This thesis explores the role of history in popular culture with a particular focus on the Swedish reggae scene. It examines how cultural meaning applied to music bears strong connections to historical representations, and how individuals understand, communicate, and reproduce selective notions of the past in relationship to popular music. History is viewed as an essential cultural component in this thesis, a component equipped with the ability to articulate political resistance, and express a sense of identity and belonging. The overall purpose is to examine how history is constructed, represented and used in the Swedish reggae scene, and how notions of origin and authenticity are expressed. The empirical chapters examine how different representations of the past in Swedish reggae relates to notions of origin, place and authenticity. These representations are constructed through social interactions, but also through interaction with texts, objects, and cultural practices. As the thesis shows, different representations of pasts and notions of origins exists in Swedish reggae, connecting to various geographical, cultural, and historical contexts. The hybridization of reggae becomes an important factor that contributes to making Swedish reggae something special and unique. In the Swedish reggae scene, which is predominatly white, the hybridization can be understood as an attempt to free oneself from aspects of reggae associated with Black experiences of white oppression. The use of local, regional, and national cultural expressions and representations of the past creates a distance to the Jamaican reggae traditions, and the historical narratives of slavery, colonialism and racial discrimination that reinforces the Black identification in Jamaican reggae. Instead, by relating to Swedish historical milieus, traditions and events, a closer and more relatable understanding of reggae is created. However, the thesis also shows that not all actors who consume and produce reggae in Sweden identify with the Swedish hybrid version. In such cases, its typical Swedishness is seen as an undesirable departure from the history and traditions of Jamaican reggae. Jamaican reggae is then perceived as a cultural heritage that should be preserved and respected in its original form - not in a copied or remodelled version.
