way.

The Rastafari movement can be seen as a syncretistic tradition that has gathered its core values from the past; having various elements in common with African traditions and India, but also one that is looking to the future. In a recent documentary about sustainability, the Rastafari movement is reverenced in that it has been one of the pioneers in promoting a natural lifestyle that is beneficial to the growing concerns of climate change and global warming.120 One individual acknowledges the connection that the Rastafari Movement has towards the past, but mentions we must live to the idea of an “ancient future.”121 What this essentially refers to is that the positive ideals that can be learned from the ancient past, need to be reflected and brought to the future. The African Earth keeper Ras Ben has also written on this idea as indicated through his research on ancient civilizations and their time keeping mechanisms. Based on the chronological study of the zodiac ages in Egypt, he regards the time of 2012-4172 CE to be the ‘Age of Rastafari.’122 This astrological analysis makes the impression that the Rastafari movement will continue to pick up momentum as an answer to many of the problems that face humanity today.

 

The Principle in Direct Experience

The Rastafari movement through the music is one that has had significant impact worldwide, bringing special attention to the societal values of language, freedom in spiritual expression, nutrition and humanity’s place in the natural world. The movement has been able to influence millions of people across different cultures because they find value in the themes that the Rastafari people bring forth in their message. Based on my personal interaction with the movement and research, that message is one that promotes healthy living in the proper relationship to nature and also a sense of spiritual freedom by taking responsibility for oneself in acknowledging the divine within. This responsibility is in terms of becoming a ‘Ras,’ with the significance of self governance given by Rau-set Sylvia in an earlier section of this work. This responsibility for self is one that promotes open minded ideas that extend the frameworks of the Judeo-Christian tradition that has been prevalent in the island of Jamaica. For this reason, the principle of Word, Sound and Power describes the spiritual elements that are involved at the core of Rastafari daily life; as an active principle in the way one choses to use words, language, vegetarian eating habits and the use of medicinal plants.

Because the movement is so wide-spread in the present time, there is so much diversity in perspectives that it is not possible to go into great detail about the different ideologies held within each individual, group or houses within the greater whole of the Rastafari phenomenon. The different groups within the movement are subject to specific criticisms given their values on the Bible, Haile Selassie I and Empress Menen, living standards and gender roles among other themes. My intention to provide the mystic elements of the movement as the focal point of this work is to address the common misunderstandings held by those in the mainstream media, academics and others outside of the movement. However, there is a limit in which the medium of writing allows for one to truly grasp a spiritual movement such as what Rastafari embodies. Inspired by the discourse of the mystic and direct experience, I’ve engaged in an audio-visual project as a compliment to this discussion that best illustrates what I experienced in the presence of a Rastafarian. Along these lines, the video segment does not contain any subtitles as it reflects what would it be like in the presence of an individual within the movement.

 

Ras Kimbu, family man and drummer for a reggae band called Hyah Energy, shares his own perspective about the reality of what being Rastafari is about. As he is interviewed, he speaks in connection to the elements within his life and the ones present in the music that inspire the Rastafari movement. The specific drum pattern that is addressed in the chapter of Sound is explained and given context within the life and knowledge of what Ras Kimbu has experienced. When explaining the ‘heartbeat’ drum pattern, Ras Kimbu upholds the female principle because it is a reality that all of human life came through the female womb, and because of this he associates his spiritual comfort with the drums and the heartbeat sound. In a way, he reminds us of a time when all we heard was the sound of our mother’s heartbeat before we came into the physical world. I find this aspect of the interview to be relevant to the criticisms that the Rastafari movement receives that it is generally a male oriented movement; only giving reverence to the masculine aspects and symbols.

