Abstract
ABSTRACT The 1979 Bob Marley concert in Auckland, Aotearoa (New Zealand), inspired a generation of local musicians to make political reggae music. They articulated resistance to colonial legacies and systemic racism, locally and abroad. I propose that ambiguity in reggae music, manifested in relation to time and place, substantially contributes to its decolonizing potential. Useful ambiguity appears in the coexisting temporality of reggae rhythms and the way past and present are conflated. It also appears in the expression of decoloniality as a struggle without end through the place-related concepts of Tūrangawaewae (your place to stand) and Zion (spiritual homeland).
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