“Yes, Rasta!”
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catering to the desires of tourists, but do so in a way which preserves their personal identities within the movement and doesn’t compromise their art. During free time at the Culture Art Studio in Lamu, Rasta artists hold workshop time for young kids, allowing them to learn and create art; introducing them to the skills to make their own artwork and to the idea of self-empowerment within the system. The traditional Rasta I spoke with in Lamu relates all of his art back to the Rasta movement. He designs metal jewelry inspired by his interpretation of the movement and religion, and ties much of his other work to Rasta through the use of color. In Nairobi he lives in a self-sustained commune with a group of Rastas and invites Rastas from around the world to visit free of charge. Some of the groups he’s involved with hold entrepreneurial seminars for youth in Nairobi and play large reggae shows to bring individuals in their community together. Each group has its own interpretation of the movement in the Kenyan, Coastal context but all involve a focus on self-empowerment, freedom and unity— values that are clearly emphasized in Marley’s lyrics too. Speaking specifically about interpretations of Rastafarianism outside of Jamaica, Turner writes, “the importance of Rastafari is not the rejection of official society, but their creation of a new one,” an overwhelming task which has been beautifully carried out by Rasta youth and practitioners in Lamu.