Reggae - Revision history

Edb: Expand the comprehensive music catalogue with reviewed distinct performances; prioritize recent discovery, retain good older music and preserve existing prose, recordings and fields.

2026-10-22T12:12:09Z

Expand the comprehensive music catalogue with reviewed distinct performances; prioritize recent discovery, retain good older music and preserve existing prose, recordings and fields.

Show changes

Edb: Add canonical MuGlobe favorite, current-hit and authentic fields to all recording links; preserve existing music and article content

2026-10-22T02:33:35Z

Add canonical MuGlobe favorite, current-hit and authentic fields to all recording links; preserve existing music and article content

← Older revision		Revision as of 02:33, 22 October 2026
Line 25:		Line 25:
	{\| class="wikitable muglobe-performances"		{\| class="wikitable muglobe-performances"
	\|+ MuGlobe representative performances		\|+ MuGlobe representative performances
	! Artist !! Performance / song / title !! Embedded player URL !! Notes		! Artist !! Performance / song / title !! Embedded player URL !! Notes !! Repertoire kind !! Repertoire date !! Recording date !! Format !! Opening !! Places !! Fit !! Evidence !! Review note !! MuGlobe favorite !! Current hit !! Authentic
	\|-		\|-
	\| Bob Marley and the Wailers \|\| No Woman, No Cry — Rainbow, 4 June 1977 \|\| https://www.youtube.com/embed/mZ6VezKMoRY \|\| The official concert archive presents reggae through a sustained live band performance and audience-facing vocal delivery.<ref name="performance-reggae-1">[https://www.youtube.com/watch?v=mZ6VezKMoRY Bob Marley and the Wailers — No Woman, No Cry — Rainbow, 4 June 1977]. YouTube recording; metadata checked 2026-10-18.</ref>		\| Bob Marley and the Wailers \|\| No Woman, No Cry — Rainbow, 4 June 1977 \|\| https://www.youtube.com/embed/mZ6VezKMoRY \|\| The official concert archive presents reggae through a sustained live band performance and audience-facing vocal delivery.<ref name="performance-reggae-1">[https://www.youtube.com/watch?v=mZ6VezKMoRY Bob Marley and the Wailers — No Woman, No Cry — Rainbow, 4 June 1977]. YouTube recording; metadata checked 2026-10-18.</ref> \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| pending \|\| [https://www.youtube.com/watch?v=mZ6VezKMoRY Existing recording] \|\| Legacy accepted recording retained during curation-field migration; no new age or geographic claims. \|\| <muglobe-flag video="mZ6VezKMoRY" field="muglobeFavorite" /> \|\| <muglobe-flag video="mZ6VezKMoRY" field="currentHit" /> \|\| <muglobe-flag video="mZ6VezKMoRY" field="authentic" />
	\|-		\|-
	\| Burning Spear \|\| Slavery Days — 2 Meter Sessions \|\| https://www.youtube.com/embed/BpAkVlESkHw \|\| The session producer’s film offers another roots-reggae voice and historically focused song, contrasting with the Marley selection.<ref name="performance-reggae-2">[https://www.youtube.com/watch?v=BpAkVlESkHw Burning Spear — Slavery Days — 2 Meter Sessions]. YouTube recording; metadata checked 2026-10-18.</ref>		\| Burning Spear \|\| Slavery Days — 2 Meter Sessions \|\| https://www.youtube.com/embed/BpAkVlESkHw \|\| The session producer’s film offers another roots-reggae voice and historically focused song, contrasting with the Marley selection.<ref name="performance-reggae-2">[https://www.youtube.com/watch?v=BpAkVlESkHw Burning Spear — Slavery Days — 2 Meter Sessions]. YouTube recording; metadata checked 2026-10-18.</ref> \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| pending \|\| [https://www.youtube.com/watch?v=BpAkVlESkHw Existing recording] \|\| Legacy accepted recording retained during curation-field migration; no new age or geographic claims. \|\| <muglobe-flag video="BpAkVlESkHw" field="muglobeFavorite" /> \|\| <muglobe-flag video="BpAkVlESkHw" field="currentHit" /> \|\| <muglobe-flag video="BpAkVlESkHw" field="authentic" />
	\|-		\|-
	\| Chronixx \|\| Skankin’ Sweet — KEXP \|\| https://www.youtube.com/embed/l61q7uSoLmU \|\| A live broadcaster session adds a later Jamaican generation and contemporary roots-reggae arrangement.<ref name="performance-reggae-3">[https://www.youtube.com/watch?v=l61q7uSoLmU Chronixx — Skankin’ Sweet — KEXP]. YouTube recording; metadata checked 2026-10-18.</ref>		\| Chronixx \|\| Skankin’ Sweet — KEXP \|\| https://www.youtube.com/embed/l61q7uSoLmU \|\| A live broadcaster session adds a later Jamaican generation and contemporary roots-reggae arrangement.<ref name="performance-reggae-3">[https://www.youtube.com/watch?v=l61q7uSoLmU Chronixx — Skankin’ Sweet — KEXP]. YouTube recording; metadata checked 2026-10-18.</ref> \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| pending \|\| [https://www.youtube.com/watch?v=l61q7uSoLmU Existing recording] \|\| Legacy accepted recording retained during curation-field migration; no new age or geographic claims. \|\| <muglobe-flag video="l61q7uSoLmU" field="muglobeFavorite" /> \|\| <muglobe-flag video="l61q7uSoLmU" field="currentHit" /> \|\| <muglobe-flag video="l61q7uSoLmU" field="authentic" />
	\|-		\|-
	\| Marcia Griffiths \|\| Feel Like Jumping / 54-46 — Rototom Sunsplash \|\| https://www.youtube.com/embed/Sqv14lhmXkg \|\| The festival’s own live release adds Griffiths’s voice and a concert medley spanning Jamaica’s rocksteady/reggae continuum.<ref name="performance-reggae-4">[https://www.youtube.com/watch?v=Sqv14lhmXkg Marcia Griffiths — Feel Like Jumping / 54-46 — Rototom Sunsplash]. YouTube recording; metadata checked 2026-10-18.</ref>		\| Marcia Griffiths \|\| Feel Like Jumping / 54-46 — Rototom Sunsplash \|\| https://www.youtube.com/embed/Sqv14lhmXkg \|\| The festival’s own live release adds Griffiths’s voice and a concert medley spanning Jamaica’s rocksteady/reggae continuum.<ref name="performance-reggae-4">[https://www.youtube.com/watch?v=Sqv14lhmXkg Marcia Griffiths — Feel Like Jumping / 54-46 — Rototom Sunsplash]. YouTube recording; metadata checked 2026-10-18.</ref> \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| pending \|\| [https://www.youtube.com/watch?v=Sqv14lhmXkg Existing recording] \|\| Legacy accepted recording retained during curation-field migration; no new age or geographic claims. \|\| <muglobe-flag video="Sqv14lhmXkg" field="muglobeFavorite" /> \|\| <muglobe-flag video="Sqv14lhmXkg" field="currentHit" /> \|\| <muglobe-flag video="Sqv14lhmXkg" field="authentic" />
	\|}		\|}

