The Story of São Luís: How a Brazilian City Became the Reggae Capital of South America

São Luís, the capital of Maranhão in Brazil’s northeast, is often referred to as “Brazilian Jamaica.” It’s not a tourism tagline, but a reflection of how deeply reggae music has become embedded in the city’s social and cultural fabric.

What began as imported music from the Caribbean has, over the last five decades, evolved into a key part of life in São Luís, particularly among the city’s Black and working-class communities. From the way people dress, speak and dance to the businesses and cultural events built around it, reggae in São Luís is more than entertainment — it’s identity.

How Reggae Arrived in São Luís

There is no single agreed-upon account of how reggae first arrived in São Luís. Some say it came via shortwave radio broadcasts from Caribbean stations, while others point to sailors, returning migrants or DJs from nearby Pará who brought records into local clubs. However it started, by the 1970s reggae was gaining traction in São Luís, especially in neighbourhoods on the city’s outskirts.

Its popularity grew among communities who saw parallels between the themes in reggae such as social justice, resistance, and Black pride, and their own lived realities. While Caribbean genres like salsa and merengue had previously found short-lived popularity in the region, reggae struck a different chord and quickly took root.

The Rise of Radiolas and Reggae Parties

A major factor in reggae’s spread across São Luís was the rise of radiolas, large custom-built sound systems inspired by those in Jamaica. These mobile walls of speakers were operated by DJs and sound engineers who played vinyl records at community events and street parties. Over time, radiolas became a central feature of the local scene, and DJ clashes or “duels” would attract hundreds, sometimes thousands, of attendees.

Local DJs also played a key role in popularising reggae songs despite the language barrier. Many of the earliest fans didn’t speak English, but the music still resonated. This led to the emergence of the melô tradition, where songs were renamed based on local experiences or misheard lyrics. One example is Sweet P. by Jamaican group Fabulous Five, which became known locally as “melô da rain” because DJ Carlinhos Tijolada first played it during a reggae party in Cidade Operária while it was raining heavily

A Dance Style and Culture of Its Own

As reggae became more established in São Luís, the city developed its own way of dancing to it. Known as agarradinho, the style involves dancing in close embrace, a notable departure from the solo or freeform styles seen in Jamaican dancehalls. This change was part of a broader trend of local reinterpretation — reggae in São Luís was not a carbon copy of its Jamaican origins but adapted to local tastes, customs, and cultural expressions.

Reggae also blended with existing Afro-Brazilian traditions, such as Tambor de Crioula, Capoeira and Bumba Meu Boi, and at times even helped fund these cultural practices through party proceeds. Rather than replacing local culture, reggae became an extension of it.

From Marginalisation to Official Recognition

In its early years, reggae and its fans faced significant stigma. The genre was often dismissed by São Luís’ elite as “music of the poor,” and parties were stereotyped as sites of criminal activity. Yet these gatherings were, in reality, affordable spaces of social connection and joy, especially for those excluded from the city’s mainstream venues.

Despite this, reggae endured and expanded. By the 1990s, a local reggae industry had formed, with businesses built around radiolas, themed bars, record stores, and radio and TV programmes. São Luís had, by this point, become the reggae capital of Brazil in both cultural and economic terms.

In 2018, the Government of Maranhão officially recognised this legacy by opening the Reggae Museum in São Luís (Reggae Maranhão Museum)— the first of its kind in Brazil and the only reggae museum outside Jamaica. The museum preserves local reggae history with artefacts such as vintage vinyl records, instruments, and DJ equipment, including a replica radiola. A reggae-themed public square (Reggae square) was also created nearby to host performances and community events.

In 2023, São Luís was formally designated Brazil’s National Reggae Capital.

Reggae as Belonging

For many residents, reggae is inseparable from their sense of identity. Photographer Ingrid Barros, who has documented the local scene, describes it as a cultural reference point from childhood. “It’s present whether it’s in our homes, our neighbours’, or at the neighbourhood bar. That lingers as identity. It’s how we recognise ourselves,” she told Global Voices.

Each year on 11 May — the anniversary of Bob Marley’s death — Brazil marks National Reggae Day. While it’s recognised nationally, the date holds particular meaning in São Luís, where concerts, radio specials and DJ events are held to honour the man whose music played such a pivotal role in shaping the city’s relationship with reggae.

Though Bob Marley never visited São Luís, his image is a familiar sight across the city, appearing in murals and street art. One of the most iconic is located in the Liberdade neighbourhood, at a spot known as Esquina Bob Marley (Bob Marley Corner). Believed to be one of the largest murals of the reggae icon in the world, it was originally created in 1997 by artist Carlos Alberto Pinto. According to the Reggae Point blog, the mural — which was recently restored — was intended to “bring more peace to the community and keep reggae culture alive.”

Bob Marley’s legacy lives on in every radiola, vinyl record, and dance floor — not just as a Jamaican icon, but as a figure deeply connected to the cultural story of Maranhão.

The Economics of Reggae in Maranhão

Recognising this deep cultural connection, in 2024 the Maranhão Tourism Department launched an initiative to map professionals involved in the local reggae production chain. The aim is to formally recognise and support those who contribute to the reggae economy — from DJs and bands to fashion designers, venue owners, and event organisers. According to Setur-MA, the mapping will help inform new public policies, create opportunities for tourism partnerships, and boost Maranhão’s cultural profile nationally and internationally.

As Socorro Araújo, State Secretary of Tourism, noted: “Reggae is one of our biggest assets. This mapping connects people to tourism opportunities, reinforces our local culture, and elevates Maranhão to the international stage.”

Through efforts like this, reggae in São Luís continues to evolve as both a cultural expression and an economic force — keeping the tradition alive for future generations.

A Rhythm Reimagined

São Luís didn’t simply adopt reggae; it adapted and redefined it. The city’s unique sound, style, and scene were built not just from Jamaican records but from local creativity, resistance, and pride. Today, reggae continues to thrive in São Luís, sustained by new generations and rooted in a shared sense of belonging.

In this city, reggae isn’t background music. It’s culture, community, and continuity.

For a deep dive into this cultural fusion of Afro-Brazilian and Jamaican influences, see the research by Matheus Andrade Marques, Universidade Federal do Ceará, Brasil.

Cover Image Source : Reggae Point Blog