 

The anthropological study done by Obiagele Lake titled Rastafari Women: Subordination in the Midst of Liberation Theology exploits the role of women within the Rastafari movement. From a feminist perspective, she claims that the Rastafari movement is paradoxical in that it seeks to liberate from the colonial frameworks while subjugating their women.123 Even though the movement can be interpreted as being predominantly male oriented, the Rastafari way of life regards man and woman as equal partners in the cosmic blueprint of nature as explained by Ras Kimbu. Towards the end of the interview he explains that there is a balance between the male and the female, and that very same balance allows for creation to be possible. He then recognizes young women embracing the movement not obtaining any respect from men, attempting to correct this gender biased association that the Rastafari tradition tends to have. In this regard, Ras Kimbu and his wife have had four children that they have raised and homeschooled; therefore his acknowledgement of the female comes with the reality of what it takes to make a family grow and prosper. I find that in truth, many Rastafari men like Ras Kimbu hold the female principle in high regard. This aspect of the movement is one that is greatly misunderstood, but one that can be easily corrected in the knowledge of the African traditions of Egypt and Ethiopia that have had a gender balanced society. The very remembrance of the coronation of Haile Selassie I and Empress Menen every year on November 2nd illustrates how individuals within the movement uphold the equality between the genders as a sacred element within Rastafari.

 

In the film segment, Ras Kimbu is able to elaborate more on the spiritual reality of music as a universal phenomenon, and unfolds some of his metaphysical views about energy. The expansion on the topic of music allows a deeper understanding of how it is an integral part of spiritual expression; reggae as a message music from the life force energy manifested into the physical world. The segments where music is played allows for viewers to experience Ras Kimbu’s call to the ancestors in connection to the spiritual world and the physical reality. When he discusses music as an expression of his own life force energy, a close comparison to William James’ thoughts on the reality of the unseen world is worthy of exploration:

All our attitudes, moral, practical, or emotional, as well as religious, are due to the ‘objects’ of our consciousness, the things which we believe to exist, whether really or ideally, along with ourselves. Such objects may be present to our senses, or they may be present only to our thought. In either case they elicit a reaction; and the reaction due to things of thought is notoriously in many cases as strong as that due to sensible presences.124

Ras Kimbu states that when the time comes for him to leave this physical world he will be content because he knows the ‘spirit’ or ‘unseen’ world also contains music. Such notion can be analyzed by the integral part that music has in the everyday life of a Rastafarian, and thus part of that “object in the consciousness.” Music then functions as an essential reminder of what Rastafari values are in connection to the knowledge that the psychologist William James emphasizes.

Likewise, Ras Kimbu’s explanation of Haile Selassie I as an ‘ancient energy’ or ‘deity’ is one that sheds some light in the reverence of the Ethiopian Monarchs. The monarchs can be seen as an element that remains alive within the consciousness of a Rastafarian even though the Monarchs are no longer around in the physical. They are still able to have a positive influence because they remain present within the thoughts, speech, chants and music that the Rastafari community expresses in their daily life and rituals. Overall, the overarching commonality within all groups of the movement is the reverence they have to the monarch regardless of how each view their purpose or functionality. Many books and investigations about the Rastafari movement indicate that all Rastas view Haile Selassie I as a re-incarnation of Jesus Christ. Not only has my personal involvement and research indicate otherwise, Ras Kimbu’s explanation of the monarch causes another consideration to be made about the Rastafari movement as a whole, and the diversity within the movement must allow for various interpretations of the Rastafarian tenants or core ideals. I am confident that the foundation that unites all groups and perspectives within the Rastafari movement is the culture that expresses itself in speech and in music. The phrase “Jah-Rastafari” is one that is said or chanted practically by all who identify with the movement, done in a powerful way to bring positive spiritual energy against the daily life’s challenges. Word, Sound and Power is a very important instrument in fully grasping the Rastafari movement, and I claim, it best defines the experience that comes when one meets any individual within the movement. This principle is one that is always active and interacting with both the seen and the unseen; establishing a connection to the realm of the mystic, the divine within and one’s own heart beat.

*RASTAFARI MYSTIC FILM: https://www.youtube.com/watch?v=SZt_uqAzkv8

 

Bibliography

Archbishop Yesehaq, The Ethiopian Tewahedo Church: An Integrally African Church. Winston-Derek Pub; 1St Edition edition (June 1997).

Aylmer J. Kevin. “Towering Babble and Glimpses of Zion: Recent Depictions of Rastafari in Cinema.” The Rastafari Reader: Chanting Down Babylon, e.d. Nathaniel Samuel Murrell, William David Spencer, Adrian Anthony McFarlane, 286-310. Kingston: Ian Randle Publishers, 1998. Print.

