Abstract

Reggae music emerged in the 1960s, an era of intense anti-colonial and anti-imperialist sentiments and struggles. Having originated in Jamaica, a jurisdiction where Africans had been enslaved, the genre has a tradition of social criticisms, especially the depravity that asymmetrical power relations extend to Africans globally. Through its Rastafari influences, reggae offers an avenue for redemptive philosophies and complex frameworks to waken consciousness and to offer identity, pride and dignity. To decolonise knowledge and conscientise the marginalised on the issues that enslave them, this article analyses four reggae songs by three artists to show how the content of some reggae songs can serve as critical literature for critical pedagogy (CP) in the African academe. CP creates the atmosphere for learners to identify the machinations of dominant forces in education and how to nurture agency for liberation. It promotes an association between education and society, arguing against the annexation of higher education by private capital. The ethos of reggae music, Rastafari and CP converge on the interactions between knowledge, authority and power.

摘要

雷鬼音乐出现在 1960 年代，这是一个强烈的反殖民和反帝国主义情绪和斗争的时代。起源于牙买加，一个非洲人被奴役的司法管辖区，该类型具有社会批评的传统，尤其是不对称的权力关系在全球范围内延伸到非洲人的堕落。通过其拉斯塔法里的影响，雷鬼音乐为救赎哲学和复杂的框架提供了一条途径，以唤醒意识并提供身份、自豪感和尊严。为了使知识去殖民化并使被边缘化的人意识到奴役他们的问题，本文分析了三位艺术家的四首雷鬼歌曲，以展示一些雷鬼歌曲的内容如何作为非洲学术界批判教育学 (CP) 的批判文学。CP 为学习者创造了一种氛围，让他们能够识别教育中主导力量的阴谋以及如何培养解放机构。它促进教育与社会之间的联系，反对私人资本吞并高等教育。雷鬼音乐、拉斯塔法里和 CP 的精神集中在知识、权威和权力之间的相互作用上。