As reggae and reggae-inspired music becomes more popular in New Zealand, it may be that its traditional links with the Rastafarian religion and political and social activism are weakening. Has reggae in New Zealand, famously introduced to the culture in the late 1970s when Bob Marley visited, fundamentally changed?
Reggae, roots and dub music are finding a broader base. No longer the preserve of a particular counter-culture, or even the young, bands such as Fat Freddy’s Drop and the Black Seeds are making the playlists of the mainstream middle-class. Reggae and related musical genre have inspired an outpouring of gigs and creative work, and innovative ways to link musicians and listeners such as the non-profit organisation NiceUp.
The relationship between the Rastafarian religion and reggae in Jamaica, its birthplace, is well-documented. In his 2003 book Solid Foundation: an Oral History of Reggae, David Katz describes how “certain unconventional Jamaican religious figures” believed that Haile Selassie’s crowning as emperor of Ethiopia was the fulfilment of a biblical prophecy. The new religion was linked with the black self-determination writings of Marcus Garvey, and quickly made an alliance with musicians practising traditional West African burru drumming in the poorest areas of Jamaica.
That was in the 1930s. By the 1976 Jamaican general election, Rastafarian Bob Marley was famous around the world. In the midst of political turmoil between the socialist-leaning government and the US-backed opposition, an alleged assassination attempt was made on Marley just before he was due to perform at a controversial concert. Katz observes that although Marley and Rita Marley were hurt and manager Don Taylor seriously wounded, the Marleys carried on with their performance.
Marley's Gift
Marley brought his mix of reggae, liberation politics and the Rastafarian religion to New Zealand in 1979. His performance was a life-changing experience for many people. According to an interview in New Zealand Musician Magazine with Peter McLennan, Tigilau Ness, a founder in Aotearoa of Rastafarian group the Twelve Tribes of Israel, was one of many brought to Rasta through Marley’s music. An activist imprisoned for nine months for opposing the New Zealand tour of the white-only South African rugby team, Tigilau and the Twelve Tribes have always combined messages of hope and redemption with Rastafarian religion and reggae music. “Being Rasta,” he said, “we give thanks all the time.”
Rastafarianism has tended to be a syncretic religion in New Zealand, with many Maori and Pacific Island people blending the Rasta traditions with their own, and using the religion to celebrate the beauty of the land. For example, Ngati Porou Maori based in Ruatoria on the East Coast have combined the teachings of Rasta with those of the Maori prophet Te Kooti. The name Ngati (or tribe) Dread, a play on Marley’s acclaimed album Natty Dread, has been adopted to the extent that it was included in the 100% Pure New Zealand tourism campaign.
So what has become of the links between reggae-inspired music, the Rastafarian religion and social activism today? Certainly Maori and non-Maori still find the liberation message in reggae compelling. The Parihaka International Peace Festival, staged on the site of a non-violent resistance movement by Maori leaders against land-hungry settlers in the 19th century, marries a programme of reggae-inspired music with a reminder of the continuing need to work towards resolution of issues between Maori and non-Maori. Maori Television has produced several well-structured documentaries that touch on reggae-inspired music, Rasta, and Maori political issues.
However, many of the reggae/roots-inspired music festivals, with their new-found broad-based appeal, may be appealing to music lovers looking simply for good times with friends in the sunshine. Given the way music, religion and politics have come together in New Zealand, it may be that such an ambition is not after all so different from the past.
 |