Benard, A. Akeia, The material Roots of Rastafarian Marijuana Symbolism, History and Anthropology, Vol. 18, No. 1, March 2007, pp. 89–99

The Bible, The New International Version, Michigan: Zondervan 1988. Print.

Bob Marley-One Love. [n.d.],Video Clip, accessed July 29 2015, Youtube, www. youtube.com, https://www.youtube.com/watch?v=O0NentNBRlQ.

Bob Marley-Natural Mystic-Live in Zimbabwe. [n.d.], Video Clip, accessed July 29 2015, Youtube, http://www.youtube.com, https://www.youtube.com/watch?v=paGr- 0hGObo.

Barrett, Leonard. The Rastafarians. Boston: Beacon Press, 1988. Print.
Chevannes, Barry. Rastafari Roots and Ideology. New York: Syracuse University Press,1994. Print.

Finn, Tahric. Rastamentary. Video clip, 1:20:51 running time, published Nov. 1, 2012,Youtube, http://www.youtube.com, accessed July 29 2015, https://www.youtube.com/watch?v=LY28Hchq9xk.

 

GanjaReymie, Bob Marley-Heartland Reggae. Video Clip, 1:26:51 running time, published November 8, 2011. Youtube.com. Accessed Feb. 24, 2016. https://www.youtube.com/watch?v=DcVSe-IgojY.

Garvey, Marcus. Selected Utterances of Marcus Garvey and the Garveyites. The Rootz Foundation Inc. Aug. 2012.

Haile Selassie I, Selected Speeches of His Imperial Majesty Haile Selassie I. Lion of Judah Society Publishers & Jubilee printing press, 2011. Print.

Hamid, Ansley. The Ganja Complex: Rastafari and Marijuana. Maryland: Lexington Books, 2002. Print.

Hoyt, F. Sarah, The Etymology of Religion, Journal of the American Oriental Society, Vol. 32, No. 2 (1912), pp. 126-129.

Jacobs, Virginia Lee. Roots of Rastafari. San Diego: Avant Books, 1985. Print
James, William. The Varieties of Religious Experience: A Study in Human Nature. New

York: First Vintage Books/ The Library of America Edition, 1990. Print.
Lake, Obiagele. Rastafari Women: Subordination In The Midst Of Liberation Theology.

Durham: Carolina Academic Press, 1998. Print.
Mad-Links. Coping With Babylon (Jamaican Documentary). Video clip, 1:20:07 runningtime, published Aug. 5, 2013. Youtube.com. Accessed Nov. 2015.https://www.youtube.com/watch?v=EcKGqREYAHY.

Meier, Laura, dir. Rastafari and a Sustainable Lifestyle. Video clip, 1:01:40 running time,published Oct. 5, 2015. Youtube, http://www.youtube.com. Accessed Dec. 2015. https://www.youtube.com/watch?v=KiPs3iUeax0

 

Midnite- Ras Mek Peace Full Album, Published Feb.4 2015. Youtube, http://www.youtube.com. Accessed Aug.19,2015. https://www.youtube.com/watch?v=A4OTOvidQZ8

Ptahsen-Shabazz, R.A. Black to the Roots: Reggae’s rise, downpression, and reascension. Pennsylvania: Those Four Sounds Press, 2008. Print.

Ras Ben & Bro. Hankh, The Power of “I AM” featuring Ras Ben & Bro. Hankh, video clip, 55:15 running time, published Jul 15, 2015. Youtube, http://www.youtube.com, Accessed Sept. 2015. https://www.youtube.com/watch?v=Hfz8woPCa8w.

Ras Ben, Rocks of Ages: Anu Edition. Philadelphia: Those Four Sounds Press, 2008. Print.

Ras Tehuti & Rau-set Sylvia, “Farmer’s Market Talks.” Personal interviews from November 2012-2013.

Reckord, Verena. “From Burru Drums to Reggae Ridims: The Evolution of Rasta Music.” The Rastafari Reader: Chanting Down Babylon, e.d. Nathaniel Samuel Murrell, William David Spencer, and Adrian Anthony McFarlane, 231-250. Kingston: Ian Randle Publishers, 1998. Print.

