The construction of a musical memory
in Time and memory in reggae music
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

The history of reggae music is long and complex and, in reference to a common expression within reggae and the Rastafari movement, ‘half the story has never been told’. Record labels in Jamaica are sometimes nothing more than a studio and backyard. The presence of both old and new recordings in people's record collections is not only a question of taste or persistence: in reggae music; the new itself also conveys the old, through a process that is characteristic of reggae – the importance of the ‘riddim’. The lyrics literally ‘make’ the history of reggae music. One of the most powerful tools used by collective memory concerns the remembrance of the dead, because it unites the group through a shared sense of belonging, through the memory and emotion linked to the disappearance of their own people. Among others, two examples are especially significant in the case of reggae music: Bob Marley and Garnett Silk.

Time and memory in reggae music

The politics of hope

Metrics

All Time Past Year Past 30 Days
Abstract Views 59 24 1
Full Text Views 18 2 0
PDF Downloads 13 4 0