In.Digg.Collective Premiere: Sevana - Chant It | Music Video

Sevana has released the video to her second single "Chant It". 

“Chant It” is the follow up single to the Winta James and Protoje produced “Bit Too Shy” released Fall 2014, and is the second single off Sevana’s upcoming project, an enchanting debut EP from the artist that is on the way.

The soulful singer enlisted Jamaican Director and Cinematographer Nile Saulter for the visuals, which dances between tender moments shared by a passionate young couple and a doting family. On the track, produced by Winta James, Sevana proclaims her love far and wide, From the East end to the West end, with the resolve and exuberance that is often associated with a powerful love.

"I'm so excited to have a visual release to "Chant It". It's a record that I've found many of my supporters have connected with, and I hope they enjoy the video because I feel that it really communicates the essence of the song." - Sevana

Watch the video for Chant It: 

Listen to Chant It





Protoje at Dubwise Jamaica | December 23, 2015

Protoje performs at Dubwise Jamaica in Kingston on December 23, 2015. Alongside Micah Shemaiah and Yaadcore, and joined by friends Jesse Royal, Kabaka Pyramid, Dre Island, Mortimer, and In.Digg.Collective's first lady, Sevana.

"The mission for Dubwise is to spread roots, reggae, dub, culture music to the masses and provide a space and balance with other musical genres penetrating society and the minds of the youth. With that mission we only could have one outcome: spread the dub wisely!"

Read more about Dubwise here: http://www.protoje.com/indiggcollective/dubwisejamaica

Shot & Edited by Yannick Reid

Follow Dubwise Jamaica:
Facebook
Instagram

Follow Protoje online:
Facebook
Twitter
Instagram
Soundcloud

'Dubwise Jamaica': Perspectives From The Inside Out

Written by Dutty Bookman

Yaadcore and Jason Panton (on mic) at Dubwise Miami.  (Photo by Radiant Sun)

Portrayals of the excessively violent, highly comical or downright ridiculous aspects of Jamaican culture have become routine in popular culture. Thankfully, there is another side to this equation. Ample opportunities abound for people to witness and participate in the traditions that power us as a people. Once they see and feel the roots for themselves, they quickly realize that respect is due. One such event, Dubwise Jamaica, has risen to take its place in this category.

 

The concept is an ongoing partnership between two Rastafari bredrins, Rory 'Yaadcore' Cha and Jason Panton, with early and continuous visionary guidance from a third, Oje 'Protoje' Ollivierre. And the idea was simple enough: to reintroduce authentic roots dub reggae music in spaces accessible to mainstream audiences. And to do it with love. No bad-up, no joke t'ing, nothing to ridicule. Just shelling dance with the powers of His Imperial Majesty, Haile Selassie I.

The fact that the entertainment terrain has changed quite a bit since days gone by has been no deterrent for the team. They simply recognized that the vehicle for the roots ethos needed upgrading. So while Dubwise Jamaica did not reinvent the wheel when it began in 2013, it did change the tires in a sense. Since then, it has received consistent support from ones within the reggae community, from foundation personalities like Ilawi (Jah Love Sound), Rory (Stone Love), Prince Alla, Fred Locks and General Pecos, straight forward to today's rising revivalists.

Now, in a semi-franchise fashion, a whole Dubwise Jamaica network is taking root - pun intended - in various cities across hills and valleys and distant lands. For me to be entrusted with marshaling the Washington DC outpost means that I now naturally have a greater appreciation for what Yaady and JP are doing. Knowing the brand's beginnings, it has been a joy to witness some of its expansion up close and personal. I have repeatedly seen this duo, a brilliant selector and a genius marketing mind (who can also chat mic wicked), approach the brand's challenges from their different perspectives, only to find a unified way forward in true Ras Tafari spirit and grace. They both, and each, have many wisdoms to share through the experience, as the reasonings below will show.


Bookman: After establishing Dubwise Jamaica as a recognizable weekly event, you both decided to take it outside of Jamaica. Why?

