By: Jhanae Winter

Goombay and Rake and Scrape are locally and internationally recognized as “Bahamian music”.

These genres have transcended time and continue to maintain the authentic Bahamian feel, setting the country apart from other Caribbean Islands.

However, this is not the only musical style to exist in The Bahamas. As more artists join the scene, some are venturing into R&B, Soul, Jazz, Hip-Hop, Afro-beats, Soca, Dancehall and more.

 Soca artist Wendi has proven herself as a talented artist with ten years in the business. She is well known for songs like ‘Happy Hour’ ‘One Song’   ‘Attitude’ ‘Walk Out.

 Wendi doesn't believe in referring to music by nationality.

 “When I think of Bahamian music, I think of who created the music. The  deeper conversation is that of genres and why we don’t refer to our music by genres but by nationality,” she said.

 Many artists are trying to find a sound original to them and not all are going the traditional route with their musical expressions and style.

 This raises the question then, what makes music, “Bahamian music”? Is it based on the fact that a Bahamian wrote, produced and sung the song that  defines it as Bahamian or based on the genre it is in?

 Bahamian Composer-Producer Fred Munnings, began his career nearly 50 years ago and is well known for songs such as “All the best things”, “Lift Every Voice and Sing”, “Dreamer Man”, “Sunflower”, “Only Love Can Save Us Now” and “A Rose is a Rose”.

 Fred believes what makes “Bahamian music” authentic is its Goombay and Rhythm sounds.

 “I will classify Bahamian Music as music produced in the Goombay genre. Bahamian artists have the talent, training and musical expertise to perform all genres of music (classic, jazz, pop, R&B, reggae, soca, etc). However, simply because a Bahamian artist produces a particular style of music, that does not make the music ‘Bahamian’”, he said.

It is true that the musical landscape of The Bahamas has changed and will continue to change. Each generation has things they value and sounds they like. As each generation produces new artists the sounds will not all be the same.

One of the changes Wendi is happy about, is more inclusion of women artists today, in contrast to when she first became an artist. She also said, “the listening audience is much more supportive, receptive and ‘Fan’ much more over local music and local artists.” 

However, many like Fred do not view this change in a positive way.

“The music landscape has changed drastically for the worse. In the 40’s, 50’s, 60’s and 70’s, the local music industry was based on 'Goombay Rhythms'. This was the indigenous rhythm of The Bahamas which was founded on the sound and rhythm of the drumbeat,” he said.

As other Caribbean nations are known for certain genres, The Bahamas should be the same way. But Bahamians should not limit themselves and others to stick to one genre because that is what has been identified by someone or a group of people decades before.

“The main and most popular genre of music to come out of the Bahamas is undoubtedly Junkanoo and Rake & Scrape. I find no difficulty with that at all. But I would never say that ‘Bahamian music’ should always include those genres. Music is a universal language and an art and I think people should stop telling artists how to produce their art and just enjoy it, or not,” Wendi said.

As slaves came to this Island the way their musical styles intermingled with the European influences, is the process of cultural exchange, or otherwise known as creolization.

We may never know the true sound of our because it has been intermingled with the sounds from colonizers and slaves who came to the island through the slave trade.

The point is this “sound” we are labeling as Bahamian may not even be our true “sound” of music. But yet this is something we have identified ourselves with and hold on to.

Therefore, if we have given our own selves this genre, don’t we have the power to adjust it where necessary, while still maintaining its authenticity?

Even with various artists creating traditional and non-tradtitional Bahamian music, Fred still belives it is lacking.

“l listen to some of the ‘new’ music produced by local artists and I am disappointed in the quality (lyrically and musically) of most of what I hear. Many of the ‘new’ music is a poor imitation of some foreign genre of music (reggae, soca, rap, dancehall, etc.). Even when attempts are made to produce indigenous genres (Junkanoo and Rake ‘No’ Scrape), the quality of the lyrics, music and production leaves a lot to be desired,” Fred said.

The problem most have with this discourse, is the argument that Bahamian music is losing its sound and many younger artists are sounding more American and Jamaican. It is not as distinct as it was in the past some might even say.

“I agree that some Bahamian rappers imitate an American accent and that some reggae artists imitate a Jamaican accent. However, I can think of rappers that I follow who are very talented and have dope songs who sound authentically Bahamian and don’t compromise the rap/hip hop genre,” Wendi said.

Fred believes the reason for this shift in music is because the younger artists lack exposure to the indigenous Bahamian music and lack knowledge of Bahamian history, traditions and heritage.

There is no doubt that the Bahamian music scene is ever growing. And even in this article there can be a difference of opinions as it pertains to what defines Bahamian music.

The new artists should feel a level of responsibility to keep an authentic feel in their music while finding their own voice. A classic old school meets new school concept.

The end goal is for Bahamian music and artists to be appreciated and taken more seriously and to not compare The Bahamas to other nations like America and Jamaica who have spent millions to maintain a level of sound quality, performances and more.

Fred said because “we failed '' to invest in Bahamian music it is not “taken seriously”. He also said how he has been advocating for the past two years “for respective governments to establish an Entertainment Cultural/Heritage Encouragement Act...still waiting!”

What both artists agree on, is that the Bahamian music industry needs more improvement and regulations.

Wendi agrees that more standardization, professionalism from artists and producers, and adherence to copyright laws are needed.

While Fred believes The Bahamian industry needs more policies and acts in place.

His list of suggestions are as follows: “Establish an Entertainment Cultural/Heritage Encouragement Act. Incentivize local and international businesses to invest in the Orange Economy. Incorporate a Bahamian music program in ‘ALL’ schools in The Bahamas. Enforce the international copyright laws in The Bahamas. Establish and promote the indigenous Goombay Music brand locally and internationally [and] make it mandatory for ‘ALL’ radio stations to play a minimum of 40% Bahamian music.