Editing Riddim (section)

==Bass culture==
The bass culture of Jamaican sonic sensibilities is characterized with less emphasis on melody and large emphasis on the drum beats and low frequency bass vibrations to draw attention to the social grounding to the culture. These aspects of Jamaican music are expressed visually through the Dancehall choreography and its African inspired folk traditions, which emphasize earthly connection through flat-footed stamping and “bumper-grinding sexually explicit choreography, where the bass note is struck by the body itself—displaying its fecundity and celebrating its fertility”.<ref>{{cite journal |last1=Henriques |first1=Julian |author-link=Julian Henriques|title=Sonic diaspora, vibrations, and rhythm: thinking through the sounding of the Jamaican dancehall session |journal=African and Black Diaspora |date=July 2008 |volume=1 |issue=2 |pages=215–236 |doi=10.1080/17528630802224163|s2cid=14966354 |url=http://research.gold.ac.uk/4259/1/HenriquesSonicDiaspora%2A%2A.pdf }}</ref> This bass culture is also embodied sonically by the music's heartbeat, the bass lines often described as riddims, produced in the late 1960s and early 1970s. These riddims offer a sonic foundation on top of which different other sounds are incorporated to form innumerable versions.