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Archive for Dancehall

From the Dancehall Diaries: Notes on Passa Passa

A dreadlocked, weed vendor walks past me selling ‘High Grade’ in a cellophane plastic bag. I ask him, out of curiousity and, really, more amazement that he is clearly not hiding the product from view, (the bag is held up against his chest), how much it costs. He scrutinises me. Cynically at first. He then looks at the group I am with. He pauses. Looks again and then says: “so whe yuh waan know dat fah…?”. His voice trails off, an obvious hint of humour in it. We look at each other, knowingly, and then burst out laughing.

Everybody gets it. This is Passa-Passa. Take it or leave it, the rules do not really apply here. The laughter masks our wordless comment on his brazen disregard for the rule of law. After all, the police station is only a few chains away. He moves on; lazily, looking for more customers in the now crammed streetside venue. I am awed by his daring!

And that is not the only thing! The dancers are all out now in their wonderful array of ‘Dancheall fashion’. Their high energy and choreographed movements, including what I have now accepted as the ‘outrageous Daggerin’ dance, are all on display. The audience is mesmerised.

Stunt men from Germany and Jamaica are also riding by, giving us a taste of the melange that is Passa-Passa. They are promoting a stunt riding competition between Jamaica and German bikers, in a few day. Like the Red Bull truck – obviously one of Passa Passa’s benefactors, they and Red Stripe are helping to ensure the success of the event.

Something is definitely happening ‘Down Town’. The patrons are fired up and they know the ‘vibez’ will bubble till ah mawnin’! Oh, that is right, it is already dawn. The streaks of red flame across the grey coloured dome above us. Night is not yet ready to yield to the ways of daylight. Like the dancers below, she is far more interested in milking the curious energy of the throngs assembled beneath her on Spanish Town Road, the folds of fabric of her gown rapidly disappearing in the coming dawn.

Morning would be here soon and with it, his brother the Sun! But, still and even more curiously, the dancers remain steadfast in their vigil, dancing their troubles away, almost as if ode to the Night.

We had been here almost two and half hours now, having been the first to arrive at 2:30 a.m. Then, the residents all looked at us – one man and five women; three white, one Indian (from the Caribbean) and the other, well, she could almost pass for Jamaican. Her black skin fitted in perfectly with the black shiny pant suit she is wearing. No one can bother themselves with the ’strangeness’ of her accent, or even that she is British! For now, she and the night are one and we are all caught up in the incredible energy of the Passa Passa moment.

Even the near unbearable heat of the shop across the road, in which we seek refuge, upon disembarking from the taxi cab, seems cool in this ‘out there’ universe. Women dressed in their everyday clothes lounge about expectantly behind the walls enclosing the street behind us. They, like the man smoking marijuana from the bong beside us are all regulars. All have come out to witness another chapter in the soon to be unfurled excitement.

Like everybody else in a ten mile radius, we can hear the ‘Selector’ warming up on the mic. He instructs the Red Bull truck and the two pretty girls who accompany it in their small car with the Red Bull sign plastered over it, where to park: “Not out in di way!” he says! “We ah regular inna dis! We know how Passa Passa go! Yuh cyaan park deh so!”

The drivers heed the warning, even while more patrons continue to trickle into the venue. It is now three twenty in the morning and we are seated across the road, near the wall with the women in their everyday clothes. They are partially hidden from view but we can still hear the excitement simering in their muted voices. Bottles align the wall in front of them. They have been building their own vibe all night.

Then, the men to their left see us! “Brederin! Gimme one ah dem nuh!” one of them says, gesturing to the five women. The petite Indian girl is already buying liquor and drinking in the flavours and excitement of Passa Passa. She is a foreigner. She does not understand him. I explain that, “he apparently wants one of your!” They all smile.

The dark skinned girl, enveloped by the folds of night, responds in mock amazement: “wants one of us?! Wow!” I smile, too! I know that this is but a taste of the energy to come. My friend from Australia, who even seems paler under the fluorescent street lamp, smiles broadly. She shows him her ring finger: “I have a ring!” she says in almost nasal Australian twang.

The Indian girl, hair flowing down her back, midriff exposed, is smoking and drinking now. She too points to her ring finger for the man to see her wedding band. As if, on cue and not wanting to be outdone, the man shouts back and holds up his finger for all of us to see: “Me ave a ring to!” he says in bawdy excitement.

The dark skinned girl, with the British accent, suddenly suggests that we should move to the front, nearer where the dancers have converged. She says she is not afraid, just not completely interested in going further with the discussion about ring fingers and gifts of adult, albeit foreign women. We comply with her wishes.

In the streets, more of our colleagues can be seen now. They are coming from ‘Fiction’, the newest and suppousedly very ‘Uptown’ club, on the other side of town – literally, it is more than twenty minutes away. They are all chilling out from the conference earlier in the day.