Stop Over- Documentary, Discovery, History. “Rastas and Sadhus,” Video clip, 2:07 running time, published May16, 2014. Youtube.com, http://www.youtube.com. Accessed Aug. 20, 2015. https://www.youtube.com/watch?v=PkoVVr0mMyM

VPRO Metropolis, “Making a joint for the god Shiva,” Video clip, 14:17 running time, published on September 4th 2014. Youtube, http://www.youtube.com. Accessed Dec. 2015. https://www.youtube.com/watch?v=3QNMiFgvvm4.

 

Religious Symbols In Stanley Kubrick’s A Clockwork Orange

Stanley Kubrick’s A Clockwork Orange (1971) is a film that is categorized in the classics of cinema history. Even to this day, the camera techniques and content have their relevance after decades of films that have followed a similar premise. The film is based on a novel by Anthony Burgess, and highlights the theme of youth violence through the exploits of a young gang leader in England. The film is a fairly accurate version of the novel and makes sure to include heavy British accents and aspects of modernity, to display a possible subculture in the future as intended by the author. Violence is an important theme in this storyline, as well as the nature of goodness in human beings. Moreover, the film also makes critiques about society and the moral values it holds. Throughout Stanley Kubrick’s career, these themes are recurring in such films as Full Metal Jacket (1987) and Barry Lyndon (1975) that contain themes of war, and how it shapes the protagonist. He has also made several cinematic adaptations from novels like The Shining by Stephen King and Lolita by Vladimir Nabokov.

The film A Clockwork Orange still stands out among the many great works of Stanley Kubrick. The well-orchestrated screenplay takes the audience on a journey through the violent life of a gang leader and their doings. After being betrayed by his own “drugs” or accomplices in a murder crime, he is caught by police and taken to prison. With a limited freedom, he gains favor into this experimental program that would achieve his early release. After he undergoes this treatment, he ventures to the outside world to find that his actions have not been forgotten and demand repercussions by those whom he victimized. The film displays many interesting elements that provide big clues as to the real themes present in the storyline. At the start of the film, viewers are witnesses to the terrible crimes and violent thoughts of Alex, who narrates from beginning to end. The film achieves this wonderful effect that after all these terrible misdeeds have been witnessed, the second half of the movie one is even capable of feeling empathy for Alex. The experiment that manages to release him from prison early leaves him with no freewill to make moral choices.

As mentioned above, modernity is a key term that represents the film and illustrates well the overall message. The architecture, the costumes and setting all display much of modernity. In this case the film presents a challenge to the notion of reason in high regard of modernity. The concept is defined through Alex, as he is not a mindless criminal that engages in violent acts due to lack of reason. On the contrary, the protagonist is a cultured individual that appreciates art, music, poetry and the like. His intricate monologues and singing while engaging in crime makes it very compelling to sit through such graphic visuals that otherwise would be instantly repulsive. But such levels of reason are taken further in the film as Alex falls victim to absolute morality that takes hold for the second half of the screenplay. The results of the experiment that gets Alex his release are based on the principle that modernity holds the capital “T” truth. After the graphic violence present in the first half of the film, the protagonist still wants to engage in such acts but is conditioned not to do so, in the effect that he begins getting sick at such struggle. At this, audience members empathize towards the protagonist that has fallen victim to modernity. Alex is likened to a clockwork orange; an appearance of organic life on the outside, but a machine on the inside.

The film devices ways of revealing information even without displaying scenes that exhibit strong graphics. These scenes are rich in the religious elements that are represented in the film’s overall content. In the beginning, when were just getting to know the protagonist, Alex returns to his home after a night of crime and violence. Upon his return, the sun has risen and he makes his way through a lobby that is filled with trash and disorder. He attempts to take the elevator but the door is bent and broken. Amidst the modern architecture, there is stuff all over the place, which highlights the opposite to the elegance and triumph one attributes to modernity. After moving through the chaos, he arrives in his room and plays some Beethoven. He then removes his pet snake from a drawer that leads to a very revealing juxtaposition of images and frames. A poster of a naked woman with her legs open is shown as the camera slowly moves downward. The snake is on the foreground and covers our view of her private parts, and just below that are four statues of Jesus Christ. Along with the music, the filmmaker montages images of the naked statues, the face of Jesus with the crown of thorns, the stigmata and the protagonist with vampire teeth and blood dripping from the edges of his mouth. The filmmaker displayed it in such a fashion as to somehow reflect the narrator’s thoughts.

