ENGLISH SBA

Dancehall is a polular type of music originated in the late 70s in Jamaica, as a

result of varying political and socio-economic factors. It is also known
as bashment.

Dancehall is characterized by a deejay singing and toasting (or rapping) over

danceable music riddims. The rhythm in dancehall is much faster than in
traditional reggae, sometimes with drum machines replacing acoustic sets. In the
early years of dancehall, some found its lyrics crude or “slack”, because of its
sexual tones. Like its reggae predecessor, dancehall eventually made inroads
onto the world music scene.

Dub poet Mutabaruka maintained, “if 1970s reggae was red, green and gold, then
in the next decade it was gold chains”. As was indicated in the article on murder
music, there is furious debate among purists as to whether it should be
considered some sort of extension of reggae music.
Origins
Dancehall is the mother of hip hop and owes its name to the spaces in which
popular Jamaican recordings were aired by local sound systems and readily
consumed by its “set-to-party” patronage; commonly referred to as “dance halls”.
Dancehall, the musical genre, is long considered to be the creation of Henry
“Junjo” Lawes in 1979. The production of dancehall music was further refined by
King Jammy in the early 80s, during the transition from dub to dancehall, and
original attempts to digitize “hooks” to “toast” over by Jamaican deejays.

Dancehall’s predecessor; reggae music, was influenced heavily by the ideologies

of the Rastafarian culture and was further goaded by the socialist movements of
the era. Many became embittered by the movements and the harsh economic
realities they brought the island to bear. It was during this time that the neo-
liberalphilosophies of greed and covetousness began factoring into the lives of
many Jamaicans, which subsequently spawned this original “bling bling” form
of eTypically, dance halls are found in more urbanized areas of Jamaica, i.e.,
Kingston, but can also be seen in more rural locations. Furthermore, the term
‘dancehall’ alludes not only to a musical genre or venue, but on a grander
scheme, it suggests the institution of an entire culture in which music, dance,
community and politics collide.

As an evolution of first reggae, then rocksteady, dancehall draws upon its roots
with regard to its stylistic rudiments. However, that, some say, is where the
similarities end. The subject matters of dancehall music tend towards profanity,
misogyny, violence and most recently is the cause celebre of homosexuals and
and by members of the Gay, Lesbian, Bisexual, and Transgendered community
(GLBT) who are opponents of dancehall lyrics – a stark contrast from the so
called songs of acceptance and social progression sung by reggae pathfinders.
Its caustic tones, which are referred to in the region as “slack lyrics”, have been
rigorously criticized – most notably by artists and followers of classic reggae
music.

Such a drastic change in the popular music of the region generated an equally
radical transformation in fashion trends, specifically those of its female faction. In
lieu of traditional, modest “rootsy” styles, as dictated by Rastafari-inspired gender
roles; women began donning flashy, revealing – sometimes x-rated outfits. This
transformation is said to coincide with the influx of slack lyrics within dancehall,
which objectified women as objects of pleasure. These women would team up
with others to form “modeling possess”, or “dancehall model” groups, and
informally compete with their rivals.

ntertainment.

This newfound materialism and conspicusness was not, however, exclusive to

women or manner of dress. Appearance at dance halls was exceedingly
important to acceptance by peers and encompassed everything from clothing and
jewelry, to the types of vehicles driven, to the sizes of each respective gang
or “crew”, and was equally important to both sexes.

Dancehall Music

Dancehall emerged in the early 1980s, and most of the creative output can be
credited to studio musicians Steely & Clevie, along with the handful of producers
they collaborated with. They created the music for many of the riddims that the
genre was based on. The decade saw the arrival of a new generation of deejays,
most distinct were the harder edged, such as Ninjaman, Flourgon, General
Trees, Tiger, Admiral Bailey, Super Cat, Yellowman, Tenor Saw, Shelly Thunder,
Reggie Stepper, Shabba Ranks, Johnny P, Peter Metro, Charlie Chaplin, Cutty
Ranks, and Papa San to name a few. To complement their sound,
a “singjay” vocal style evolved out of roots reggae and R&B, with proponents like
Pinchers, Cocoa Tea, Sanchez, Admiral Tibet, Frankie Paul, Half Pint, Conroy
Smith, Courtney Melody, Carl Meeks, and Barrington Levy.

The genre was so popular that established reggae singers like Gregory Isaacs,
Militant Barry, Beres Hammond, Johnny Osbourne and U-Roy transitioned into
dancehall.

