Free Nelson Mandela

Free Nelson Mandela
Name	Free Nelson Mandela
Artist	The Special AKA
Album	In the Studio and In the Studio Done
Released	1984
Recorded	1984
Genre	Ska, New Wave, Reggae
Length	4:35
Writer	Jerry Dammers
Producer	Jerry Dammers

Free Nelson Mandela is a 1984 protest song written by Jerry Dammers and recorded by The Special AKA that campaigned for the release of Nelson Mandela and against apartheid in South Africa. The single became an international hit and a rallying cry for anti-apartheid activists, aligning musicians, activists, politicians, and institutions in a global movement. It connected networks across United Kingdom, United States, Netherlands, Australia, and Canada while intersecting with campaigns by African National Congress, International Defence and Aid Fund, and cultural organizations.

Background and Origins

Jerry Dammers, founder of The Specials and leader of The Special AKA, wrote the song after meeting with anti-apartheid campaigners and activists such as Ruth First allies and members of the United Democratic Front. The composition emerged amid concerted efforts by groups including Anti-Apartheid Movement (UK), South African Council of Churches, and Transvaal Indian Congress to pressure institutions like the United Nations and European Economic Community to enforce sanctions against South Africa. Influences included liberation struggles represented by figures like Steve Biko, Oliver Tambo, Desmond Tutu, and organizations such as Black Sash and Pan Africanist Congress of Azania. The song’s genesis intersected with campaigns led by trade unions like the National Union of Mineworkers (South Africa) and student movements linked to National Union of Students (UK).

Lyrics and Composition

Musically, the track blends elements drawn from ska tradition of Jamaica and the British 2 Tone movement, incorporating brass arrangements reminiscent of The Skatalites and production approaches used by Motown arrangers. Lyrically, Dammers referenced Nelson Mandela alongside imagery tied to sites like Robben Island, institutions such as Apartheid legislation (named statutes passed by the Parliament of South Africa), and figures including P. W. Botha and F. W. de Klerk indirectly through protest language. The song employed call-and-response techniques used by choirs from Ghana and rhythmic patterns popularized by artists like Bob Marley, Toots Hibbert, and Desmond Dekker. Session contributors included vocalists and musicians affiliated with labels such as 2 Tone Records and studios in London that had worked with acts like The Clash and The Beat (British band).

Release and Reception

Released on 2 Tone Records imprint under Chrysalis Records distribution, the single charted in the United Kingdom Singles Chart and received airplay on broadcasters including BBC Radio 1 and independent Capital Radio. Music journalists from outlets such as NME, Melody Maker, and Rolling Stone critiqued and praised its fusion of politics and pop. The song catalyzed protests, benefit concerts, and fundraisers organized by groups like Amnesty International, Anti-Apartheid Movement (UK), and student unions at universities such as University of Cape Town allies. DJs and presenters from Radio 1 to KRO in the Netherlands promoted the single, and politicians from parties including the Labour Party (UK), Scottish National Party, and Liberal Democrats (UK) referenced it in debates on sanctions.

Political Impact and Cultural Significance

The single amplified efforts by the African National Congress and South African exiles in cities such as London, Amsterdam, New York City, and Toronto. It intersected with diplomatic pressure from countries like Sweden and Norway that had supported sanctions, and it influenced cultural diplomacy dialogues at forums such as the United Nations General Assembly. The song became part of broader cultural campaigns alongside films like Cry Freedom and books by authors such as Anthony Sampson, Alan Paton, and Nelson Mandela’s own writings. Activist coalitions including International Defence and Aid Fund and trade bodies such as International Trade Union Confederation used the song at demonstrations, linking to campaigns against companies like Shell plc and IBM that faced divestment actions. Religious leaders such as Desmond Tutu and politicians like Ronald Reagan and Margaret Thatcher were part of the political backdrop against which the single operated.

Performances and Covers

The Special AKA performed the song at benefit concerts and festivals with peers like Madness, The Beat (British band), and UB40, and at venues such as Wembley Arena and grassroots rallies organized by Anti-Apartheid Movement (UK). Subsequent covers and performances were recorded by artists and ensembles inspired by the song, including choirs from Robben Island Museum, community bands connected to Brixton cultural centers, and international artists in South Africa after 1990. Tribute concerts featured performers associated with labels like Island Records and managers who had worked with Ska revival acts.

Legacy and Commemoration

The song remains emblematic of 1980s transnational solidarity campaigns linking music and politics and is archived in collections at institutions including the British Library, Smithsonian Institution, and South African History Archive. It continues to be played at commemorations of Nelson Mandela’s life and at museums such as District Six Museum and Robben Island Museum. Academic studies at universities including Oxford University, University of Cape Town, Harvard University, and University of the Witwatersrand analyze its role alongside cultural artifacts like the Nelson Mandela: The Official Biography and exhibitions in galleries linked to Tate Modern and national archives. The song’s impact is referenced in documentaries broadcast by BBC Television, PBS, and SABC and in histories of the anti-apartheid movement and popular music in the late Cold War era.

Category:1984 singles Category:Songs about Nelson Mandela Category:Anti-apartheid songs