Edb: Research-led Africa musical geography and article revision; existing recording sections and native bindings preserved.

2026-10-22T01:13:41Z

Research-led Africa musical geography and article revision; existing recording sections and native bindings preserved.

← Older revision		Revision as of 01:13, 22 October 2026
Line 12:		Line 12:

	== Geography and communities ==		== Geography and communities ==

	The map begins with a connected Jamaican heartland and substantial British and North American diaspora circuits. Broad adopted landscapes in coastal West Africa, southern Africa, Maranhão, parts of continental Europe, Japan and Aotearoa reflect locally sustained music-making and listening. These are not claims of uniform preference within countries. In Maranhão, for example, sound systems and local dance have created a particular adopted identity; in West Africa, language and political address reshape the genre. Sparse dots at Kingston, London and Abidjan would miss that regional depth. <ref name="new-ivorian-reggae">[https://musicinafrica.net/magazine/reggae-ivory-coast/ Reggae in Ivory Coast — Music In Africa].</ref>		The map begins with a connected Jamaican heartland and substantial British and North American diaspora circuits. Broad adopted landscapes in coastal West Africa, southern Africa, Maranhão, parts of continental Europe, Japan and Aotearoa reflect locally sustained music-making and listening. These are not claims of uniform preference within countries. In Maranhão, for example, sound systems and local dance have created a particular adopted identity; in West Africa, language and political address reshape the genre. Sparse dots at Kingston, London and Abidjan would miss that regional depth. <ref name="new-ivorian-reggae">[https://musicinafrica.net/magazine/reggae-ivory-coast/ Reggae in Ivory Coast — Music In Africa].</ref>

