Reggae helpedcreate a historical catalogue of the black British experience

In the spirit of Windrush Day celebrations now on across the UK, upon reflection, one may ask, what really is being celebrated?

There has been no acknowledgement made throughout the celebrations of the natural progression of African chattel slavery, colonialism and the Windrush generation’s arrival to Britain since 1948 onwards.

The Windrush generation and their descendants who live in Britain still face racial disparities 75 years on. With no solid economic foundation among this ethnographic group and a lack of consistent support to assist within this area, there is often a willingness to acknowledge their cultural, particularly musical, contribution to Britain. However, despite this being a kind expression of appreciation, it does not address the urgent needs of this group, who socially, politically and economically remain vulnerable while living in Britain.

Members of the Windrush generation themselves faced racism upon their arrival, yet continued to endure so that their descendants would benefit.

Across the country, this ethnographic group found it difficult to adjust to the climate of racism wherever they settled upon their arrival from the British Caribbean within their so-called ‘mother country’. Still willing to assimilate and embrace the legal and cultural notion that they were British, the Windrush generation faced much frustration from their children due to a difference in opinion.

Referred to as the first generation, a completely different generation to that of their parents, the children of the Windrush generation were not willing to tolerate any form of racism. Embracing a black British or African identity to that of West Indian, some turned to the Rastafarian faith as a way to mentally escape from racial oppression and find their African identity. This, in turn, produced some of the finest British roots and reggae musicians and artistes in the world. It further created a historical catalogue of the black British experience.

Steel Pulse, a British reggae band from Birmingham, conveyed the experience of some of the African Caribbean communities living in Britain. Their single called Babylon Makes The Rules, released in 1979, opening lyrics state:

“My people are in a mess,

But nobody wants to know…”

There has been a complete lack of support for this ethnographic group since their migration to Britain. The Windrush generation were invited to help to rebuild Britain after the Second World War at the invitation of the government. The first generation, however, has often stated that their experience of living in Britain has been one of being let down and abused by the British system.

X-O-DUS, a British reggae band from Manchester, conveys similar sentiments to this notion within their single English Black Boys, released in 1980. The single outlines the observation made by many of the first generation regarding concerns of belonging and safety. The lyrics:

“What are they going to do with us,

Are they going to set us free,

So, the racist tell me,

For I don’t know,

Because you force me to go,

My children also,

So that’s why I’m saying,

Where are those English Black Boys,

What are they doing with those English Black Boys…”

The Windrush Scandal of 2018 resulted in some members of this group being deported, detained and denied healthcare, among other entitlements.

House parties, shebeens and blues parties often provided a mental release and safe space for the first generation to meet. At times, however, they were the target of racist attacks. The New Cross house fire of 1981, believed by the community to be a racist arson attack and which resulted in 13 deaths, was met with newspaper articles with a racist undertone , and a lack of police engagement. In response, a Black People’s Day of Action - recorded as one of the largest marches of its time - for racial justice took place. Further, many black British artistes, among them Linton Kwesi Johnson, Sir Collins, Roy Ranklin and Raymond Naptali, released tributes calling for justice.

Riots as a result of racism continued to take place since 1958 with black British artiste Eddy Grant’s single Electric Avenue, inspired by the 1981 Brixton Riots. At the time, too, there was a strong sentiment to repatriate to Africa, with Papa Levi in his single, In A Mi Yard, which stated “….woulda fool to tink England ah fi mi country.”

There was an absence of direction for this ethnographic group. School leavers of the 1960s, 1970s and 1980s found themselves unemployed, without prior support from their schools’ career department. Further subjected to vigorous stop-and-search procedures, Aswad, a British reggae band from London, released their single Chasing for the Breeze in 1988, which captured this very sentiment.

As the Windrush generation and their descendants increased to the second and third generations, the lack of economic progress and racial disparities continued to manifest. The murder of Stephen Lawrence in 1993 and the police investigation of the case, provided African Caribbean communities across the country with the notion that racial discrimination was institutional, systemic and, at times, intentional.

With the recent murder of George Floyd in the USA, movements such as Black Lives Matter UK have an inclusive membership of followers standing collectively for racial justice. However, if the natural progression of African chattel slavery, colonialism and how both these legacies continue to affect the Windrush generation is not acknowledged and dealt with, then the black British experience may be filled with constant references to racial injustices, intergenerational transmission of social and cultural trauma, lessons learnt and commemorative days.

The natural progression must be justice and as stated by Steel Pulse’s single Handsworth Revolution - “ doesn’t justice stand for all!”

Priscellia Pyhia Robinson is a UK barrister and founder of Reggae Britannia. For more information, visit www.reggaebrit.com.