The naked statues of Jesus really struck me of their meaning as they were positioned in such a way that they appear to be performing a dance. The nakedness of those statues and the presence of the snake make a very blatant intention of illustrating the inherent evil within the protagonist. The position of the statues of Jesus is clearly an attempt to defile the principle that is generally perceived of in the Bible, and the snake a clear symbol of the devil at the Garden of Eden. The poster of the woman is even shown first, like the chronological order that the Bible explains in the fall and redemption of man. Chapter 3 verse 15 of the book of genesis mentions: “And I will put enmity between thee and the woman, and between thy seed and her seed; it shall bruise thy head, and thou shalt bruise his heel” (The Bible KJV). God speaks to the snake in this verse and speaks about how the seed of the woman will crush its head. Many Christians interpret this as Jesus being the seed of the woman that would crush the snake, as it was he that was crucified (bruised) but raised to life again in eternal life (crushed its head). This scene in particular is similar to Martin Scorsese’s The Last Temptation of Christ  (1988) in which it paints a Jesus that engages in sexual behavior. Because the statues of Jesus reveal their reproductive organ, in juxtaposition to the naked woman on the wall it has an undertone of the Scorsese’s devil as it alludes to the perversion of sexual desires.

In prison, the role of the priest is very important in explaining the conflicts within the storyline. Alex engages in good behavior and gains favor with the priest, as it is he that also is a catalyst in the recommendation of Alex to the program. When the priest is preaching in one instance, he rambles about the existence of hell and how it would fare badly for those not willing to repent. Religion arises in this scene in a similar fashion present in Albert Camus’s The Stranger, where the criminal is morally imposed by the idea of God as stated by the Chaplain: “Every man I have known in your position has turned to Him” (Camus, 117), In the film it follows as the priest explains the existence of hell and convince them in that manner. In very comparable fashion, the prisoners are exposed to question their own morality and to willingly choose the path that will lead them out of a life of crime and violence, to one of moral righteousness. One of the most important scenes in the film is when Alex tells the priest about the program he heard that would remove him from prison and make sure that he never get back in again.  At this, Alex tells the priest that he “wants to be good.” The priest replies to the effect that goodness comes from within and it’s a choice one makes; when one is not free to make that choice he seizes to be a man.

The character ark that the protagonist undergoes is one that makes audience members experience a spectrum of feelings. The words of the priest justify the empathy one may feel towards Alex, as he really becomes something other than a man at the end of the film. He becomes a machine underneath his organic composition that can be conditioned to what society deems acceptable or “morally correct.” This then questions the morality of such experiments in the violation of the human right of freewill and choice. The theme of modernity is present in the critique of society’s ideal citizen in illustration of the concept of a capital “T” truth. Amidst the progress and a modern setting, the contrasts of the problems present in human acts of violence and the critique at the methods society goes about to correct such problems are addressed. The religious undertones also have significant importance to the overall theme of what the film represents, and are utilized in a strategic manner in advancement of the plot.

When Alex is released from prison, the events that unfold are far from being coincidence. All of those that the protagonist victimized return and gladly engage in revenge towards him with exception of the woman that he killed causing him a prison sentence. I argue that the sequence of events are to illustrate a kind of universal and just law that is difficult to perceive among countless deeds of injustices and lawlessness. The Director used many of the religious elements very specifically and by the end of watching the film in its entirety, one senses a kind of cosmic order that brings justice to people that engage in wrongdoings. The idea of an omnipresent God that is always taking account of all things that happen in the universe is present in this film. A similar theme is revisited in the Woody Allen’s film Crime and Misdemeanors (1989) where the main character feels remorse for his murder crime and questions the existence of an all-seeing God that knows of his deeds. In contrast, Alex is subject to this Divine justice and I perceive that its effect makes viewers less inclined to engage in immoral behavior. The film’s religious elements work exceedingly well in achieving this and representing the complexities of the human condition and morality.

