den” and “We’re the survivors like Shadrach, Michach, and Abednego thrown in the fire, but a-never get burn.”
Meanwhile in So Much Things To Say Bob Marley recalls the story of betrayal in Jesus crucifiction as he sings “I’ll never forget no way they crucified
Jesus Christ.” While in Exodus he equates the repatriation to Africa to the biblical account of Moses and Israelites as they were led out of Egypt
28
when he sings “Send us another brother Moses, from across the Red Sea.”
In another song, Johnny Was Bob Marley paraphrases the book of Romans 6:23 when he sings “Now she knows that the wages of sin is death gift
of Jah is life.” In Small Axe Bob Marley quotes the Bible as he opens the verse with Proverbs 22:8 in line “You’re working iniquity to achieve vanity” And in the
second verse he paraphrases the book of Psalm 7:15 and Proverbs 26:27 in the line “And whosoever diggeth a pit, shall fall in it.” Basically the inclusion of
biblical reference is to show the affirmation of Bob Marley’s devotion to Jah God.
1.3. Bob Marleys Lyrical Form
Bob Marley proves himself as a real craftsman and a poet. He would employ a great deal of rhymes. It is part of the grace of his songs. The way the
songs unfold rhythmically through the use of rhyme scheme makes they become a wonderful shaping lines which are filled with musicality even when they are
spoken.
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Alliteration and assonance can be found in many of his songs to
28
Moskowitz, David. The Words and Music of Bob Marley, p. 79.
29
Dawes, Kwame. Bob Marley Lyrical Genius, p. 48.
establish a musicality in the lines.
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It is his typical construction to play with sounds through a spoken phrase and sweet tunes.
A clear example on the use of rhymes can be seen in Concrete Jungle. Here he employs a great deal of rhyme scheme. In the opening verse of the song
there is an echo line of assonance, in my day to day. While in the second verse he plays with a rhyme that is magnificent. Happiness issweet caress is,
aroundbound, and groundfound. Bob Marley was really care and conscious in word diction to construct most of his lyrics to make them sound astonishing and
Concrete Jungle is only an example. Other examples of good rhyme can be seen in Bend Down Low,
Revolution, Jamming, Waiting in Vain, Easy Skanking, Is This Love, Shes Gone, Crisis, Ride Natty Ride, Bad Card, Pimpers Paradise,
Could You Be Loved, and Forever Loving Jah. Other than as a means to construct a good sound pattern, word diction
somehow also designates the tone or implicit attitude of the author or singer. Bob Marleys intention to employ vernacular Jamaican patois might suggest many
things and one of them would be to boost a distinctive identity as a form of resistance to the oppressive system. This in turn reveals that the tone in most of
his songs would be cynical, ironic, sarcasm and serious. Bob Marley tends to be not openly aggressive in addressing a protest. They sound more subtle and
restrained yet they are very ironic and cynical. Like in Concrete Jungle he sings No chain around my feet but Im not free. In Get Up Stand Up he sings We
sick and tired of you ism-skism gameDying and go to heaven in Jesus name
30
Ibid, p. 49.
Lord. In Burnin and Lootin he sings How many rivers do we have to cross? Before we can talk to the boss? In Small Axe he sings if you are a big three
we are the small axe. Bob Marley made a good harmonious and subtle song to be catchy even to the ears of those he was protesting. It is his poetics and rhetorics to
launch a non-violence protest and promoting peace and harmony. On or off the stage and live or in studio Bob Marley was fighting a war. Out of the sweet and
harmonious tunes and lyrics there is a serious rage against the oppressive Babylon system.
2. The Black Brothers Music
Music and song have long been part of Papuan culture. It is a way to preserve its culture and identity. Despite the fact that Papua is part of Indonesia,
Papuan musicians tend to associate themselves with Melanesian culture from other Pacific islands. They share a typical dance, musical instruments like
ukuleles, tifa snake skin drum, and sing in four part harmonies.
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The emergence of Papuan popular music started around 1950s to 1960s when there were a lot of Hawaiian groups spread in almost big towns in Papua.
Among others which was quite famous and outstanding is Gagak Hitam Black Raven from Jayapura. The band played Hawaiian music at wedding parties, and
other local formal and informal gigs. As there was a stagnancy of Hawaiian music in 1960s the youth starting to shift direction. The group formed a full band and
changed its name to Blue Boys. They began to play various genre of music like
31
Moksha, Clara. Violence and oppression against musicians in forgotten conflict. Music Freedom Report no. 4: West Papua March 2012. Web. 1 May. 2014.
http:musicfreedomday.orgwp-contentuploads201202MusicFreedomReport_WestPapua.pdf.