Yaadcore: For many reasons, the main one being just to share and preserve our Jamaican roots reggae music. The places the brand has expanded to whether weekly monthly or random dates are lacking this energy, especially coming from Jamaica.

Jason: The mission for Dubwise is to spread roots, reggae, dub, culture music to the masses and provide a space and balance with other musical genres penetrating society and the minds of the youth. With that mission we only could have one outcome: spread the dub wisely!

Dre Island and Chronixx enjoying Yaadcore selections at Dubwise Jamaica (Photo by Yannick Reid)

Bookman: Dubwise has now been established firmly in Miami (weekly) and Washington DC (bi-weekly), and events have already happened in places like New York, Atlanta, Puerto Rico and Trinidad & Tobago. Is there a specific criteria that factors into deciding whether or not a new location is added to the Dubwise Jamaica network?

Yaadcore: Yes there are specifications which may differ for the separate places depending on the circumstances.

Jason: It's Jah works. The right partnerships are apparent. After a conversation or few with ones who have expressed interest, we figure out the math and the intention. If the two things connect, then you see another Dubwise rise.

Bookman: Yaady, you have a very specific style of delivery when you perform to Dubwise audiences. What is the feeling that you try to leave people with?

Yaadcore: Feeling of joy and appreciation for themselves and the creator while full-joying reggae music in a high energy.

Bookman: You did entire Dubwise Jamaica tours in Europe and East Africa. Did you notice any significant similarities or differences between European and African audiences, or even how roots music was received in each of those places?

Yaadcore: Too much comparisons. They both love and respect the message and vibrations the music brings. One Heart, One Aim, One Destiny. 

Bookman: JP, you have creative control over the visual branding of the Dubwise brand. What has been your vision for the look and feel?

Jason: Simply just trying to create something that is cool and forward, and hopefully someone will put it in a book one day and say this was pretty cool stuff they did back in 2013, '14, '15, '16 and so on.

Bookman: Being that you live in Miami and naturally have a greater degree of control over how Dubwise Miami operates, what insights would you share about how to introduce roots music and culture to an American audience, especially in places like Miami where people are generally more interested in hype and high energy than they are interested in the mental/spiritual frequency that the roots/dub sound generally offers?

Jason: Great thing about Miami... it is a city of recent immigrants, so they are more receptive to that Afro-Caribbean sound, the rhythm and the groove. Reggae music is everyone's music and when it hits you feel no pain, so really it's just for the DJs to select songs that carry a nice riddim and melody, so the people can tune in. Once they have them dancing, the word-sound call and response emanating from speakers and emcees generally get the people going. I think Miami, although high energy, is a perfect place to have roots reggae due to the blending of cultures.

Dutty Bookman at Dubwise Washington DC, with General Pecos on mic. (Photo by El Puru)

Bookman: Washington DC has a committed but small roots community that supports the Dubwise brand wholeheartedly but we have been working with a space that was previously unused. Therefore, there is no regular "happy hour" crowd that hangs out at the bar like in Miami when I played as a guest selector with you guys this past summer. So my question is, being that Dubwise is attempting to affect the mainstream entertainment scene and orient more non-rootical people to the culture, what approach would you take in a situation like Washington's? How would you balance the need for a more diverse audience with the need to stay authentic and satisfy a core audience that comes to enjoy deep roots?

 

Jason: I really think a good DJ who can read the crowd and play for the room within the roots and culture style will ultimately figure out the balance and musical selections that will work for that particular locale. The only condition is it must be roots reggae culture so, within that, plenty of music exists to move hearts, minds and feet.

Bookman: What's the end game? In other words, do both of you envision a particular kind of expansion of the brand at the moment? How will it stand apart from the average event when all is said and done?

Yaadcore: As time goes by, different promoters from different places link with the interest of using the whole 'Dubwise Jamaica' branding along with booking me. This being the case, the circumstance really decides how much and how fast the expansion takes place. The event will keep doing what it has been doing to get to this point and whatever else it needs to provide the best time while vibing to the conscious vibrations of Rastafari frequency.

