UN Officially Protects Reggae Music



The songs, which grew from Jamaica in the 1960s thanks to artists such as Toots and the Maytals, Peter Tosh and Bob Marley, was added into the collection due to its”intangible cultural heritage”.


Reggae is”cerebral, socio-political, spiritual and sensual,” said Unesco.


It has”penetrated all corners of the planet,” added a Jamaican spokesperson.


Reggae followed on by the ska and rock steady genres – other early leaders comprised Lee Scratch Perry and Prince Buster. Millie Small’s 1964 ska cover of My Lady Lollipop also helped introduce reggae’s laidback groove to the entire world. Reggae became popular in the United States but particularly thrived in the UK, which had become home to several Jamaican immigrants because the end of World War Two. “I have enjoyed this music since I first heard it as a teenager.” Talking to 5 reside he added:”I have always said it speaks out to the underprivileged, it speaks out against social injustice. Reggae music is the original rebels’ music immortalized by Bob Marley at the Wailers.”


Jamaica had employed for reggae’s inclusion on the list this year in a meeting of the UN agency on the island of Mauritius.


The protected list started in 2008 and grew out of the UN’s convention for the safeguarding of intangible cultural heritage in 2003.


Its aims are to guarantee respect for communities, groups and individuals involved in the recorded activity, to increase awareness and encourage appreciation of those activities nationally and internationally.


“Reggae is uniquely Jamaican,” said Olivia Grange, Jamaica’s culture ministry. “This is a music that we have created which has penetrated all corners of the planet.”

Announcing the decision, Unesco (United Nations Educational, Scientific and Cultural Organisation) stated the music’s”contribution to international discourse on topics of injustice, resistance, love and humanity underscores the dynamics of this element as being at once cerebral, socio-political, sensual and spiritual”.


It added:”The basic social functions of this music – as a vehicle for social commentary, a cathartic practice, and a way of praising God – haven’t changed, and the music continues to function as a voice for everybody.”


Other cultural traditions which made the record contained a Spanish riding school in Vienna, a Mongolian camel-coaxing ritual and Egyptian puppetry.