As it expands Rastafari continues to borrow from a variety of other cultural expressions.
It is not clear among either scholars or the Rastafari themselves where the division of style, politics, and spirituality-religion should reside.
Thus different branches of the Rastafari movement reflect the differing degrees to which religious, spiritual, or secular features are ascendant.
It is difficult to define Rastafari according to doctrine, for Rastafari groups do not require allegiance to a single creed from those wishing to join or participate, and doctrine continues to progress semiautonomously in the spirit of a dynamic ethos of theological inquiry and dialogue (a practice called reasoning ).
At the same time in the more churchical houses of Rastafari one is likely to find fairly widespread theological cohesion.
The spread of Rastafari has been due in part to the movement's association with popular culture, especially reggae music, from the late 1960s onward.
Consequently Rastafari manifests itself not only as an expression of spirituality but also as a secular style.
First, in its early years and continuing in some circles in the early twenty-first century, movement-relocation to Africa has been a major articulated aim of Rastas.
(Relocation to Africa is generally called repatriation, a theme explored in its fuller theological sense of redemption later in this article.) Second, even when physical relocation is not a goal of Rastas, Rastafari represents a conscious cognitive move away from a Western colonial consciousness and toward a recovered, reconceived, or reinvented consciousness.
Rastafari emphasizes the interior location of deity, often referred to as the I an overdetermined symbol that includes both a sense of the self as divinity residing internally and the notion that the spirit and power of Haile Selassie I dwell within individual Rastafari.