Jason: In some cities you do have events in which roots and culture is played, however the aim for Dubwise is not exclusively to keep a Rastafari session. We don't run a wire fence. We welcome all those who want to attend a conscious reggae party, and love the message and word sound in the music. Ultimately, what we play is music inspired by the King of Kings and the revelation thereof. We want Dubwise to serve as an entry point for the youth and other like-minded people to have a place and space to learn the music, hopefully internalize the message and carry it forward. How can "forward" have an end (game)? 

 

Dubwise Jamaica online:

Facebook . Twitter . Instagram

 

Dutty Bookman is an author and selector who coined the popular term "Reggae Revival." Visit his official website and blog, Duttyism.

Music

Out Deh! Yaadcore's New 'Roots Dawta' Mixtape Out Now

Written by Dutty Bookman

If you've been paying proper attention to the movement in reggae over the past half decade, then you would have come across the works of Rory Cha, more commonly recognized as radical roots selector, Yaadcore. His Hail Ras Tafari mix series has been essential fodder for droves of searching youths who are investigating the Rastafari way of life (or just really love good, organic music). The recent Volume 3 of that very series could easily be called sheer brilliance, and it would be hard to argue with that.

Nevertheless, Yaadcore has fired off another musical round in quick succession. This time he explores a feminine theme in tribute to the conscious empresses so highly valued by the contemporary Rasta man. In keeping with that intent, the vast majority of the selections on the mix, aptly titled Roots Dawta, feature mainly women singers and chanters, especially those of the currently rising generation. Any men included are there only to exemplify the respect that alpha must have for omega in order to approach perfect balance.

Listen to Roots Dawta here and also get a hold of physical copies for the good sistrens in your life. Jah bless!

Yaadcore Online:

Facebook . Twitter . Instagram . Soundcloud


Dutty Bookman is an author and selector who coined the popular term "Reggae Revival." Visit his official website and blog, Duttyism.

Interview

Matthew McCarthy Talks Art, Euro Tour, Live Painting Alongside Protoje At Rototom Sunsplash Festival And Refugee Crisis

Written by Gladstone Taylor

Matthew McCarthy is a connoisseur of iconography, known for his unbiased interest in symbology. This aesthetic has undoubtedly translated to his art to the point where he has created an icon to embody his own eye-deals (unique perspectives) as he goes by the moniker, Eyedealist.

Fresh from his tour of Europe, we had a revealing reasoning about his bearings since his arrival and where his head is currently. The sun was still high in the sky. Thirty-four degrees Celsius as is common for Kingston afternoons, there was no mercy to be had. Reggae Mountain was unsuspecting as we sat on the retaining wall next to the famous Kingston Dub Club, overlooking the community of Papine. This was Matthew's ideal place to get lifted, so it struck me as somewhat strange when he said, "Let's talk while riding around the city."

That was the end of it, although the questions began on that fateful descent down Skyline Drive.

You’re back in the island now, still fresh, still processing I assume. What are some of the things that have been most comforting since being home?

Hmmm… The sun, even though it’s kind of overcompensating right at this point. It’s very hot. But yeah, the consistency of various things, like the weather, the people, the vibes. Island vibes. Still the same even though the prices have gone up, but it's comforting as what it is. That’s Jamaica. It was like a really alien environment in Germany and stuff. There were a lot of culture shocks but Jamaica is pretty much its own shocking gem, which is good.

I can imagine you are seeing things through a whole different lens. Talk a bit about how travel, in the way that you recently did, can affect an artist.

Man… I feel like people always say travel is supposed to do all these things like open and expand your mind but really, for Jamaican artists, it’s almost like it's just necessary. There are so many things that have happened in the world to date and all I’ve ever really known is one island.

it was really just an eye opener to be able to see a different kind of melting pot because Jamaica is, in and of itself, a melting pot. But for some people it can really feel like an island prison because it’s really difficult to leave at the same time.

