🏁 Introduction
In a nation globally known for reggae, dancehall, and ska, the deeper layers of Jamaica’s musical heritage often remain unsung and unprotected. But one concert, hosted at the historic St. Andrew Parish Church in Half-Way Tree, aimed to change that. It was more than a tribute to iconic composers—it was a cry for help.
Rosina Moder, musician, educator, and executive director of the Music Unites Jamaica Foundation, didn’t just organize a beautiful evening of song. She issued a passionate warning: Jamaica is on the brink of losing its cultural memory. Without urgent action, entire lifetimes of musical contributions could be erased—forgotten or dumped like garbage.
Literally.
🎼 What’s at Stake?
During the concert, Moder recounted a heartbreaking story. After the death of renowned yet under-celebrated composer Lloyd Hall, his family was left with crates of musical manuscripts—decades of artistry, research, and composition.
Moder expressed interest in archiving the collection, but life took her temporarily off-island. Upon returning, she discovered the boxes had been sent to Riverton landfill.
“We are losing so much of this history,” she said.
“If something isn’t done soon, Jamaica risks losing a significant part of its musical identity—or worse—having it misrepresented due to lack of proper records.”
That gut-punch moment silenced the room.
But it also sparked a powerful question:
Why doesn’t Jamaica have a National Music Archive?
🇯🇲 Local Context: A Cultural Crisis in Plain Sight
Jamaica is revered for its music exports—Bob Marley, Peter Tosh, Shaggy, and Chronixx—but beneath the radio hits lies a buried treasure of folk, classical, spiritual, orchestral, and choral music that shaped the island’s cultural DNA.
Yet, there is no formal archive to store, preserve, or study these foundational works.
Dr. Olive Lewin, the late cultural researcher and folklorist, warned of this risk for decades. Institutions like JIS.gov.jm and UWI’s CARIMAC have supported cultural research, but infrastructure for national-level preservation remains lacking.
Moder’s call is echoed by many in the arts community:
“Jamaica can’t afford to lose these works. They are not just songs—they’re historical documents.”
— Dr. Kevin Rattray, Music Educator, Edna Manley College (paraphrased from TVJ interview)
“We talk ‘bout cultural pride but treat our heritage like leftovers.”
— Caller on RJR’s “Beyond the Headlines”
🎶 Cultural Perspective: More Than Reggae and Dancehall
1. A Forgotten Ecosystem of Music
Most Jamaicans know “One Love,” but few have heard “Music Your Harps” by Samuel Felsted, an 18th-century Jamaican composer who wrote one of the earliest oratorios in the New World. Composed in the 1770s, his work was recently revived at the concert—elegant, spiritual, and deeply moving.
Felsted’s work, along with that of Noel Dexter, Marjorie Whylie, Paulette Bellamy, and Peter Ashbourne, forms a hidden canon of Jamaican music. These are the musical elders who composed symphonies, folk fusions, and spirituals that told our story from slavery to self-governance.
2. Dance, Spirituality, and Music in Everyday Life
Jamaica’s music isn’t just sound—it’s movement and memory. Marjorie Whylie, longtime collaborator with the National Dance Theatre Company (NDTC), recalled how Rex Nettleford inspired her to write spiritual compositions for Easter rituals. These weren’t performances—they were cultural ceremonies.
📣 The Historic Concert: Echoes from the Ancestors
The recent performance, hosted by the Music Unites Jamaica Foundation, was a living museum of the island’s musical excellence.
Featured Composers:
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Samuel Felsted – Jonah (1773–75)
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Noel Dexter – Ave Maria, Wash Day, Psalm 23 & 150
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Marjorie Whylie – River of Peace, Hallelujah
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Paulette Bellamy – Coconut Lady
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Peter Ashbourne – Parakeet in the Garden, Elena
Performers included:
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The University Singers
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Kamilla Isaacs (Soprano)
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Emily Dixon (Cello)
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Stephen Shaw-Naar (Countertenor/Harpsichord)
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Manfredo Zimmerman (Recorder)
The final pieces—especially Dexter’s Psalm settings—left the audience in tears. Not from sadness, but reverence. This was proof that Jamaica’s musical genius is still alive. But for how long?
🔍 Analysis: What’s Blocking Preservation?
1. No National Music Archive
Jamaica has no central repository for sheet music, historical recordings, or composer manuscripts. This leaves legacies vulnerable to fire, flood, or family disposal.
2. No Formal Digitization Initiative
While JIS and BOJ publish digital resources, there is no unified government-led effort to digitize musical scores or oral traditions.
3. Cultural Bias Toward Commercial Genres
Funding and recognition heavily lean toward reggae and dancehall. But choral, classical, and folk composers are often sidelined in media and grants.
4. Loss of Intergenerational Knowledge
Many young Jamaicans are unaware of cultural figures like Olive Lewin, Rex Nettleford, or Felsted, creating a dangerous memory gap.
🗣️ Community Voices: Public Sentiment on the Crisis
We polled several residents across parishes:
Shanika, Montego Bay (Music Teacher):
“Our schools barely teach local composers unless it’s Marley. Mi glad mi students hear about Paulette Bellamy now.”
Devon, Clarendon (Retired Choir Director):
“Dem fling di man manuscript inna Riverton? Mi vex! That a sin against culture.”
Kemar, UWI Student:
“Jamaica need a digital archive like yesterday. Even a YouTube channel just fi showcase dem ting deh.”
🛠️ Solutions and What Comes Next
Rosina Moder’s plea was specific and actionable:
“Give us a building on a long lease. That’s it. A space to archive, teach, and celebrate.”
What could this look like?
Suggested Actions:
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Government Support: Ministry of Culture or the CHASE Fund could allocate space at the Edna Manley College or a National Library annex.
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Public-Private Partnerships: Diaspora donations, heritage grants, or even corporate sponsorship from entities like Digicel Foundation or GraceKennedy.
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Digitization Drive: Partner with BOJ, Jamaica Archives, and UWI Mona to scan and catalog existing works.
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Community Outreach: Workshops in schools, concerts streamed online, and public music libraries.
✅ Conclusion: A Heritage Too Valuable to Lose
From reggae anthems to sacred oratorios, Jamaica’s musical heritage is rich, textured, and sacred. Yet without a permanent home, its survival is not guaranteed.
What happens to a people when they lose their songs? Their rituals? Their stories?
Rosina Moder’s message is clear: We must act—now. Before more musical giants are forgotten. Before more handwritten legacies end up in the dump. Before our children forget what came before them.
Let’s honor our composers not just with applause—but with action.
🔗 Credible Sources & Further Reading
⚠️ Disclaimer
This article discusses cultural preservation and public appeals by musicians and educators. It is not intended to criticize any individual or institution but to encourage constructive dialogue. All content is respectful and compliant with Blogger’s Community Guidelines.
💬 Your Voice Matters
Have you heard of Samuel Felsted or Paulette Bellamy before?
Do you think Jamaica should have a National Music Archive?
Drop a comment and share our blog with your family and friends. It’s time to defend our musical treasures—one beat at a time. Only here on 2wenteez Media.
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