			Kenya is an important distinct adoption landscape. Nairobi’s Asili Dub account describes a locally maintained live reggae project, while research on KBC documents the earlier Metro FM reggae service. A Kenyan field recognizes these band, broadcast and listening networks alongside the existing western and southern African fields. Historical broadcasting is identified as historical evidence, not presented as a verified current station schedule. <ref name="africa2026-ke-reggae-asili">[https://musicinafrica.net/node/9363 Asili Dub, practitioner project description]. Access note: Published ensemble history read, including 2018 Nairobi live-scene project and regional appearances; media not opened.</ref> <ref name="africa2026-ke-reggae-kbc">[https://erepository.uonbi.ac.ke/bitstream/handle/11295/96323/Owaka_The%20Role%20of%20Corporate%20Communications%20in%20the%20Restructuring%20of%20Public%20Service%20Broadcasting-%20a%20Case%20Study%20of%20the%20Kenya%20Broadcasting%20Corporation.pdf;sequence=1 Owaka, The Role of Corporate Communications in Restructuring Public Service Broadcasting, Nairobi thesis, 2016]. Access note: Relevant indexed case-study history read; full dissertation not claimed.</ref>

	== Artists ==		== Artists ==
Line 37:		Line 40:

	=== References and further reading ===		=== References and further reading ===

	<references />		<references />

Line 44:		Line 48:

	== Hotspot mushrooms ==		== Hotspot mushrooms ==

	Reggae is a Jamaican-origin global family with substantial locally adopted regional landscapes. Broad fields show community depth, media and performance circuits, rather than only studios or a falsely uniform global circle.		Reggae is a Jamaican-origin global family with substantial locally adopted regional landscapes. Broad fields show community depth, media and performance circuits, rather than only studios or a falsely uniform global circle.

	These fields are editorial illustrations of musical affinity and cultural reach, not listener statistics. Radius marks the zero edge of the fade; overlapping fields of this genre combine by maximum.		These fields are editorial illustrations of musical affinity and cultural reach, not listener statistics. Radius marks the zero edge of the fade; overlapping fields of this genre combine by maximum.

			Africa completion review: The African changes distinguish documented regional cores from gentler circulation. Existing fields elsewhere remain unchanged.

			The fields express editorial judgments about relative musical affinity and reach, not measured audience shares. Radius is the zero edge of a linear fade; same-genre overlaps combine by maximum.

	{\| class="wikitable muglobe-hotspots"		{\| class="wikitable muglobe-hotspots"
	\|+ MuGlobe hotspot mushrooms		\|+ MuGlobe hotspot mushrooms
	! ID !! Location !! Latitude !! Longitude !! Radius (km) !! Strength !! Notes		! ID !! Location !! Latitude !! Longitude !! Radius (km) !! Strength !! Notes

	\|-		\|-
	\| reggae-jamaica \|\| Jamaican reggae cultural landscape \|\| 18.1 \|\| -77.3 \|\| 350 \|\| 1 \|\| Connected home listening, performance, production and sound-system world.		\| reggae-jamaica \|\| Jamaican reggae cultural landscape \|\| 18.1 \|\| -77.3 \|\| 350.0 \|\| 1.0 \|\| Connected home listening, performance, production and sound-system world.
			\|-
			\| reggae-britain \|\| British reggae and sound-system landscape \|\| 52.2 \|\| -1.5 \|\| 650.0 \|\| 0.85 \|\| Regional adopted and Caribbean-community continuity.
	\|-		\|-
	\| reggae-~~britain~~ \|\| ~~British~~ reggae ~~and sound-system landscape~~ \|\| 52.2 \|\| -1.5 \|\| ~~650~~ \|\| 0.85 \|\| ~~Regional~~ adopted ~~and Caribbean-community continuity~~.		\| reggae-northeast-us \|\| Northeastern US Caribbean reggae circuit \|\| 41.0 \|\| -73.7 \|\| 500.0 \|\| 0.7 \|\| Detached migrant and adopted performance network.