Outside of that Jamaican people are nomadic from ever since, like historically. So it’s kind of just in our blood as well and that’s something I recognized while I was there. There were so many people there who, somewhere in their background, they can tell you of some type of Jamaican blood that they have, and I’m saying that’s just the nature of people. We’re in that time again where people really want to move around and stuff. So for me personally it was really just an eye opener to be able to see a different kind of melting pot because Jamaica is, in and of itself, a melting pot. But for some people it can really feel like an island prison because it’s really difficult to leave at the same time.

So countries like that now, where people gather from as south as Africa to as north as Scandinavian nations, straight over, coming into central spaces like Berlin, you can see how it reflects in the physical spaces. From the walls, the art on the walls, the way they organize their spaces, the structure of the city, the way they tackle issues like gentrification between the different cultures, it's all just very unique. Some of these things you never recognize here in Jamaica, you never even recognize gentrification on Hope Road until you see what it means to a set of people who have to deal with it over cultural lines and not just geographic lines. You come back and you start to question certain things in your local space. It just was a real eye opener to [see] how diverse life on this planet can be.

Walk us through some of your activities. I know you had some exhibitions and you did some murals, so talk about that in detail.

Well, the whole purpose of traveling was to be a part of a group of talented visual artists who are among a larger group of talented artists, to represent what is happening currently with contemporary art, music, photography, just Jamaican aesthetic. The tour was called the United Purpose Tour but it really was a tour of individuals who had very unique perspectives on various art forms. Whether it be music with Italee, photography with Jik or new age holistic medicine with Peter or fine art with Dan. It was really just an experience that allowed us in our own unique ways to express ourselves. For me personally, from day one we had this roster of events that we were supposed to do and spaces to go to, but by the time we got there, there were so many other spaces that started to pop up that we ended up doing really unique things quite often. I have to say first it was not just my exhibition in any shape or form. Almost every space we went to ended up becoming a collaboration between all of these members.

The first place we went to was Kunst St. Pauli Gallery in the heart of St. Pauli, Germany. St. Pauli is actually very close to Jamaica in terms of how it operates. The people there are very rootical and roots about their city. Like being in Kingston, it can be a bit grimy but there is a lot of tradition and culture. There’s like street art there that becomes t-shirts that everybody wears. It's that kind of environment. The guy who owns it, Harry, he allowed us to take over this living room type space with black walls. It’s something that you would find in a type of downtown urban space. It was really a space that I think all of us went into and felt very familiar. This was somebody who was from a very different world than us and he was open to whatever it is that we were going to bring. We were tasked to set up an exhibition of a lot of the Sankofa Sessions artworks, a lot of my personal prints and posters of stuff I’ve been doing over the years, as well as doing live painting in the space and helping Daniel set up his exhibition. It was our first exhibition and we pulled it off. It was really cool. A lot of people came through from the local creative community. We made links there too that helped us to continue going as well.

The second space we went to was Reggae Jam, which was really interesting. Very cool organization to let us bring so much art and ideas to the platform. We were stationed on what some would consider a market ground but it was so open, there was a lot of space. We had this round tent and we set up all the artworks in it from different places. It just ended up becoming this collaborative space.

Then we went to Yaam in Berlin. It was off the chain. Big up to the DJs of I-Revelation Sound. Big up Barney Miller. They were the DJs who were across the way from us at Reggae Jam and, by the time Reggae Jam was done, they had told us they were the DJs for Yaam. So by the time we got to Yaam we met up with them again but the whole space was really amazing. A lot of cultural stuff happens there. A lot of culture and different nationalities pass through, like Trini people, Bajan people, Jamaican people, African people, Indians - just so many different cultures coming together in one place. The space has been around for a very long time, and it keeps moving around to different places, but it’s so radical the way that they behave about the whole thing because they just squat the place.

So they don’t own it?