 

 

 

 

 

Works Cited:

1. Kubrick, Stanley dir. A Clockwork Orange. Hawk Films, 1971. Film.
2. The Holy Bible, King James Version. New York: American Bible Society: 1999; Bartleby.com, 2000.
3. Scorsese, Martin dir. The Last Temptation of Christ. Universal Pictures, 1988. Film.
4. Camus, Albert. The Stranger. New York: Random House Inc. 1988. Print.
5. Allen, Woody dir. Crimes And Misdemeanors. Orion Pictures, 1989. Film.

Sufism In Africa

GUIDING THOUGHTS

Islam can be identified as a tradition that involves specific tenants of practices that legitimize its origins. In other words, the five pillars that should be central to every Muslim in their practice of Islam is generally held to be in effect regardless of the locale. However, upon close study of the so-called “glocallization”[1] of Islam in Africa, there seems to be much more involvement of rituals and practices that makes some scholars scratch their heads in question: how do these practices relate to the general Islamic tenants? According to the professor and academic Seesemann, one of the major differences that distinguishes “African Islam” in contrast to “Islam in Africa” is the syncretistic, local and contextualized manner that Islam is expressed; against the general notions of militant, puritanical and fundamentalist Islam in the Arab world.[2] In the discourse of Islam, Sufism is generally held to be a mystical expression of the tradition that seems to have helped in the spreading of Islamic ideals in Africa, as it noted that these Sufi orders came to terms with the “magical mentality of the people” and became “an efficient form of initiation.”[3]In this way, I will examine Sufism in Africa; its syncretistic manifestations and political functions.

SUFISM: THE WAY OF THE MYSTIC

It is important for the process of discussion to thoroughly grasp the concept of Sufism, as we will discover is a very loaded term. In the short documentary titled Sufism: a path to the heart, the term is defined as being “called the heart of Islam, and also known as the pulse of the heart because Islam and Sufism are inseparable. It’s as if you are looking at two facets of a single diamond.”[4]The individual sharing this information suggests that the notion of Sufi is in itself a drive or determination to know one’s creator, and makes a generalization that attempts to apply it to all humans in reference to the pulsation of the heart.[5] In contrast, the general notion of this heart analogy to Sufism is attributed to the internal relationship to the divine that is expressed in different ways. In Islam there are different Sufi orders that follow this, more spiritual path if you will, than that is exemplified in the more religiously dogmatic expression of Islam. Many refer to the notion of Sufi a set of mystical attributes that in truth many Muslims disregard as being a legitimate branch of Islam, and even view it a corruption or adulteration of the faith. The reason this occurs is because according to psychologist William James, “the words ‘mysticism’ and ‘mystical’ are often used as terms of mere reproach, to throw at any opinion which we regard as vague and vast and sentimental, and without base in either facts or logic.”[6] In this way it can be easy to understand why the greater Islamic world may have doubts about Sufi orders in that Islam is based upon certain external factors such as the Qur’an, the Hadiths and generally more objective than subjective rules and regulations. James goes further in describing that the mystical states of consciousness are defined by certain qualities such as deep insights and direct experience of the divine, that are generally difficult to explain or put into words[7], which illustrates the element of vagueness described.

The concept of Sufism can be understood as a spiritual discipline that stems from Islamic Ideals to attain a higher degree of perception. In order to remove some of vagueness in discussion of this topic, “this idea is based on the belief that there is a reality which, although hidden from the view of the majority of humanity, can be glimpsed by individuals who have attained a certain degree of spiritual development.”[8] Particularly in Africa this concept has been developed through the existing traditions present in the different regions exposed to Islam during the early periods of conversion. This complex system, in regards to a notion of hierarchy of the unseen world, was already present in the everyday life of African civilizations and communities before the arrival of Islam such as the Dogon tribe of Mali among many. In this way, the scholar Seesemann refers to the “African Islam” as being one that is more syncretistic, and not withholding blending traditions and cosmologies together. It is my understanding that the main goals of Sufism are to reach beyond the everyday mundane (profane) reality to reach an understanding of the spirit realm (sacred), which is essentially the essence of all human beings in existence. In Africa this can be likened to the notion of sacred and/or special places, amulets/talismans, and figures that allow for protection against evil spirits while facilitating direct experience with the divine. It is worth noting that different sources account to the historical origins of Sufi practice in different ways; much like the term itself that is clouded in ambiguity in its application, functions and objectives.

