"The Chestnut Tree Cafe"

Now this should really have been done at the outset, but it certainly is not too late.
The Chestnut Tree Cafe was an establishment in the novel 1984 (a review of which I, Mono will be posting shortly) where burnt-out political heretics [thought-criminals] gathered. It served as an estuary where former dissenters could be observed (because they were always being observed) in varying shades of penitence. Among the patrons were artists, musicians and poets; hopelessly creative people whose verve landed them squarely in the party's crosshairs.These mingled somewhat conspicuously with other, non-offending party members for a while until they were summarily disappeared.
It seems that today, thought itself is heretical, popular entertainment being what is is. So we have reserved this space, the paradoxically named Chestnut Tree Cafe to highlight some of these people, who have excelled in their fields, and whose unyielding talent and vision will probably eventually doom them to ignominy, spiritual or literal. By no means will this type of artisan disappear from existence; there will always be students of forms which have gone before, but he will likely remain behind the iron curtain of the status quo. But remain he shall.
Boa noite todos.







 And remember, past dasheen might be craw, but it remains...
---Mono

JAH MUSIC:EVOLUTION OF THE POPULAR JAMAICAN SONG-SEBASTIAN CLARKE

My second post is an overview of one the most important musical studies to come out of the Caribbean in the past twenty-five to thirty years. Jah Music explores the evolution of reggae music from the plantations and freed slave settlements through the politically turbulent 60s, 70s and 80s. The writer, Sebastien Clarke is a Trinidadian journalist, born in 1946 and came to London in 1965. He has written for magazines such as Crawdaddy, Rock and Changes. In 1970, he wrote the first ever documentary on Reggae which was shown on BBC TV, and in 1976 he co-wrote a London Weekend show on Jamaican music. The book demonstrates the stylistic links with Africa and the different forms of expression in popular Jamaican music. It covers the imitation of Afro-American R & B in the 1950s, through the popularisation of this music by the sound systems, and its indigenization as Ska-the first professional expression of a Jamaican popular musical identity.

It should be noted that Jamaican music has changed drastically from the art form it was thirty-one years ago. Whether that change has been for the better is up to the listener. These changes have occurred as a result of several factors. These are explored in the book  Many people wrongly believe that Jamaican music is one dimensional and can be identified by a singular guitar strum of a keyboard stab. This is also a fallacy.

It should be noted that Jamaican music has evolved from several corners of the world. African Rhythms and European cadences combine to form the art forms we know today. Calypso from Trinidad is also a major influence although no journalist can say this without agitating a hornets nest. Clarke explores all these connections. Also covered is reggae and it's various precursors(ska, rocksteady etc) connection to the religious sect Pocomania and it's use of traditional drumming techniques that survived the middle passage. These rhythms have been assimilated into reggae.

Reggae music in Jamaica seems to be more of a movement similar to Tropicalia in Brazil. It is not simply a genre of music. It is a whole sphere of artistic expressions encompassing dub poetry, paintings, music. It is not only the music of suffering and discontent as some journalists project it to be. Rather it is highly romantic and poetic.

Also discussed are the social  upheavals that have fashioned  Jamaican music. Byron lee in an interview with Clarke speaks about the things taking place before independence. Specifically,The Dragonaires being used at several World Fair expos before and after independence. At one of these expos, Edward Seaga was the overseer. It should also be noted that in the sixties and to some extent now,the differences between urban and rural Jamaicans and wealthy Jamaicans extends into the sphere of music also. In the sixties, home grown art forms were viewed as outdated and even shamefully primitive. This attitude has led to extreme resentment by the poor and middle class(if such a thing even exists there).Another social ill that has shaped Jamaican music and is covered by Clarke, is that of political violence. Clarke investigates this and interviews members of the two leading parties, the JLP and the PNP. Serious allegations against one in particular was made by a PNP activist who stated that it was Seaga who brought political violence to Jamaica to win the West Kingston seat. Also, the PNP is charged with invading the JLP  headquarters. All these events were noted by the musicians of the time.

The most important chapter however, entitled Three Modernisers, tells the story of The Wailers, reggae's most important group. He traces the start of the group in Trenchtown and the struggles of choosing music as a career path in the Third World. However,these trials, a rough neighborhood, vindictive and manipulative promoters and record label owners seemed to amplified the creative spirit of the group. The first half culminates in a record deal with Island records and international success. The group however, disintegrates because of allegations of favoritism to the lead singer, Bob Marley by managers. Clarke  does not solely concentrate on the obvious star(Marley) after this. He tracks the musical and social development of the three artistes through two very important stages in Jamaican history: their first solo albums and the election violence(bordering on civil war) of 1976-1980. Tosh and Marley in particular are studied as they were the two most active at the time, politically(in the case of Tosh) and socially(Marley). In the Third World however, musicians are seldom left out of the politics of the day,as exemplified by the attack on Marley in 1976. A political speech at the Peace Concert by Tosh could have started a riot had he not arranged his musical programme  in a certain way. It ends with a study of Bunny Wailer(the most mystical of the three) and the forecasting of further international success(although Marley was to pass away the year this was released and Tosh six years later).

