On the evening of 19 September 2025, the highland town of Wamena transformed into a stage of rhythm, laughter, and creativity. Crowds gathered near the Salib Monument, where the air pulsed with the sound of reggae beats, mixed with the aroma of roasted food from stalls and the sight of bright, colorful costumes in a Rasta-inspired fashion parade. The event was Wamena Reggae, a cultural and economic festival that has quickly grown into a symbol of unity, creativity, and opportunity for the people of Papua Pegunungan.
For outsiders, reggae might seem an unusual fit in this corner of the Indonesian archipelago. But for many young Papuans, the genre represents more than music—it is a language of resilience, equality, and identity. By embracing reggae and blending it with local Papuan culture, Wamena Reggae is doing something extraordinary: creating a platform where art and enterprise meet, where youth creativity fuels business, and where a remote town in Papua becomes a heartbeat of both cultural pride and economic empowerment.
Music Meets Market: Empowering UMKM
What sets Wamena Reggae apart from many other cultural events is its deliberate integration of usaha mikro kecil dan menengah (UMKM)—micro, small, and medium enterprises. This year, the organizers involved 35 UMKM, ranging from food vendors selling traditional Wamena sweet potatoes and grilled fish to artisans offering handwoven noken bags, wooden crafts, and modern fashion fused with Papuan motifs.
For business owners, it was a golden opportunity. In Wamena, where geography often isolates entrepreneurs from broader markets, such events open doors to hundreds of potential customers. A young woman selling woven accessories explained that she had prepared for months: “Usually I sell only to my neighbors. But here, people from other districts come. They see my products. They buy. It gives me courage to keep working.”
The economic effect is real. Each stall buzzing with buyers meant families earning income to support school fees, to invest in tools, or simply to put food on the table. Local officials stressed that Wamena Reggae is more than entertainment—it is a marketplace that helps revive the creative economy of Jayawijaya.
Pilatus Lagowan, Assistant III of Jayawijaya Regency, highlighted that the event is designed to blend art and entrepreneurship. He called it “a gathering point where music, fashion, and small business support each other.” His message was clear: art is not only for the stage but also for building livelihoods.
Reggae with a Papuan Soul
At the core of the festival is reggae music—its rhythms filling the highland air, uniting people across age, ethnicity, and background. Yet Wamena Reggae is not about copying foreign culture. It is about reinterpreting reggae through Papuan identity.
One of the most creative features is the Rasta Fashion Show. Young designers are encouraged to create clothes that reflect reggae’s bright and free-spirited aesthetic while incorporating Papuan touches—traditional woven patterns, beadwork, or even natural dyes from the mountains. Models walked proudly, not just showcasing style but celebrating a fusion of global and local culture.
Organizers also took steps to anchor reggae in the values of Papuan society. They reminded the public that reggae should not be linked to negative stereotypes, such as drug use, which sometimes cloud its image. Instead, the focus was on reggae’s historical role as a voice for peace, love, and justice.
The message was powerful: reggae is not only music, it is a medium for Papuan youth to express who they are, to take pride in their culture, and to show the world that Wamena is a hub of creativity.
A Space for Youth to Shine
For the youth of Jayawijaya, opportunities to express creativity publicly are rare. Education and employment challenges, combined with the remoteness of the highlands, often leave young people without platforms for innovation. Wamena Reggae changes that.
The festival provides stages for local bands, spaces for painters to display their art, and runways for young models and designers. More importantly, it gives recognition. A high school student who performed with his band said, “It feels like the world is listening. We usually practice in small rooms. But here, hundreds of people clap for us. It makes us believe in our dreams.”
Other youth found empowerment through entrepreneurship. Selling food, drinks, or fashion items alongside the festival gave them a sense of ownership. They were not just participants but contributors to an event that brought their community together.
The symbolism matters: in Wamena Reggae, young Papuans are not merely spectators of culture—they are creators, innovators, and leaders of it.
