Samuel Marshall
In the mid-1970s, Port Harcourt experienced the rise and flourishing of reggae culture, a phenomenon that deeply resonated with the city’s residents. This cultural movement was characterized by its unique blend of African consciousness and Western musical structures.
The thematic concerns of reggae music were equally important; its lyrics often addressed issues such as black identity, the transatlantic slave experience, colonial domination, and the symbolic conflict between Babylon’s moral corruption and Zion’s promise of spiritual refuge. Interwoven with biblical allusions, these messages resonated powerfully, especially among Christian listeners who sought solace and inspiration in the music’s spiritual undertones.
Reggae’s visual identity also contributed to its impact. Its accompanying fashion aesthetic, marked by rugged, bohemian attire and the iconic Nazarite hairstyle, projected a counter-cultural stance. Drawing upon scriptural symbolism, this style signified a conscious rejection of materialism and conformity, positioning reggae as a sonic and philosophical expression of resistance.
A significant factor in reggae’s widespread acceptance in Port Harcourt was the perceived physical and cultural affinities between Jamaican artists and the local population. Many residents of Port Harcourt found a striking resemblance between these musicians and various ethnic groups across Southern Nigeria. The cultural connection between Port Harcourt and reggae’s Jamaican origins was further reinforced through these perceived ethnic affinities. For instance, artists such as Eric Donaldson were believed to resemble members of the Ibibio ethnic group of contemporary Akwa Ibom State. At the same time, Roy Reid, better known as I-Roy, was observed to bear Yoruba facial features. Moreover, Michael “Ibo” Cooper, a member of the famous reggae band Third World, adopted his middle name “Ibo,” seeking to reclaim his fragmented or lost identity with Nigeria’s Ibo tribe. Additionally, the techniques found in the bass works of Winston Rodney, popularly called Burning Spear, drew comparisons to the beat pattern of the set-of-water-pots, native to the Eastern Niger Delta, highlighting a shared musical sensibility or the artist’s solidarity with African traditions.
And so, in homes throughout Port Harcourt, reggae music, together with its dub versions, became an integral part of everyday life. Ingenious sound systems, often consisting of bass-enhanced loudspeakers hidden under beds and within ceilings, created immersive auditory environments. These sonic arrangements amplified the genre’s dynamic rhythms, transforming ordinary homes into intimate concert spaces pulsating with reggae energy.
Beyond its musical form, reggae also served as a medium for transmitting wisdom and ideology. In a time when handwritten letters and postcards were popular, excerpts from reggae lyrics frequently appeared in personal correspondence. These quotations, often rich with spiritual insight and social critique, conveyed messages of love, encouragement, resistance, and hope.
On the global stage, reggae played a vital role in articulating opposition to injustice. Its lyrical protest against apartheid in South Africa, colonial exploitation, and the broader specter of modern imperialism – collectively represented by the biblical “Babylon” – positioned the genre as a voice for the oppressed. When apartheid officially ended in 1994 with the election of Nelson Mandela as South Africa’s first Black president, many residents of Port Harcourt attributed part of this historical victory to the spiritual and ideological influence of reggae. They praised its artists for having “chanted down Babylon,” acknowledging their contribution to sustaining the moral momentum behind global calls for justice and equality.
This significant development invigorated a sense of pan-African solidarity and encouraged nations emerging from colonial rule to con
[4:45 AM, 7/15/2025] Mr marshall: This significant development invigorated a sense of pan-African solidarity and encouraged nations emerging from colonial rule to confront the subtle realities of neo-imperialism. It affirmed reggae’s role not merely as entertainment, but as a cultural force that shaped awareness and advocated for liberation.
Ultimately, the reggae movement that took root in Port Harcourt during the 1970s was much more than a musical trend. It served as a reflective medium through which individuals reconnected with their heritage, articulated their struggles, and envisioned a liberated future. Its legacy endures as a powerful testament to the ability of music to act as both a cultural anchor and an instrument of social transformation.****
