Reasoning with Quique Neira of Gondwana
"Latin Styled Roots"

It is the last question that leaves much to be discussed in reggae music. Like so many reggae artists, especially the ones that aren't from Jamaica, it's not surprising that a group of talented Chilean artists (who have earned superstardom in their home country), haven't been recognized by the greater reggae massive.

Gondwana has many ingredients a solid reggae band should possess: rebellious inspiration from the great Bob Marley and Peter Tosh; intellectual curiosity supported by excellent musicianship; an extraordinary singer in Quique Neira; and the theme of struggle--something that the band shares with the people. Yes, Chile is their home country and with "Second Coming" (2001), their sophomore LP released after an overlooked debut effort "Together" (1999), Rastafari still continues to swell on their latest release in 2002, "Made In Jamaica."

Like the album's title suggests, this recording is a little unique in that it was the first time Gondwana brought their sound to the island of Jamaica, recording at Port Antonio's Gee Jam studios. As always, they continue their long-lasting musical partnership with Dr. Dread (who also founded, signed, and produced all of Gondwana's previous albums on Ras Records).

Their universal themes as well as their politically targeted Chilean stories never stray. Lead singer Quique Neira took the time to speak at length about what reggae means to him from a Latin American perspective, coming from an oppressed country under military rule. He also discussed the history of Gondwana, the strength of reggae worldwide, and the hopes for their music to reach a broader audience beyond Chile and Latin America.

Mr. Marlon (MM): How was it growing up in the town of Pincoya, Santiago in Chile and how was Gondwana formed from the strong influences of reggae music?

Quique Neira (QN): Our first moments of the band were in Pincoya, where the bass player (I-Locks Labbe), the band's founder, used to live. I was living in another ghetto of Santiago to the south. It was very hard growing up in the 70's, where most of South America was taken over by military governments. The situation was very rough--not having basic clothes, liberty and human rights. The military government persecutes all those who say something against them. In a country like that, you're always afraid to say something. That's the way they killed Victor Jara who was a folk singer and was killed in 1973. We grew up with those examples and suddenly when we were a little less than teenagers, we discovered reggae music. I met it through my father because he was a politically persecuted one. He had to run away to Europe and he used to send me tapes from Europe. It's a very good thing that he did for me.

MM: Are you happy he did?

QN: He made me so happy 'cause he used to send me music and I was a little boy of eight years old. One day, a tape of Bob Marley and Peter Tosh came to my house. That's how I discovered it. I started listening to it. When I was a grown young man, I decided to be a musician. I felt like a rebel all my life. I didn't like my country the way it was. Chilean people don't deserve to be living in those conditions. Everybody, no matter where you come from, deserves to be living in a true democracy and be respected as human being. So that's how I discovered this reggae music and I fell in love with the rhythm. I just was starting to know the English language, so I couldn't understand a few of the lyrics. That's when I said that reggae is the perfect combination of message, rhythm, and music.

MM: With English as a barrier, did the reggae music instigate you to learn the language a little better?

QN: Yes, someway. But to me, I never calculated it. It was all natural. I didn't like to go to school. I was a rebel. The best thing to take from school was to learn English. I give thanks--it was a very good thing at the time and especially now, it's so important. The music can break the language barriers. It's important to be able to communicate with words. Now, we can show all the people from all the places in the world that reggae music and the Rasta movement is an international thing.

MM: Is Rastafarianism a common practice in Chile, at least within the poorer communities? Or are you looked at as being very different, somewhat like outcasts?