dancehall

Dancehall is a genre of Jamaican popular music that originated in the late 1970s. Initially, dancehall was a more sparse version of reggae than the roots style, which had dominated much of the 1970s. This music genre was not officially named until the 1980s, when the two words Dance and Hall (referring to the common venue) were joined to form Dancehall, which was then promoted internationally for the first time. At that time digital instrumentation became more prevalent, changing the sound considerably, with digital dancehall (or "ragga") becoming increasingly characterized by faster rhythms. Key elements of dancehall music include its extensive use of Jamaican Patois rather than Jamaican standard English and a focus on the track instrumentals (or "riddims").¶

Dancehall saw initial mainstream success in Jamaica in the 1980s; by the 1990s, it became increasingly popular in Jamaican diaspora communities. In the 2000s, dancehall experienced worldwide mainstream. By the 2010s, it began to heavily influence the work of established Western artists and producers, which has helped to further bring the genre into the Western music mainstream.¶

Lead

Dancehall is named after Jamaican dance halls in which popular Jamaican recordings were played by local sound systems. It both refers to the music and dance style. It faced criticism for negatively influencing Jamaican culture and portraying gangster lifestyles in a praiseworthy way.¶

Early developments - Early 1970s

Dancehall music, also called ragga, is a style of Jamaican popular music that had its genesis in the political turbulence of the late 1970s and became Jamaica's dominant music in the 1980s and '90s. It was also originally called Bashment music when Jamaican dancehalls began to gain popularity. They began in the late 1970s among lower and working-class people from the inner city of Kingston, who were not able to participate in dances uptown. Social and political changes in late-1970s Jamaica, including the change from the socialist government of Michael Manley (People's National Party) to Edward Seaga (Jamaica Labour Party), were reflected in the shift away from the more internationally oriented roots reggae towards a style geared more towards local consumption and in tune with the music that Jamaicans had experienced when sound systems performed live. Themes of social injustice, repatriation and the Rastafari movement were overtaken by lyrics about dancing, violence and sexuality. Though the revolutionary spirit was present in Jamaica due to this social upheaval, the radio was very conservative and failed to play the people's music. It was this gap that the sound system was able to fill with music that the average Jamaican was more interested in. Alongside this music was the addition of the fashion, art, and dance that came along with it. This made Dancehall both a genre, and a way of life. In contrast to roots reggae, which aimed for respectability and international recognition, dancehall did not hesitate in dealing with the day-by-day realities and basal interests of the average Jamaican—especially that of lower classes—and observing society in a provocative, gritty, and often vulgar manner.¶

Origination from the DJ scene

Sound systems and the development of other musical technology heavily influenced dancehall music. The music was needed to "get where the radio didn't reach" because Jamaicans often were outside without radios. Yet they eventually found their way into the streets. However, because the audience of dancehall sessions were lower-class people, it was extremely important that they be able to hear music. Sound systems allowed people to listen to music without having to buy a radio. Therefore, the dancehall culture grew as the use of technology and sound systems improved.¶

The Jamaican dancehall scene was one created out of creativity and a desire for accessibility, and one that is inseparable from sound system culture. The term 'Dancehall', while now typically used in reference to the specific and uniquely Jamaican genre of music, originally referred to a physical location. This location was always an open-air venue from which DJs and later "Toasters", a precursor to MCs, could perform their original mixes and songs for their audience via their sound systems. The openness of the venue, paired with the innately mobile nature of the sound system, allowed performers to come to the people. Inner city communities were able to gather for fun and celebration. It was all about experiencing a vibrant and trendsetting movement. Krista Thompson's book Shine further expresses the experience of this trendsetting movement and how, particularly, women were able to confront gender ideologies to enact change.¶

1980s–1990s (The Naming)

If you read the archives of the Jamaica Gleaner Newspaper you will begin to realize the context written; there was a venue like the lawns where music was played and a style on the rhythms but it was different from what was being "projected" as Reggae and had no name until Michael Tomlinson head of InnerCity Promotion and Lois Grant(Partners at the time) staged an event that changed the culture titled "DanceHall" one word... Before this event Dance And Hall (two words) were used in Jamaican lingo; but it did not represent the music of the culture but rather the venue where music was played. Their promotion company through a series of concerts led to the then emerging music which they labelled, "DanceHall" with the year of its staging, creating a platform for artists to be seen and heard. From 1982 The team started a series called "Saturday Nite Live" at Harbour View Drive-In. Promoting one of Jamaica's finest acts alongside a US soul group. That year '83 it was Gladys Knight & the Pips that headlined the initial concert and the showcase also featured boxing presentations from Muhammad Ali. The tested events were so successful that the next step was to officially launch the name of the series "DanceHall."InnerCity Promotions was responsible for establishing and promoting numerous events which was significant because it marked the beginnings of the music's recognition as the "DanceHall" genre. Mr. Tomlinson triumph is one to share for generations as he opened the door for a new art in a sense to emerge from it beginnings. The journey began with massive opposition received from those who wanted to control the space of entertainment to journalist, radio and TV managers, some who refused to run the commercials or play the music to promote the DanceHall series.¶

2000s

By the early 2000s, Dancehall had gained mainstream popularity in Jamaica, as well as in the United States, Canada, Australasia and Western parts of Europe. There was also a big evolution in sound allowing artists to refine and broaden the genre.¶

The text above is adapted from the Wikipedia article “Dancehall”, available under the Creative Commons Attribution-ShareAlike 4.0 licence.¶

dancehall is genre of Jamaican popular music, according to the structured record cited below. This entry was generated automatically from that record and has not yet been reviewed by a person familiar with the tradition.¹¶

The source record links this tradition to 19 external registers, which can be verified through the citation.¹¶