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Music crosses and breaks down geographical and sociocultural barriers. It can become a significant means by which ideologies circulate and become transformed into powerful tools of political communication. Reggae music, as understood in the present article, takes part in this social dynamic, where music serves as an instrument of protest and liberation for peoples who recognize that they are oppressed. For example, the song “Get Up, Stand Up,” co-written by Peter Tosh and Bob Marley, calls on the people to fight for their rights. Given the important role of reggae in African struggles for emancipation and independence and its influence on other liberation movements since the 1970s, it seems worthwhile to take a critical look at both what is truly at stake in this music and its contribution to the communication and spread of political ideologies. Carried out in the context of this music’s inclusion on UNESCO’s Intangible Cultural Heritage Lists in 2018, this study seeks to chart its course, to establish a typology of its principal performers and songwriters, and to show how it is designed fundamentally to serve as a forceful tool for the political combat that has, for generations, been erupting throughout the world. Methodologically, the study is based on the analysis of a corpus of written and audio documents, which show the conceptual and empirical aspects of the music in political, cultural, and social liberation movements in Africa.