Editing Rastafari (section)

=== Music ===
[[File:RastaBongo.jpg|thumb|right|A Rasta playing a batá drum]]
Rastafari music developed at reasoning sessions,{{sfn|Clarke|1986|p=93}} where drumming, chanting, and dancing are all present.{{sfn|Edmonds|2012|p=58}} Rasta music is performed to praise and commune with Jah,{{sfn|Clarke|1986|p=94}} and to reaffirm the rejection of Babylon.{{sfn|Clarke|1986|p=94}} Rastas believe that their music has healing properties, with the ability to cure colds, fevers, and headaches.{{sfn|Clarke|1986|p=94}} Many of these songs are sung to the [[Hymn tune|tune]] of older Christian hymns,{{sfnm|1a1=Clarke|1y=1986|1p=94|2a1=Barrett|2y=1997|2p=123|3a1=Edmonds|3y=2012|3p=58}} but others are original Rasta creations.{{sfn|Clarke|1986|p=94}}

The bass-line of Rasta music is provided by the [[akete]], a three-drum set, which is accompanied by [[percussion instruments]] like [[rattle (percussion instrument)|rattles]] and [[tambourine]]s.{{sfn|Edmonds|2012|p=58}} A syncopated rhythm is then provided by the [[fundeh]] drum.{{sfn|Edmonds|2012|p=58}} In addition, a [[Batá drum|batá]] drum improvises over the rhythm.{{sfn|Edmonds|2012|p=58}} The different components of the music are regarded as displaying different symbolism; the bassline symbolises blows against Babylon, while the lighter beats denote hope for the future.{{sfn|Edmonds|2012|p=58}}

As Rastafari developed, [[popular music]] became its chief communicative medium.{{sfn|King|2002|p=5}} During the 1960s, [[ska]] was a popular musical style in Jamaica, and although its protests against social and political conditions were mild, it gave early expression to Rasta socio-political ideology.{{sfn|King|2002|p=4}} Particularly prominent in the connection between Rastafari and ska were the musicians [[Count Ossie]] and [[Don Drummond]].{{sfnm|1a1=King|1y=2002|1p=24|2a1=Edmonds|2y=2012|2p=115}} Ossie was a drummer who believed that black people needed to develop their own style of music;{{sfnm|1a1=Clarke|1y=1986|1p=93|2a1=Barrett|2y=1997|2p=162}} he was heavily influenced by [[Burru]], an Afro-Jamaican drumming style.{{sfn|Edmonds|2012|p=113}} Ossie subsequently popularised this new Rastafari ritual music by playing at various groundings and groundations around Jamaica,{{sfn|Edmonds|2012|p=113}} with songs like "Another Moses" and "Babylon Gone" reflecting Rasta influence.{{sfn|King|2002|p=24}} Rasta themes also appeared in Drummond's work, with songs such as "Reincarnation" and "Tribute to Marcus Garvey".{{sfn|King|2002|p=24}}

1968 saw the development of [[reggae]] in Jamaica, a musical style typified by slower, heavier rhythms than ska and the increased use of [[Jamaican Patois]].{{sfn|King|2002|p=46}} Like [[calypso music|calypso]], reggae was a medium for [[social commentary]],{{sfn|Barrett|1997|p=vii}} although it demonstrated a wider use of radical political and Rasta themes than were previously present in Jamaican popular music.{{sfn|King|2002|p=46}} Reggae artists incorporated Rasta ritual rhythms, and also adopted Rasta chants, language, motifs, and social critiques.{{sfn|Edmonds|2012|p=117}} Songs like [[The Wailers]]' "[[African Herbsman]]" and [[Peter Tosh]]'s "Legalize It" referenced cannabis use,{{sfn|King|2002|p=57}} while tracks like [[The Melodians]]' "[[Rivers of Babylon]]" and [[Junior Byles]]' "Beat Down Babylon" referenced Rasta beliefs in Babylon.{{sfn|King|2002|p=56}} Reggae gained widespread international popularity during the mid-1970s,{{sfn|King|2002|p=96}} coming to be viewed by black people in many different countries as music of the oppressed.{{sfn|King|2002|p=100}} Many Rastas grew critical of reggae, believing that it had commercialised their religion.{{sfn|King|2002|p=102}} Although reggae contains much Rastafari symbolism,{{sfn|Barrett|1997|p=viii}} and the two are widely associated,{{sfnm|1a1=King|1y=2002|1p=xiii|2a1=Fernández Olmos|2a2=Paravisini-Gebert|2y=2011|2p=191}} the connection is often exaggerated by non-Rastas.{{sfn|Barrett|1997|p=245}} Most Rastas do not listen to reggae music,{{sfn|Barrett|1997|p=245}} and reggae has also been utilised by other religious groups, such as [[Evangelicalism|Protestant Evangelicals]].{{sfn|Rommen|2006|pp=235–236}} Out of reggae came [[dub music]]; dub artists often employ Rastafari terminology, even when not Rastas themselves.{{sfn|Partridge|2004|p=178}}