Ishmail R. Coleman 6.7.2015.

Sacred Music Project

The cultural group that I decided to examine for this project is the Rastafarian culture and

its cultural music. The Rastafarian culture or movement is often regarded as a religion or

movement that began in Jamaica during the 1930s in which the group combined aspects of

Ethiopian Christianity and Marcus Garvey teachings within its doctrine/practices. Rastafarians

also give worship to Emperor Halie Selassie I, who they believe is worthy of worship due to his

holiness and accomplishments within the African Nation of Ethiopia. Individuals of Rastafarian

culture are often noted by their dreadlocks, wearing of African colors, and recreational/spiritual

use of Cannabis. Music plays an important role in the tradition of Rastafarian culture, in which

certain aspects of reggae music are infused with Rastafarian culture, as well as Rastafarian

culture utilizing some aspects of African drumming. Some famous reggae artists who are

“Rastas” and are responsible for bringing Rastafarian culture to the mainstream are Peter Tosh

and Bob Marley.

Music plays an important role within the cultural tradition of Rastafarians, in which

music is played at worship ceremonies in a more religious aspect, whereas being infused within

the reggae genre for an entertainment purpose. For example, Niyabinghi chants combined with

African drumming and dancing are important to the spiritual rituals of “Rastas” because they are

reminiscent of practices by East African movements who were against European colonialism

(Bradley 2009). The same concepts are used by “Rastas” in order to protest similar anti-colonial

antics in Jamaica, in which the Rastas use the music in order to gain the strength from the spirit

of Jah (God) in order to overcome oppression and the oppressors (Bradley 2009). The music of

the Rastafarian culture is heavily influence by African music because it was used as method to

keep confidence high amongst the people during hard times. Furthermore, as reggae became
Ishmail R. Coleman 6.7.2015. Sacred Music Project

popular and associated with Rastafarian culture, many Rastafarian artists such as Bob Marley

incorporated Niyabinghi chants and Rastafarian inspired lyrics into the music (Bradley 2009).

As Rastafarian culture began to transcend into mainstream popular culture,

Rastafarianism began to correlate with reggae music due to the vast influence that

Rastafarianism had on reggae (Savishinsky 1994). The two are so closely related that the terms

have become synonymous with each other in which the comparison between the two is

somewhat accurate due to Rastafarianism being a major source to the creation of reggae

(Savishinsky 1994). Reggae music has become the method through which people worldwide

have gained knowledge about Rastafarianism due to reggae lyrics having Rastafarian themes,

symbolism, ideologies, and concepts (Savishinsky 1994). Reggae was born from poor blacks in

Jamaica, most of whom were Rastafarian musicians and was influenced by American music such

as rock and soul, but incorporated African drumming, as well as calypso music (Savishinsky

1994). The blending of these music styles became unique to reggae music and became a sense of

identity for the Rastafarian people, in which playing reggae music during rituals reinforced their

lost African identity, as well as help Rastafarians connect with their ideals of a Black God

(Savishinsky 1994). This became an important factor in Rastafarian culture and Jamaican

culture in general because reggae music became a way to eliminate past European colonial

ideologies and religion (Savishinsky 1994).

An example of a reggae song that is infused with Rastafarian themes and ideologies is the

popular song “Get Up, Stand Up” by Bob Marley and Peter Tosh (The Wailers). It was written

by Peter Tosh and Bob Marley, and originally appeared on the Wailers album Burnin. The song

was released in 1973, and the key political message of the song is urging people to stand up for

their freedom and their human rights. The religious references that the song has correlates with
Ishmail R. Coleman 6.7.2015. Sacred Music Project

the Rastafarian religion/culture, in which man references of Jah were made. Also, references to

“Almighty god being a living man” were made, which correlates with Rastafarian beliefs. The

influence that the song had on Jamaica and Rastafarian culture can be somewhat attributed to the

patterns of African song and rhythm that the record had, in which the song exhibited call and

response within the chorus, multiple rhythms within verses, as well as sliding from one note to

another, which is exhibited by Marley and Tosh. Furthermore, although this song primarily is

seen as a message toward Jamaicans, it can be seen as representing all cultures of oppressed

people due to the song being influenced by the time period of the Civil Rights Movement and

other revolutionary movements of its time and of the past, such as the Marcus Garvey Back to

Africa movement. This song is a primary example of Rastafarian influenced music, which is still

utilized today amongst many Rastas during “religious” gatherings and social gatherings.

In conclusion, Rastafarians incorporate African drumming and reggae music heavily in

their worship, in which these forms of music represent aspects of their religious worship, as well

as social and identity expression (Savishinsky 1994). Through reggae music specifically, many

religious, social, political, and Black identity messages are expressed, in which Rastafarians take

pride in the creation and representation of reggae music. From the beginning of the culture of

Rastafarianism, music has always been a way in order to express feelings toward oppression and

the hardships of being in poor conditions, in which through the music is the way that they use the

spirit of God in order to communicate deeply with listeners. Furthermore, as with all forms of

religious type of music, reggae music and other forms of African drumming can be seen as

expression the core values of what the Rastafarians deem important, which is peace, love, and

unity.
Ishmail R. Coleman 6.7.2015. Sacred Music Project

Work Cited

Bradley, John H.
2009 House of Judah Nyabinghi Rastafarian Grounation in Khayalethu South Township, South
Africa. Electronic Document, Cape Town to Cairo Website. CapeTowntoCairo.com, Accessed
June 7, 2015.

Savishinsky, Neil
1994 TRANSNATIONAL POPULAR CULTURE AND THE GLOBAL SPREAD OF THE
JAMAICAN RASTAFARIAN MOVEMENT. NWIG: New West Indian Guide / Nieuwe West-
Indische Gids 68(3/4): 259-281.
Ishmail R. Coleman 6.7.2015. Sacred Music Project

Video Files

Example of Reggae Music- “Get up, Stand Up” By Bob Marley and the Wailers

https://www.youtube.com/watch?v=JuMlHdxiIZ8

Example of Nyabinghi Drumming utilized by Rastafarians

https://www.youtube.com/watch?v=eNBPniDJSFM