	\|-		\|-
	\| reggae-~~northeast~~-us \|\| ~~Northeastern US~~ Caribbean reggae circuit \|\| 41 \|\| -73.7 \|\| ~~500~~ \|\| 0.7 \|\| Detached ~~migrant~~ and ~~adopted performance~~ network.		\| reggae-south-florida \|\| South Florida Caribbean reggae circuit \|\| 26.0 \|\| -80.3 \|\| 280.0 \|\| 0.7 \|\| Detached trans-Caribbean community and dance network.

	\|-		\|-
	\| reggae-~~south~~-~~florida~~ \|\| ~~South Florida Caribbean~~ reggae ~~circuit~~ \|\| 26 \|\| -80.3 \|\| ~~280~~ \|\| 0.7 \|\| ~~Detached trans-Caribbean community~~ and ~~dance network~~.		\| reggae-west-africa \|\| Coastal West African reggae adoption landscape \|\| 7.0 \|\| -5.0 \|\| 1500.0 \|\| 0.8 \|\| Broad locally sustained language, band and listening circuits.

	\|-		\|-
	\| reggae-~~west~~-africa \|\| ~~Coastal West~~ African reggae adoption landscape \|\| 7 \|\| -5 \|\| ~~1500~~ \|\| 0.8 \|\| ~~Broad locally sustained language, band~~ and listening ~~circuits~~.		\| reggae-southern-africa \|\| Southern African reggae adoption landscape \|\| -24.0 \|\| 28.0 \|\| 1800.0 \|\| 0.65 \|\| Substantial adopted music-making and listening beyond one artist city.

	\|-		\|-
	\| reggae-~~southern-africa~~ \|\| ~~Southern African~~ reggae ~~adoption~~ landscape \|\| -24 \|\| 28 \|\| ~~1800~~ \|\| 0.65 \|\| ~~Substantial adopted music~~-~~making and listening beyond one artist city~~.		\| reggae-maranhao \|\| Maranhão reggae and radiola landscape \|\| -3.0 \|\| -44.4 \|\| 600.0 \|\| 0.85 \|\| São Luís-centered regional adoption includes surrounding communities.

	\|-		\|-
	\| reggae-~~maranhao~~ \|\| ~~Maranhão~~ reggae and ~~radiola landscape~~ \|\| -3 \|\| ~~-44~~.4 \|\| ~~600~~ \|\| 0.85 \|\| ~~São Luís~~-~~centered regional adoption includes surrounding communities~~.		\| reggae-continental-europe \|\| Continental European reggae and festival circuit \|\| 47.0 \|\| 6.0 \|\| 1500.0 \|\| 0.55 \|\| Lighter broad adopted band, record and sound-system landscape.

	\|-		\|-
	\| reggae-~~continental-europe~~ \|\| ~~Continental European~~ reggae and ~~festival circuit~~ \|\| 47 \|\| 6 \|\| ~~1500~~ \|\| 0.55 \|\| ~~Lighter broad~~ adopted ~~band, record and sound-system landscape~~.		\| reggae-japan \|\| Japanese reggae and sound-system landscape \|\| 35.5 \|\| 138.0 \|\| 800.0 \|\| 0.6 \|\| Locally sustained adopted scene beyond a single venue.

	\|-		\|-
	\| reggae-~~japan~~ \|\| ~~Japanese~~ reggae and sound-system landscape \|\| 35.5 \|\| ~~138~~ \|\| ~~800~~ \|\| 0.6 \|\| ~~Locally sustained~~ adopted ~~scene beyond a single venue~~.		\| reggae-aotearoa \|\| Aotearoa reggae band and sound-system landscape \|\| -39.0 \|\| 175.0 \|\| 900.0 \|\| 0.75 \|\| Connected locally adopted national circuit with regional variation.

	\|-		\|-
	\| reggae-~~aotearoa~~ \|\| ~~Aotearoa~~ reggae ~~band~~ and ~~sound-system~~ landscape \|\| -39 \|\| ~~175~~ \|\| ~~900~~ \|\| 0.75 \|\| ~~Connected locally adopted national circuit~~ with ~~regional variation~~.		\| reggae-kenyan-adoption \|\| Kenyan reggae performance and listening landscape \|\| -1.3 \|\| 36.7 \|\| 800 \|\| 0.65 \|\| Locally sustained live music and longstanding broadcast reception connect Nairobi with surrounding communities.