They don’t really own it, they just squat it and then they just build this entire creative hub. They allowed us to do an exhibition around by the peach bar section. They had an actual exhibition space, it was organized by a really brilliant creative instigator, Alesh. He put us into contact with a lot of cool artists. And also big up to Kai Hillman who gave us the real Berlin experience. But Yaam is an amazing space. Then there was Skandalos, which was an amazing indie festival, same procedure. Then we went to Rototom, which was insane. That was wild.

Talk about that experience. Were you aware that Protoje would be calling you on stage?

No, not at all, but I’m going to share this experience: I sent Protoje a link on Facebook a couple years ago and I said, “Yo, here is Flying Lotus. He’s Dj-ing and there’s like animation going on in the background. We should link up.” He had responded when he saw it and I think he said it was cool and stuff, but I had kept sending it to him like a year later. (Laugh.) There might have been like a small seed that was planted because, before leaving to do anything, we had linked up and both said we should collaborate and I think we both understood what that meant.

Whilst being at the festival, there was a set of events that lead us to gather some paint and some material to do something, but it didn’t work out, so then I just had this paint and material. At that point, when he arrived and said let's go, I just realized how fatidic the whole thing was and how much this was just the point that this had to happen. Things don’t happen by accident.

What would you say are some of the most shocking things you found while being in Europe?

The refugee crisis. For me that is the utmost shocking. That and the fact that you have to pay to use the bathroom. For me that is just wild. I mean, maybe it’s because I don’t understand but having to pay to use the bathroom is crazy. The refugee crisis is really something that makes me very skeptical about where we are headed. Do we even know where we’re headed, the whole planet? The reality of it is, whilst there, I was being confused as a refugee, and I was then hearing how badly actual refugees were being treated.

It was just shocking to me to see how a serious lack of resources, and lack of any stance, just have these people at the mercy of the tides. And it’s sad.

I don’t think there is any blame to be placed specifically but I’m at least glad [for] the people that we met when we were there, who were aware of how this whole thing set and are really being activists for something different. The truth is they should have been preparing for this. It's just simple math. It was just shocking to me to see how a serious lack of resources, and lack of any stance, just have these people at the mercy of the tides. And it’s sad.

Will we be able to see more of your adventures from this summer in your art?

I definitely think so. I think it's harbouring a much more global perspective even though it will still be through the Afro-Jamaican lens that I have. It’s just a realization. I’m doing art that people can look at and say rootical. When you look at what rootical really means, there’s a larger historical picture for me and people that look like me, that I can recognize when I go to another place and say, Okay I should really take it serious when I’m putting it into my art. I definitely think, more than anything else, there’s like a global idea that is forming right now and I don’t want to put any type of Jamaican supremacy on the table. So it’s more than that. There’s things happening on the planet that demand our attention and I think I was always talking about those things and I’ll be talking about them even more now. Because one day we are going to be subject to these things as Jamaicans too, so is it that we just sit and wait for them to happen?

What was the first thing you did when you got back?

I ate at Island Grill. Big ups to Island Grill. In my opinion, if you’re going to eat any fast food in JA, Island Grill is the only sensible place to eat. (Laughs.)

What’s next for the Eyedealist?

I definitely want to treat the art I’m doing as much more of a martial art. That was something I picked up, not by going anywhere but by just the reality of the way I’m living lately. Having to constantly be moving and trying different things and sometimes failing. Learning how to look at some of these ideas like Zen, and while I was traveling I was reading a lot and considering a lot of things I have read that I never really tried to implement into my life. I think I’ve been lucky to naturally have a type of activity that my body wants to do that, in and of itself, is a very martial type of art. It’s a very zen type of thing. I guess for writing it's the same thing. It’s like you feel the effects of this thing that’s actually giving you energy rather than taking it. For me, I think with the art I want to just keep doing it from a place of love, a place of consistency and practice, and finding the beauty in it even more, and sharing it with people through even things like my Instagram. I think it was ASAP Rocky who said his Instagram is a piece of art, but I think he says that because you make art with anything. You can’t just be doing things pointlessly. You have to really see why you do things and know that it’s because this is your martial art. That’s how I feel about art these days.

it will just keep growing bigger. Bigger walls, more walls, more dynamic ideas put on the walls, more brain twisters, more newspaper ideas, more freedom too.