Building Togetherness and Social Harmony
Organizers repeatedly emphasized that the festival is not only about economic growth but also about togetherness. In a diverse society like Jayawijaya, where Papuans and migrants from other provinces live side by side, cultural spaces are crucial to prevent misunderstandings and build harmony.
“Music is universal,” said one community elder. “When reggae plays, no one asks where you are from. We all dance together.”
That spirit was evident throughout the night. Families came with children, young people mingled with elders, and Papuans and non-Papuans sat side by side enjoying food and music. It was a scene of unity—a living example of Indonesia’s motto, Bhinneka Tunggal Ika, in action.
The presence of UMKM also reinforced social bonds. Non-Papuan traders had the chance to showcase their food or crafts, and Papuans warmly welcomed their contribution. By blending commerce and culture, Wamena Reggae became a bridge between communities.
Expanding the Cultural Economy
Events like Wamena Reggae also hold long-term potential. In regions where tourism is slowly developing, cultural festivals are key attractions. If sustained and promoted, Wamena Reggae could become an annual magnet for visitors, not only from Papua but from across Indonesia and even abroad.
For local government, this represents a path to diversifying the economy. Beyond agriculture, which dominates the highlands, creative industries can provide jobs for youth, attract investment, and showcase Papua’s unique identity. Fashion, music, and handicrafts are not only cultural expressions—they are economic assets.
The hope is that Wamena Reggae becomes more than a one-off event. With consistent support, it could be institutionalized into an annual festival, growing in scale and reputation, and putting Wamena on Indonesia’s cultural map.
Challenges on the Road Ahead
Of course, organizing such an event in a remote region is not without challenges. Funding is often limited, logistics are complicated, and infrastructure in the highlands is still developing. Bringing in sound systems, setting up stages, and ensuring safety require significant effort.
There is also the challenge of perception. Organizers are determined to ensure that reggae in Papua is associated with positivity, unity, and cultural pride, not with stereotypes that undermine its image. Community leaders therefore stress the importance of education, mentorship, and guidance so that young people understand reggae as a tool for empowerment, not escapism.
Finally, sustaining momentum requires commitment. Without regular events, youth may lose motivation, and UMKM may miss opportunities. That is why organizers and local officials call for continued cooperation between government, the private sector, and civil society to keep Wamena Reggae alive.
Voices of Hope from the Highlands
Perhaps the most moving part of Wamena Reggae was the voices of those who participated.
A food vendor smiled as she described selling out her sweet potatoes within two hours. “I’ve never had so many customers. People told me my food tasted like home. I feel proud.”
A musician, strumming his guitar after a set, explained that reggae gave him a way to talk about issues in his community. “Through music, I can tell stories of our mountains, of our struggles, of our hopes. People listen differently when it is in a song.”
A young designer beamed as her collection of Rasta-Papuan outfits drew applause. “I want people to see that Papua can be modern and traditional at the same time. We are not behind. We are creative.”
These voices illustrate what Wamena Reggae truly represents: not just a festival, but a movement of pride, creativity, and hope.
Conclusion
As the night ended and the last reggae song faded into the highland sky, Wamena Reggae left behind more than memories. It left behind inspiration—for youth who discovered their potential, for entrepreneurs who earned income, and for communities who felt unity.
The event demonstrated that culture and economy are not separate. They are partners. When Papuan music meets entrepreneurship, when fashion meets tradition, and when young people are given space to shine, society grows stronger.
Wamena Reggae is a reminder that even in remote corners of Indonesia, creativity can flourish and build prosperity. It shows that with the right platforms, Papuan youth can lead cultural innovation and contribute to economic growth. And it affirms a vision: that the future of Papua will not only be written in policies and programs but also in the rhythm of drums, the laughter of markets, and the creativity of its young generation.
In every beat of reggae and every stall of UMKM, Wamena is telling Indonesia and the world: Papua is not only rich in natural beauty but also in talent, culture, and enterprise.