	\|}		\|}

Edb: Add sourced representative performance playlist; preserve article prose and hotspot mushrooms

2026-10-18T18:02:38Z

Add sourced representative performance playlist; preserve article prose and hotspot mushrooms

@@ Line 16: / Line 16: @@
 == Artists ==
 Bob Marley and the Wailers, Peter Tosh, Jimmy Cliff, Toots and the Maytals, Burning Spear, Gregory Isaacs and Marcia Griffiths offer different Jamaican routes. Steel Pulse, Aswad, Alpha Blondy, Tiken Jah Fakoly, Lucky Dube and many Pacific and Latin American groups show adopted creativity. A listening introduction should compare contrasting grooves and lyrical settings rather than treat one international canon as the genre's limit. The São Luís museum record is evidence of a durable local reggae culture, not merely a place where a Jamaican record happened to be played. <ref name="new-maranhao-reggae">[https://visite.museus.gov.br/instituicoes/museu-do-reggae-maranhao/ Museu do Reggae Maranhão — Visite Museus].</ref>
 == Related genres ==
@@ Line 2: / Line 2: @@
 	"category": "genre",
 	"templatePageId": 17,
-	"templateRevisionId": 86,
+	"templateRevisionId": 1065,
-	"templateVersion": 8
+	"templateVersion": 9
+}

Edb: Create researched genre article and inferred regional musical landscapes; Ed’s approved authoring method

2026-10-18T01:03:55Z

Create researched genre article and inferred regional musical landscapes; Ed’s approved authoring method

New page

== Summary ==
Reggae is a Jamaican musical family and a globally adopted expressive language whose bass-centered grooves, offbeat articulation and distinctive vocal approaches support an unusually wide range of songs. It can be spiritual, romantic, political, celebratory or reflective. The category includes several historical and stylistic strands, so one drum pattern or one famous artist cannot define the whole field. Reggae's Jamaican formation remains central even as communities elsewhere have made it part of their own musical identities. <ref name="ga-jamaica">[https://ich.unesco.org/en/RL/reggae-music-of-jamaica-01398?RL=01398 Reggae music of Jamaica — UNESCO ICH].</ref>

== Contemporary and trending ==
Reggae continues through bands, singers, producers, selectors, sound systems, festivals, local dance and everyday listening. Historical roots repertory coexists with new recordings and hybrid forms. International adoption is not only a matter of touring stars: musicians and audiences in Africa, Europe, Brazil, Japan and the Pacific have sustained their own scenes. Some settings foreground Rastafari and social critique, others romantic song or sound-system experience. A broad genre article should make those differences visible rather than assume every listener shares the same religious or political position.

== History ==
Reggae developed in Jamaica through exchanges among ska, rocksteady, local musical practices, US records and a creative studio and sound-system economy. Western Kingston's marginalized communities were especially significant in its formation. Rastafari and struggles over race, class and colonial history shaped major strands without accounting for every song. Migration connected Jamaica with Britain and North America, while records and performances encouraged much wider adoption. Artists elsewhere translated the language into local concerns rather than simply reproducing Jamaican accents or subjects. <ref name="new-london-dub">[https://www.londonmuseum.org.uk/collections/london-stories/dub-london-shops-sound-systems-legends/ Dub in London: Shops, sound systems & legends — London Museum].</ref>

== Musical characteristics ==
The bass often carries a memorable melodic-rhythmic identity, with drums, guitar and keyboards occupying carefully differentiated spaces. Offbeat chords can be clipped or sustained; the drum emphasis varies among styles. A singer may use smooth melody, rough declamation, harmony or speech-related delivery. Space is active: leaving a gap lets the bass and percussion communicate more clearly. Studio treatment can alter depth and atmosphere, especially in dub-related work. The listener benefits from following the rhythm section rather than hearing it as a generic backing track behind the words.

