Jerome Laperrousaz: Translating Jamaica’s struggle to film

The French director’s new film Made in Jamaica opens this week, a documentary that explores the contemporary reggae scene (read our review of Made in Jamaica). Catch a Vibe caught up with him to find out more about the ideas behind the film.

CAV: How did your relationship with Jamaica start?
Jerome Laperrousaz: I made a film called Third World Prisoner on the Streets with the acclaimed reggae group Third World in 1979 which played at the Cannes Film Festival in 1980. It became a cult movie in two years. I have had a relationship with the island ever since. Part of my family is also Jamaican.

CAV: What is it about the country that fascinates you?
Jerome Laperrousaz: To me Jamaica speaks to people very loudly through music on an emotional level. Jamaica is a microcosm of what all the poor in the world are going through. Despite its culture it has a universal appeal – freedom, equality and tolerance. Demands for social equality and justice in Jamaica resonate with other cultures and societies worldwide.

CAV: Why is music so important in Jamaican culture?
Jerome Laperrousaz: Jamaica reflects all the world’s struggles through its music. Through its nation’s talent and creativity and ability to express it through song and music it acts as a voice for a voiceless society.

CAV: What was the inspiration for making Made in Jamaica?
Jerome Laperrousaz: Reggae has been around for over 40 years. No film to date has looked at what reggae has become to a contemporary audience or the emergence of dancehall.

CAV: You can tell this isn’t a straightforward documentary from the cinematography. How much of this film is staged? Why take this approach?
Jerome Laperrousaz: I cast it as a feature film through the eyes of the artists, which means that each star would provide a part of the answer that I wanted them to bring. I knew that I would be able to do this as I know the artists well personally and that they would come up with something, whether it was through the lyrics of their songs or their interviews. Everything was rigorously prepared. But my vision and my understanding of Jamaica is told through them, through what they have been through.

CAV: There are two very different musical styles in the film – roots reggae and dancehall. Do you make any distinction between them, or do you feel they are both expressions of the same national struggle?
Jerome Laperrousaz: They are. But with reggae their generation approaches things by expression through political lyrics. But dancehall is more complicated. The struggle is often expressed as a form of street poetry by dancehall artists akin to hip hop. Sometimes it is more explicit and direct.

CAV: What would you say to criticism of dancehall’s violent and sexual lyrics?
Jerome Laperrousaz: I would say that some of the lyrics are magnetic in terms of poetry and what they say about Jamaica’s struggle. But it does raise the question of gun culture which then leads us on to the question of who provides the guns and the drugs. As Bunny Wailer says in the film: “The chains that our ancestors had on their wrists and ankles have been transformed into the shape of guns on the hips of their children.” In other words, don’t be a gun slave.

CAV: Do you hope the film will produce converts to reggae, or was it made for aficionados like yourself?
Jerome Laperrousaz: I am certain that the film will appeal to a wider audience than reggae or dancehall fans. I have seen the reaction from audiences at different festivals around the world.

Made in Jamaica is at the ICA from 23^rd October to 5^th November. A Q&A with the director will follow the 6.30 showing on 25^th October. It is also showing at Rio Dalston on 24^th October.

You can read our review of Made in Jamaica here