In contrast to the spiritual or mystical nature of Sufism and its goals of higher attainment of divine experience, it is interesting to consider the different opinions as to the origins of such practices. Accordingly, some individuals mention that the notion of Sufi arose “as a reaction against the distortion of the Islamic faith, and those that loved the true faith often went into seclusion in worship and devotion. These practices evolved and about 100 years after the death of the prophet became known as the Sufi orders.”[9] However, during an interview Seesemann discusses that Sufis would point that their faith is not any different from the earlier prophets since the creation of man, and they point to a specific hadith in which the angel Gabriel appears in the form of a person dressed in white that asks a series of questions to the prophet Muhamed. The culminating question asked was “what is Ihsan?” The prophet responds by saying that it is to do the best thing, to do the beautiful thing, to do the right thing in excellence…and that this means, “to worship God as if you see him, and even if you do not see him he sees you.”[10] Although these may be different explanations in the manner in which Sufi practice developed, the latter one seems to draw more on the notion of the internal/external and the seen/unseen world that is prevalent in mystical attainment and spiritual cosmology.

Functionality of Sufism in Africa

Political situations in Africa are so varied that there are still remnants of community and regional mechanism that keep the societal matters in check. In this way it is noted that Sufi leaders are often sought after for conflict resolutions because they are widely respected and their mystical nature if you will, allows for peaceful solutions to local and regional issues.[11] Based on the mystical nature of Sufism, it can generally be regarded as a peace-making order that would allow for such high level of regard and respect by those practitioners of Islam towards their respected Sufi Sheiks. Likewise, we can consider the reason as to why specifically this is the case; first it is important to discuss some of the common practices that render these figures to have a Baraka or grace of God in order to reach this level of respect among members of the community, and how these traditions are ingrained into the culture of Islam as a whole. Lastly, the societal and political aspects along with the numerous variables interacting with religious elements are to be broken down and examined. In other words, there are contradictions that render the need for intelligent discernment to gain proper perspective on the Sufi phenomenon in Islam.

The notion of learning is specifically important in the culture of Islam as a whole, but the more interesting practices stem from the importance given to certain historical and core beliefs of the tradition. For instance, the recounting of the angel Gabriel being the one to dictate the Qur’an to the prophet in Arabic is important and the language itself is rendered to be sacred. This interesting dynamic functions in learning that the Qur’an and the words itself become a magic talisman that gives protection and healing capabilities, that are rooted in the worldview of practitioners among many ‘magical’ practices:

Another sort of talisman is the nasi ji (“slate water”). The nasi was an        inscription—perhaps a prayer or katemi—which the healer wrote on a wologo, a wide piece of polished wood resembling the small, black slates formally used in America grammar schools…Upon completing the inscription, the scholar rinsed the wologo with water and collected the inky rinse in a receptacle. Depending on the prescription of the talisman, the client would then drink the liquid, dilute and use for a ritual bath, add it to a compress or use it to soak special personal effects such as jewelry or clothing.[12]

It is very interesting that practices such as these may be considered mystical and even just pure superstition, but the fact remains its just another facet originating from the belief that the Qu’an is the legitimate word of God and that as such, it contains and carries magical abilities for healing and protection. Leaders and authority figures play a key role ingraining such practices, and depending on their accomplishments, they develop a reputation that takes them to a higher social regard and ability to have influence in the community.