== Geography and communities ==
The map begins with a connected Jamaican heartland and substantial British and North American diaspora circuits. Broad adopted landscapes in coastal West Africa, southern Africa, Maranhão, parts of continental Europe, Japan and Aotearoa reflect locally sustained music-making and listening. These are not claims of uniform preference within countries. In Maranhão, for example, sound systems and local dance have created a particular adopted identity; in West Africa, language and political address reshape the genre. Sparse dots at Kingston, London and Abidjan would miss that regional depth. <ref name="new-ivorian-reggae">[https://musicinafrica.net/magazine/reggae-ivory-coast/ Reggae in Ivory Coast — Music In Africa].</ref>

== Artists ==
Bob Marley and the Wailers, Peter Tosh, Jimmy Cliff, Toots and the Maytals, Burning Spear, Gregory Isaacs and Marcia Griffiths offer different Jamaican routes. Steel Pulse, Aswad, Alpha Blondy, Tiken Jah Fakoly, Lucky Dube and many Pacific and Latin American groups show adopted creativity. A listening introduction should compare contrasting grooves and lyrical settings rather than treat one international canon as the genre's limit. The São Luís museum record is evidence of a durable local reggae culture, not merely a place where a Jamaican record happened to be played. <ref name="new-maranhao-reggae">[https://visite.museus.gov.br/instituicoes/museu-do-reggae-maranhao/ Museu do Reggae Maranhão — Visite Museus].</ref>

== Related genres ==
[[Ska]] and [[Rocksteady]] illuminate earlier Jamaican developments; [[Roots reggae]], [[Dub]] and [[Dancehall]] describe distinct emphases within and alongside the wider family. [[Reggae en español]] and [[Reggaeton]] reveal later trans-Caribbean transformations with their own identities. Reggae's global influence also reaches rock, pop, electronic music and hip-hop. Influence should not be confused with equivalence: a borrowed offbeat chord does not by itself make an entire local genre reggae.

=== References and further reading ===
<references />

* [https://audioculture.co.nz/articles/the-rise-of-the-sound-systems-in-aotearoa The Rise of the Sound Systems in Aotearoa — AudioCulture, Lewis Tennant]

* [https://cadastro.museus.gov.br/museus/museu-do-reggae/ Museu do Reggae — MuseusBr]

== Hotspot mushrooms ==
Reggae is a Jamaican-origin global family with substantial locally adopted regional landscapes. Broad fields show community depth, media and performance circuits, rather than only studios or a falsely uniform global circle.

These fields are editorial illustrations of musical affinity and cultural reach, not listener statistics. Radius marks the zero edge of the fade; overlapping fields of this genre combine by maximum.

{| class="wikitable muglobe-hotspots"
|+ MuGlobe hotspot mushrooms
! ID !! Location !! Latitude !! Longitude !! Radius (km) !! Strength !! Notes

|-
| reggae-jamaica || Jamaican reggae cultural landscape || 18.1 || -77.3 || 350 || 1 || Connected home listening, performance, production and sound-system world.

|-
| reggae-britain || British reggae and sound-system landscape || 52.2 || -1.5 || 650 || 0.85 || Regional adopted and Caribbean-community continuity.

|-
| reggae-northeast-us || Northeastern US Caribbean reggae circuit || 41 || -73.7 || 500 || 0.7 || Detached migrant and adopted performance network.

|-
| reggae-south-florida || South Florida Caribbean reggae circuit || 26 || -80.3 || 280 || 0.7 || Detached trans-Caribbean community and dance network.

|-
| reggae-west-africa || Coastal West African reggae adoption landscape || 7 || -5 || 1500 || 0.8 || Broad locally sustained language, band and listening circuits.

|-
| reggae-southern-africa || Southern African reggae adoption landscape || -24 || 28 || 1800 || 0.65 || Substantial adopted music-making and listening beyond one artist city.

|-
| reggae-maranhao || Maranhão reggae and radiola landscape || -3 || -44.4 || 600 || 0.85 || São Luís-centered regional adoption includes surrounding communities.

|-
| reggae-continental-europe || Continental European reggae and festival circuit || 47 || 6 || 1500 || 0.55 || Lighter broad adopted band, record and sound-system landscape.

|-
| reggae-japan || Japanese reggae and sound-system landscape || 35.5 || 138 || 800 || 0.6 || Locally sustained adopted scene beyond a single venue.

|-
| reggae-aotearoa || Aotearoa reggae band and sound-system landscape || -39 || 175 || 900 || 0.75 || Connected locally adopted national circuit with regional variation.

|}