Rastafari Art and Symbolism

One final use of Rastafarian symbolism in visual art is the Rasta's hairstyle, known as"dreadlocks". The hair of African-rooted peoples is naturally"kinked", or very curly, and when it is not habitually combed or brushed, it forms into clumps, or"locks"of all sizes. The Rastafarians are probably one of the most"natural"groups of people on earth; that is to say, they live with nature, eat the healthiest foods, and do not give in to materialistic things. By not cutting or combing their hair, which includes facial hair, the Rastas are living as Jah made them. There are also biblical references to not cutting hair or flesh, and not trimming the corners of one's beard (Barrett, 137). Another significance of this hairstyle is it's power as a rejection of Jamaican society's categorization of people due to their hair quality. The dreadlocked Rastaman has a look of intimidation to unfamiliar people, since fine hair is socially seen as"good". With his dreadlocks, the Rastaman is defying society and living with what Jah has given him. This expression of spirituality is unfortunately another aspect of Rastafarian life that has become"commercialized"in Jamaican society. There are several people in Jamaica, and in other countries too, who sport the dreadlocked appearance, yet have no connection with Rastafari HIMself.

The use of dreadlocks in Rastafarian art follows with almost any use of the black man, with the exception of Haile Selassie. Although there have been images of Selassie with long hair in previous pages, he is typically portrayed with short, curly hair. An example of a Rastafarian artist's use of dreadlocks is on the following page. The artist, whose signature appears to read:"Ras Sherlock Reuben I", has drawn the head of a Rastaman with very long dreadlocks and beard. He uses the long dreads on either side to frame the rest of the drawing, which is rather abstract. One can make out an image of the earth, but what comes next is unclear. It seems to be a representation of the earth spinning out of control, growing smaller as it spins out of orbit. Perhaps this is another Rasta's vision of Armageddon, the earth being hurled into space with total destruction caused by alterations in gravity. The observer's eyes read this drawing from top to bottom due to the frame created by the locks; they carry the eye down the image, and back up again, so that the whole is taken in at once. Meanwhile, the background of green, gold, and red makes the central image stand out, as if the rock-like shapes were spinning towards the viewer; an excellent use of the third dimension.

ADVERTISEMENT:

Another beautiful sample of the use of dreadlocks in Rastafarian art is pictured on the following page. This drawing also appears in Faristzaddi's"Second Itation", and again, the artist is unknown. It appears to be a pastel-drawing, and involves the use of a few other symbols besides the dreadlocks. The main focus is, however, on the Rastaman's dreadlocks, which are rooted into the sphere he holds, presumably representing the earth and the Rastafarian's deep connection with Her. The ends of the dreads are carefully detailed to look like the roots of a tree; snaking in and out of the earth's surface. This area of the drawing is most intense and is noticed first by the viewer, but eventually the eyes travel up the dreadlocks to the Rastaman's solemn face. From here the viewer's eyes follow the Rasta's eyes to the star of Solomon; and to the single eye within the star. Here again are two symbols we have seen in previous works of Rastafarian art; that staring eye within the star makes some strange kind of contact with the observer. This is the type of symbolism that will either entrance the viewer, causing them to stare at the drawing for hours, or make them turn away, afraid of the eye and what it sees. The star, along with the Rasta's head is surrounded by a white glow, which along with the Rasta's white robe and the image of a galaxy where h waist should be, creates a very religious portrait of the Rastaman.

One source of Rastafarian art that is certainly worth mentioning is that of reggae album covers. As mentioned previously, reggae began as the musical expression of Rastafarianism; and because of this, the album covers include a good deal of Rasta imagery. Three examples of this use of symbolism from three different reggae bands can be seen on the following page. The simplest of them, an album by"Israel Vibrations", uses a repetition of the star of Solomon, painted on canvas. The painter used the traditional colors of red, green, and yellow in what seems to be a printing method using blocks of different shapes. The dripping effect created by this technique is certainly eye-pleasing, but does not have symbolic reference.

The second album cover, (bottom-left) is that of"Jah Shaka", and is most likely drawn by Shaka himself; a DJ out of the United Kingdom who draws some of his own album covers (Snider, 4/15). This pencil-drawing shows a seated Rastafarian gazing towards an incoming light. An image of Haile Selassie appears near the source of the light, yet he also seems to look towards the source of the light. In this piece, the artist seems to be indicating the higher source of Rastafari, Jah Himself, more than just Selassie. Haile Selassie is the Rastafarian's interpretation of the biblical character Jesus; he is Jah in mortal form, come to earth to redeem the Blackhearts. This imagery is something that hasn't been seen in previous artworks, and is quite interesting. Nowhere else is Selassie seen looking towards a higher power.