Practices of Islam that utilize the use of sacred objects and spaces are in many cases synched with a form of practice that originates form earlier traditions in Africa. This is why Robert Handloff argues that some of these practices have arisen as a social norm, and in some ways function as tools of social control. Likewise, there is also another considerable fact of how these Sufi traditions have interacted in historical and linear time. Although Sufism is regarded as ‘the heart’ or ‘jewel’ of Islam because its supposed to be the most fundamental aspects of the tradition, In Africa it has not always been the case that leaders of such orders have been passive and oriented towards peaceful resolutions in the political arena. A prime example mentioned by various scholars of Islam are the political campaigns of al-Hajj ‘Umar Taal that belonged to the Tijaniyya Sufi order that claimed authority over all the Sufi orders. His influence in the Islamic world was great due to the fact he went on pilgrimage to Mecca and was well learned in the Qur’an. However it is more likely that he was more interested in gaining control of the Bilad al-Sudan region, which was home to major points of trade and economic activity. His acts against Muslims in many instances lead to the understanding that it is not necessarily true that all Sufis are only dedicated towards God and seeking direct communion.[13] It paints a picture that is not entirely correct, but only highlights the complexities that have occurred in Africa’s adaptation of Islamic ideals.

Concluding Thoughts

It can be understood that the Sufi phenomenon as such is meant to be an expression of Islam that goes against negative stereotypes associated with the religion. In fact, I boldly state that Sufism is meant to be the point of view in practice that takes Islam above the notion of “religion.” This because in consideration of the practices that are involved, it becomes clear that certain practices are better understood in defining it as a way of life rather than dogmatic or external rituals. Practices such as the reverence to amulets, charms and talismans are in line with internalized experiences of healing protection and direct divine interaction. Examining one particular aspect of this, the ‘slate-water’ concept does well in highlighting the way in which elements from Islam are taken and developed by certain communities. The term Sufi therefore is in line with the intrinsic vagueness that the mystical phenomenon attempts to define. In Africa, such elements may be more present than in the Arab world of Islam due to the cosmological perspective ingrained in African cultures such as spirits, ancestors etc. It is also my impression that the true Sufi path is one that seeks further integration with the divine, and that in its true expression would not be acting in contradiction by initiating conflicts and needless wars. Considering this, a proper discernment is necessary in order to distinguish ‘the path to the heart’ and other movements that may be disguising as Sufi and really have a hidden political agenda.

 

 

SOURCES & CiTATIONS

 

[1] The process in which ideas and concepts becomes localized such as Islam in its different and unique expressions throughout the world.

[2] Rudiger Seesemann, (2006): “African Islam or Islam in Africa? Evidence from Kenya.” Print. 233.

[3] Joseph M. Cuoq, Les musulmans en Afrique. Paris: Maisonneuve et Larouse, 1975. 495.

[4] Anjum Sahib, “Sufism In Africa.” Youtube.com, published May 10, 2014. https://www.youtube.com/watch?v=eOFlQkPV5QQ. Accessed on October 26, 2015.

[5] Ibid.

[6] William James, Varieties of Religious Experience. New York: First Vintage Books/The Library of America, 1990. Print. 342.

[7] Ibid.,343. The mystical states of consciousness are represented by the ineffability, noetic qualities, transiency and passivity experienced by a mystic.

[8] Luis Brenner, (2000): “Sufism In Africa.” Jacob K. Olupona (ed.): African Spirituality: Forms, Meanings and Expressions. New York: The Crossroad Publishing Company. Print 329.

[9] Anjum Sahib, “Sufism In Africa.” Youtube.com, published May 10, 2014

[10] Supreme Master Television, “Sufism in West Africa (in Yoruba).” Youtube.com, published June 5^th 2009. Episode: 934, Air Date: 5 April 2009. https://www.youtube.com/watch?v=4ihPdc69WBo. Accessed October 26, 2015.

[11] Ibid.,

[12] Robert E. Handloff. Prayers, Amulets and Charms: Health and Social Control. African Studies Review, Vol. 25, No. 2/3 (Jun. – Sep., 1982), pp. 185-194. 186.

 

[13] Roman Loimeier. Muslim Societies In Africa: A Historical Anthropology. Indiana: Indiana University Press, 2013. Print. 121. Al-Hajj ‘Umar Taal’s campaigns have even been against Muslim cities such as Timbuktu, and are therefore subject to examination in terms of motive for Jihad or conquest.