Rape, tape and hate
published: Thursday | August 10, 2006

Melville Cooke
Rape is one of the harder crimes to admit to. You can get a person to confess to murder, stealing, selling cocaine and myriad other offences, but rape, no.
It is also one of the harder offences to get redress for, as the person who is raped has to go through a series of examinations, physical as well as on the witness stand, which causes them to relive a horrible experience over and over again, as well as have to prove that they did not consent to penetration.
Which is why taping rape is so remarkable, as the rapist (or rapists, as somebody must operate the recording device and chances are they will not tape and not rape) is leaving hard evidence (no pun intended) of the crime, as well as celebrating the act, not only not showing any shame but actually revelling in it and providing an avenue to relive the experience over and over and over again.
Shame of rape
It is the natural extension of the curious situation where the shame of rape is somehow transferred to the victim. In our society it is possible that it goes back to slavery and the white men's habitual rape of black women, individually as well as in gangs, where they actually had rape parties. And since whites could not be ashamed of anything, then the shame must have been the victims', being helpless made a crime.
Or it could be the imbalance in the perception of sex, that most natural of physical acts that men and women participate in, where it elevates the man (hence the stud) and devalues the woman (hence the sketel). So, however the sex comes, it is still a credit for the man and a debit for the woman.
Taped or not, rape is evidence of a deep hatred for women and a deep-seated need to dominate them. It is reflected in everyday speech, where many men refer to somebody they dislike as "da p...h...e" deh" and declare their desire to "kill de p....y" who offends them.
What I find extremely remarkable, though, is that women do not seem overly offended by rape and not particularly averse to rapists. Over the past five years I have been to numerous reggae concerts where the calls to 'free Jah Cure' have been amplified, to the collective flag-waving and cheering of the audiences, including women. Jah Cure, who started his sentence at Spanish Town prison and has been transferred to Tower Street, is a convicted rapist, whose very popular
Longing For expresses his desire to be free again.
The irony
He is not a political prisoner, framed for speaking out on issues that made the authorities uncomfortable; he did not commit a crime in trying to correct injustice. Yet the calls to 'free Jah Cure'.
For me, a woman singing or dancing to
Longing For is equivalent to me chirping along to a song done by one of the white policemen who beat Rodney King, shot Amadou Dialo, set dogs on the U.S. Civil Rights marchers, beat Steve Biko to death and murdered Africans at will under apartheid. That simply could not happen, but there they go, singing and dancing away.
It is very hard, even futile, to defend the dignity of a group in which a critical mass seems to have absolutely no interest in the issue which you think is crucial (and that applies to black people as well). I was encouraged, though, a few years ago when a judge ordered a woman who had allegedly been raped by a policeman at a police station in downtown Kingston to be remanded in custody because she did not speak loudly enough. There was a protest by women on King Street, one placard reading 'Rape Reid instead'.
And tape it too.
Mel Cooke is a freelance writer.
Copyright Jamaica-Gleaner.com
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I have read that Freemasons study music to incite certain reaction in the masses. I think not absolutely sure read that Mozart or Beethoven were involved with such effort to cause people who listen to their music to become rebellious against their 'religious' beliefs.
It seems that if you have a popular tune you can use it to 'free' yourself from prior judgements and still be accepted in many popular circles.