In terms of the physical embodiment, it will just keep growing bigger. Bigger walls, more walls, more dynamic ideas put on the walls, more brain twisters, more newspaper ideas, more freedom too. Just working from the place of being a Jamaican artist and I don’t really think it’s just a dream at this point. It’s within reach if there is enough focus and enough continued luck - I don’t mind using that word. I just have to give thanks to everybody around me, to God, everyone I’ve had in my life, all the teachers I’ve had - Micheal Franklin rest in peace, my aunty Caroline, Mrs. Holms, Mrs. Lake, all of these mentors. I’ve had some amazing ones. That’s it yo. Dem say luck is opportunity meets preparedness and these people prepared me.

 

Connect with Matthew McCarthy:

Facebook
Instagram

Written by Gladstone Taylor, a young author living in Jamaica.

Taj Francis Talks Evolution Of Tenfold, Relationship With Protoje, And Opening Of New Online Print Store.

Written by Gladstone Taylor

Cinematic. It's one word that might come to mind when you encounter the works of contemporary visual artist Taj Francis. His illustrations are colorful and crisp, with a signature fantasy-esque feel that sets his work apart. Way apart. Noted for tackling the nuances of humanity and religion, Taj's body of work somehow aims at refocusing post-colonial Jamaican culture, featuring the variety of subcultures that have been assimilated into it over time. Taj's attention to detail makes his work that much more strong and his masterful use of color and light give his pieces a radiant finish.

His series Tenfold has expanded and taken on a life of it's own and now, with the launch of his store, he's made a direct effort to offer limited edition prints.

"This online store, and website on a whole is a big deal for me. It signals an ability and level of control I get to have in distributing and displaying my art the way I want to. To be able to make it available to anyone. For now, the store will feature select Limited Edition prints of my artwork."

 

Talk art for you in the past couple months, what has been your focus, what have you been working on.

I'm just having fun with it really, pacing things and creating a build up. My focus has been on creating these fine art prints, and working on my Audio-Visual project; TENFOLD Opus . Sales from these prints will pretty much help fund and further that project.

Tenfold is the name of your series, speak a bit on that, it's concepts, collaborations and so on.

It's the name of the entire brand I'm creating really. In my head, it started out as a series of work, but now I envision it as an entire brand, or identity. Just the idea behind it came from the idea of growth, balance and order. It's something that is pretty wide, so I encapsulate everything I'm doing now under that idea. The collaborative aspect is key for me now, I want to expand further than what I can do as individual, and what I know for myself, and work with other creatives and foster proper community through it in a sense.

You've been working very closely with Protoje from very early in his career, talk a little bit about this relationship.

We've been working together since 2009, since his first official single. It's been a very interesting growth and progression, and his drive and innovation is inspiring. You don't see a lot of that, you know. You don't see a lot of people invest so much into crafting a proper music career, and covering all bases, and striving to innovate. That's why I can work well with him, and because of his genuine trust and respect for the visual arts.

What are your thoughts on the Caribbean art scene right now?

It's growing, we're going to see an interesting shift in these coming years.

Talk about some of the side projects that you've been involved in recently.

Not much I can say right now. I did do some work with HONDA Jamaica for their new campaign. As well as my work with Paint Jamaica, which will continue. I recently worked on a project with Ma'Ati Magazine, who just got fully funded for their kick starter. It's an interesting project you can check out.

Ultimately where do you see your art going, or taking you?

Into un-explored territory I hope. I really see this as just the starting block, I intend to create worlds from my art. Not in a pretentious sense, but something that kids who where like me can get inspired by, and help create a cycle of growth and creativity. I want this to be bigger than me, or any one person, that's where I see this going.

Connect with Taj Francis:
Facebook
Instagram
Twitter
Website
Tumblr

Written by Gladstone Taylor, a young author living in Jamaica.