The other chapters deal with the Reggae scene in London and the new trends in Jamaican music. Seminal figures in reggae and dub are featured here- Aswad, Culture, Black Uhuru, SteelePulse,King Tubby etc. The final chapter is about the challenges facing reggae musicians at home and abroad, namely manipulative and fickle record executives who sell reggae albums when it is in demand and drop their charges as soon as the 'boom' is over. They also copy the ideas of the local record dealers and therefore put these out of business. This is a fantastic book. It makes for harrowing but ultimately inspirational reading and is a must read. An index and short biography of all the artistes mentioned is included at the back of the book.

A HOUSE FOR MR BISWAS

Today is the first day of this blog's existence.My first post would like to be about a book that has attracted much adulation from the literary community at home and abroad. A House for Mr Biswas(1961) is generally viewed by many as Vidiadhar Surajprasad, known to the literary world as V.S Naipaul's "magnum opus". This was Naipaul's fourth novel, after much shorter books such as The Suffrage of Elvira, The Mystic Masseur and a collection of short stories known as Miguel Street. While these books were regarded as very good, they were quite short and lacking in depth. For the record, I disagree with those sentiments.

A House for Mr Biswas centers around the life of Mohun Biswas, a man simply looking to call a place his own. He is viewed by some as being a magnet of bad luck because of being "born the wrong way". His father dying in a swimming accident while trying to save him further enforces this belief. Throughout the book, Biswas tries to assert his independence among domineering characters such as Pandit Jairam, the Tulsi Family and various other characters. Biswas also balances this with the constantly changing demands of his wife and three children. Effortlessly weaving between dark comedy and heart-wrenching drama, Naipaul tells a story of a man's persistence and resilience in a search for autonomy against the backdrop of post colonial Trinidad.

Mohun Biswas seems to be a man constantly stalked by bad luck. To the person who has not read this fantastic novel, this may sound as the stuff that many a comedy is based on. But far from it, in several parts,m it is the makings of drama of the highest order. The book also touches on themes that are even in twenty first century Trinidad are considered taboo and in some cases harmful to national development. Themes such as race, class, an antagonistic look at religion are all covered by Naipaul. In the 1940s/50s,Trinidad is a society that is just coming into it's own and is acquiring more freedoms from the Colonial authorities. While no date is stated in the book pertaining to the written events, one conversant with Trinidad and Tobago's history may assume that they take place between the late  thirties, forties, fifties and early sixties. It also touches on the real and sometimes imagined disconnect of people who live in suburban and urban areas with those who live in rural communities.

Race is also discussed in the book. In a cosmopolitan society such as Trinidad, the topic of race will inevitably come up and so-called racial chaffing sporadically occurs in Trinidad.  Secondly, racism in Trinidad is not really the type of racism that exists elsewhere. The racism(if it may be even called that) is not infectious, effervescent and corrosive. That is not to say it does not exist. Biswas first experiences the chaffing of early Indo-Afro relations in Trinidad in an incident that takes place at the Tulsi's shop. An Afro-Trinidadian woman asked for a pair of flesh-colored stockings and was given black colored stockings by Shama, one of the younger members of the house. This caused great anger and was only diffused by the calm but manipulative Mrs Tulsi. It should be noted however that this incursion was precipitated by Biswas professing his love for Shama in writing. During this particular passage, Naipaul displays contempt and at times scorn for certain institutions and practices which have become entrenched in Hindu culture such as child marriage and the co-habitation of matrimonial families. The Tulsi family is a perfect example of this, as they move hastily to have him betrothed to Shama soon after meeting her mother Mrs Tulsi. This in turn leads to the main theme of the novel: the desire of one man battered and bruised by the tempestuous and fickle sea of circumstance to be independent.

Unlike A Brighter Sun by another Trinidadian author who also made his name known in Britain, Sam Selvon, this novel is not optimistic. It does not pretend to be. In fact, A House for Mr Biswas at times borders on cynicism and pessimism* However this book is a gripping drama that takes the reader from the cane fields and plains of Central Trinidad to the majestic hills of the northern range and a rapidly urbanizing capital.


N.B- Notes on  A House for Mr Biswas will be done later

The real Hanuman House in Chaguanas Trinidad