In the early 90s, songs like Dawn Penn’s re-issue of “No, No, No”, Shabba
Ranks’s “Mr. Loverman”, Patra’s “Worker Man” and Chaka Demus and Pliers’
“Murder She Wrote” became some of the first dancehall megahits in the U.S. and
abroad. Various other varieties of dancehall achieved crossover success outside
of Jamaica during the mid-to-late 1990s and in to the new millania such much so
that everyone from hardcore rappers to established singers are now teaming up
with deejays to create a unique blend of music.

he years 1990-1994 saw the entry of artists like Buju Banton, Bounty Killer,
Lady Saw, Shaggy, Diana King, Spragga Benz, Capleton, Beenie Man and a
major shift in the sound of dancehall, brought on by the introduction of a new
generation of producers.

In the late 1990s, many practitioners like Buju Banton and Capleton returned to
the Rastafari movement and changed their lyrical focus to “consciousness”, a
reflection of the spiritual underpinnings of Rastafari.

Like anything the “popular cuilture views as out side of the law or outlaw,
Dancehall is forging major inroads into the listening spaces of people around the
world to the point where even those who realize the extremeness of the lyrics
contained in the music, can’t help but rock to the beat and rhythm.

REGGEA
Reggae is the musical genre which revolutionized Jamaican music. When it emerged in the
late 1960s, it came as a cultural bombshell not only to Jamaica but the whole world. Its slow
jerky rhythm, its militant and spiritual lyrics as well as the rebellious appearance of its
singers, among others, have influenced musical genres, cultures and societies throughout the
world, contributing to the development of new counterculture movements, especially in
Europe, in the USA and Africa. Indeed, by the end of the 1960s, it participated in the birth of
the skinhead movement in the UK. In the 1970s, it impacted on Western punk rock/ pop
cultures, influencing artists like Eric Clapton and The Clash. During the same decade, it
inspired the first rappers in the USA, giving rise to hip-hop culture. Finally, since the end of
the 1970s, it has also influenced singers originating from Africa, the Ivorian singers Alpha
Blondy and Tiken Jah Fakoly, and the South African Lucky Dube clearly illustrating this point.
Thus, my paper will examine the impact of reggae music on the worldwide cultural universe,
focusing particularly on Europe, the USA and Africa.

Dancehall is essentially speechifying with musical accompaniment, including a basic drum

beat (most often played on electric drums). The lyrics moved away from the political and
spiritual lyrics popular in the 1970s and concentrate more on less serious issues.
Dancehall was sometimes violent in lyrical content, and several rival performers made
headlines with their feuds across Jamaica (most notably Beenie Man versus Bounty Killer).
Dancehall emerged from pioneering recordings in the late 1970s by Barrington Levy,
with Roots Radics backing and Junjo Lawes as producer. The Roots Radics were the pre-
eminent backing band for the dancehall style. Yellowman, Charlie Chaplin and General Echo
helped popularize the style along with producers like Sugar Minott.
Variations of dancehall continued to be popular into the mid-1990s. Some of the performers
of the previous decade converted to Rastafari, and changed their lyrical content. Artists
like Buju Banton experienced significant crossover success in foreign markets, while Beenie
Man, Bounty Killer and others developed a sizable North American following, due to their
frequent guest spots on albums by gangsta rappers like Wu-Tang Clan and Jay-Z.
Some reggae musicians, including Beenie Man, Shabba Ranks and Capleton, publicly
converted to a new lyrical style, in the hope that his new style of lyrics would not offend any
one particular social group.
The late 2000s saw large local success for dancehall artists like Popcaan, Vybz
Kartel, Konshens, Mr. Vegas and Mavado. By the late 2010s, music in Western markets saw
influences of dancehall in pop music, including Drake's "One Dance" and "Controlla" (2016)
and Rihanna's "Work" (2016).

Impact of dancehall on the Jamaican society

This genre is one of the dominant forms of pop music to have emerged, but is also an
important art form that instruct, criticize and entertain. Dancehall music is a vital element
of Jamaican society. Indeed, this is one of the many genres of music that help to form the
very fibre of Jamaican society.

Dancehall music is an important aspect of our culture, as it also helps in influencing

aspects such as dress, fashion and body language; it influence attitude.

Dancehall however has moved from the niche that reggae occupies, in its promotion of
social and political consciousness, to the elevation and glorification of sexual immorality
and violence. Young, impressionable minds then adopt these themes as part of their daily
lifestyle.

On the other hand however, both genres still motivate youth living in the ghetto to rise
above their situation. According to an article published in the Sunday Gleaner (03.02.08)
by Gareth Manning, Behavioural scientist and music educator, Dr. Marilyn Anderson
sums it up this way "some rhythms, timbres and amplitudes of the music can affect
emotional behaviour in humans, particularly the young."

