dancehall music

▪ music

also called  ragga  or  dub 

      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. Central to dancehall is the deejay, who raps, or “toasts,” over a prerecorded rhythm track (bass guitar and drums), or “dub.”

      The seductive chant of the dancehall deejay—part talking, part singing—came to prominence in the late 1970s but dates from as early as 1969, when U-Roy experimented with talking over or under a “riddim” (rhythm). This multimodal African diasporic style also is evident in the hip-hop music of North America, and the origins of both can be traced to West African performance modes.

      The rise of deejay Yellowman in the early 1980s marked the transition from mainstream reggae to dancehall music that took place in Jamaican nightclubs. In addition to the explicitly political lyrics of songs of the early 1980s such as “Operation Eradication” and “Soldier Take Over,” Yellowman incorporated into his repertoire salacious lyrics that became widely known as “slackness,” a Jamaicanism for licentiousness. Drawing on the raunchy tradition of mento, an earlier form of Jamaican dance music that barely disguised sexual discourse in metaphor, and on the spirit of the Caribbean calypso folk song, to which mento is kin, Yellowman teasingly addressed both sex and politics in his radical critique of society in the wake of the failure of Jamaica's experiment with socialism under Prime Minister Michael Manley.

      In the 1980s and '90s, computer-generated rhythms mechanized and sped up the dancehall beat. From the 1980s to the mid-1990s, slackness and gun talk dominated the lyrics of dancehall deejays, the most notable of whom were Shabba Ranks, Ninjaman, Bounty Killer, Lady Saw, and Lovindeer (who composed in a calypso idiom). In the late 1990s, however, a resurgent Rastafarian (Rastafari) consciousness was exemplified in the work of Buju Banton, Anthony B, and Sizzla, who built upon the earlier examples of Tony Rebel and Josey Wales. There was also a new wave of born-again Christian performers, including Lieutenant Stichie, Papa San, and Carlene Davis. The eclecticism of contemporary Jamaican dancehall music is perhaps best characterized by the iconoclastic Beenie Man.

Carolyn J. Cooper

 

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