The most obvious evidence demonstrating the influence of dancehall on youth is the
veneration of feuds in the dancehall. It is customary for young people to affirm an
informal allegiance and follow a clique blindly like characters in a play desperately
searching for an author. The recent emergence of such factitious behaviour is the much
publicized clannish divide between Dancehall artistes Mavado (of the Gully Side) and
Vybz Kartel (of the Gaza). The notorious quickly became not only the most prominent
graffiti across the island, but part of the most familiar phrases used by young Jamaicans.

As such, clannish divisions have been created in segments of the society as fans latch on
to their favourite artiste and their cohorts of whom many wear various paraphernalia
depicting their preference and or allegiance. The 'Gaza' and 'Gully' was not only popular
in the garrisons and inner cities, but even in the most solid middle class communities too.
The Glorification of Violence and Sexual Immorality
The glorification of violence and sexual immorality are popular themes in dancehall. The
promotion of the gangster lifestyle is a common feature. This has resulted in the banning
of certain DJs from the airwaves or from performing in some countries. In the same
article quoted above, political analyst Tazhmoye Crawford reported that ‘Teenagers are
identifying music, mainly of the dancehall genre, as a trigger for early sexual intercourse’.
This is according to a scientific study conducted by Crawford, at the University of the
West Indies, Mona in 2007.

DANCEHALL music derives its power from the simple fact that those who supply it to the public
are the greatest communicators of happenings, trends, and ideas in Jamaica.

Those who we call DJs also have the additional power of being able to define in the minds of our
impressionable young people what 'acceptable' behaviour should be, whether it is social at the
community level ('informa fi dead') or in interactions with women ('lif up yuh dress gal, and mek
me.... General Echo).

But dancehall music starts off on a great transgression, a big plagiarism, in that it stole the
physical place, the dancehall — where young lovers gathered in days leading up to the 1960s to
dance mostly to music by singers.

Because it had bastardised the toasting of the early purveyors like King Stitt, URoy, Lizzie, Big
Youth, etc, and created a crudity that was more palatable to a new generation of youngsters who
were educationally stunted and one dimensional in their musical outlook, it could not be named
hip hop, like the Americans did, and so it settled on labelling the form dancehall music.

By the time the 1990s came around, little of it bore resemblance to what could be remotely
considered music. But, by then, few of our younger folk could recognise music even it had hit
them in the face.

n the 1960s, when the toasters (DJs who artistically blended rhythmical 'talking over' with breaks
in popular musical pieces) started out, it was novel and quite exciting, and because it
encouraged those dancing to 'talk along' with the DJ while dancing, many singers ached to have
their songs brought up to the level of say, the Paragons, Wear you to the ball with URoy. Those
who had purchased the original 45 rpm vinyl also wanted the one with URoy, and potentially both
singer and toaster benefited financially from the double sale.

The music has morphed from being an art form and the DJs have been made into cultists by
those who have no sense of our musical history and, in general, have latched onto the only role
models who are available to them.

On the day that the DJ phenomenon Vybz Kartel was found guilty of murder, schoolchildren were
out in full array downtown, chanting "Free Worl' boss, free Worl' Boss. No teacha, no school. No
teacha, no school".
Kartel's music was never on trial, but one could not help but note that much of his lyrical content
was quite distasteful to someone like me who could hardly be described as the fastidious type.

"When I began following his trial, my mind raced in all directions trying to figure out how such a
singer could hold the minds of young people captive while celebrating something else. Your
article is truly liberating and helps us to recalibrate our thinking as people of the developing
world.

"Should we continue to celebrate fame, criminality, sex, drugs, and the dehumanisation of our
women through music at the expense of real and pressing issues such as the welfare of our
security guards, health, education, and protecting the legacy of musical greats such as Bob
Marley who championed the fight for human dignity? The youth here in Zimbabwe are also
trapped in a similar fashion as those in Jamaica courtesy of ICT advances.

Politicians, parsons and newspaper columnists are forced to yield to the fact that it is the DJ who
has the power to communicate just about any idea in Jamaica. I am not suggesting that all DJs
should take the route of that thing called 'conscious music'. But when I was much younger, my
heroes were Malcolm X, Fidel Castro, Che Guevara, Gandhi, Martin Luther King Jr., Marcus
Garvey, Walter Rodney, and Mandela. I sought no heroes in music because, as far as I was
concerned, music was simply for rest meditation, relaxation, enjoyment, and dancing.