One girl, with reddish brown dreadlocks looks at me and says, more like shouts: “Your paper today was very good!…Now, I see what you were talking about!” I nodded back in acknowledgement, momentarily curious about what may have seen at Passa Passa that relates to what I talked about earlier. I push the question out of my mind, though transfixed by the sea of colourful costumes and the unbridled ebullience unfolding before me.

Even the Japanese men who were sitting beside us dressed in the most thugged out of urban wear, with dolled up Jamaican women beside them are nearer the dancers now. We all know that something big is about to happen!

The Indian girl, says to me: “People from all over are here!” There is another group of white patrons and one man who sounds like he is from somewhere in Africa, beside us! I nod in agreement. This time more certain I know what was said to me.

I am the unacknowledged tour guide. The only Jamaican academic in the crowd, at least from what we can tell! My paper earlier, briefly touched on issues like this. It focussed more on how political issues of subjectivity are in popular culture, specifically Dancehall. I am now the resident expert!

Passa Passa marked the completion of a long, hard day of much thinking and presentation of academic papers, arising out of the Caribbean Studies Association (CSA) Conference in Kingston, from June 1-5, held at the Hilton Kingston Hotel. This was actual field work. Or, so we tell ourselves.

At any rate, it is a wonderful time to catch up with old friends and make new ones; hang out and take in the scene. Passa Passa lives up to expectation. Even the young boys dancing with the university professor and Dean of Graduate Affairs, who also taught me in undergrad, incidentally, is part of the moment. We all smile!

The Trinidadian television presenter with the long flowing red hair, to whom I was introduced by the Dean, is ‘irie’ now. She has had a few liquors and her partners are all looking on in rapt attention to the girls grabbing their crotch and acknowledging the Selector’s explicit remarks for their show of support; that is, if they are ‘good in bed’!

The TV presenter is shouting questions in my ears about, but only because it is so loud. She remarks also that she would like to do a project about the love of the Road! Whether Carnival in Trinidad, or Brazil, or even demonstrations in Italy, people all seem invested in the Road. She says we should work together and writes her email on a piece of paper. I place it in my pocket.

But, not nearly as carefully, unfortunately. We are pumped. This is all adrenaline now, though! Some of us have been up for close to twenty four hours, starting with early morning presentations the day before.

The TV Presenter says that, “next time I am here (Passa Passa), I want to see you out there dancing with them!” She points a red lacquered finger to the dancers, looking meaningfully at me. I smile and gently rebuff the invitation. After alll, I am an observer I remind myself.

I am sweating profusely now from practising the array of popular dance moves. However, only those which seem easy enough to pick up on spot. The others are a little more complex and require will more practise. I am not so sure I will be afforded that time.

I laugh raucously, at the invitation, a combination of disbelief at the suggestion, as well as a slight sense of nervousness from all the video cameras snaking their way through the crowds. I still work…outside of the academy. The feelings there are not always as liberal about events like these.

I do not wish to be seen on camera. So, I place my hand over my face. The camera man is not daunted. He shifts focus and turns his attention on the pretty TV Presenter, parts of her body are also exposed, though perhaps not as much as the girls grabbing their crotches beside us. They are swept up in the excitement and brashly performing for the video recording crew with panache and style.

Some of the other girls in the street, with their backs to the all purpose shop in which we bought our drinks earlier, increase the tempo of their gyrations. They must be seen too! Between that and the Selector’s continuing encouragement for even more explicit behaviou from themr; his acknowledgement of the ‘graduate students from UWI’ and the air conditioned coaster bus with market people ensconced inside; their produce piled high for all to see, Passa Passa has lived up to its billing. It is a show stopper!

The shop with the combination of weed, cold drinks and general purpose oils for achieving wealth, keeping a lover or bannishing unfriendly spirits; however, is a bonus. It is both haven and a study in contradictions – an ideal space for our anthropologising exploits.

We did not anticipate too, the unmatcehd cammaraderie of the resident. Though, I always knew it, I was still shocked. Spanish Town Road was an odd combination of urban malaise, youthful energy and rustic Jamaican charm. Looking at the energetic dancing, I was reminded of religious Jamaican folk rituals in which people ‘get inna spirit’ at night.

Even the women in their everyday clothes proved an invaluable part of the experience. They encouraged us to park behind the wall where they stood, the next time we are there. Everyone, including the old man and two women who were dancing in front the shop were in the moment, as if conspiring to show us another side of ‘ghetto life’ in Jamaica.

The mad man – we can tell from his attire that too many pieces of mismatched clothing just did not fit into the glamour and excitement of the other dancers, was off in his own world. But, his place was assured. He danced uninterrupted by the crews of young male dancers in their scarves, overall jackets, even windbreakers and multi-coloured shoes.

The cars were coming quicker now. Their insistent horns, indicating that Night had ultimately lost her grip in the battle for daylight. Her brother Morning was singnalling to his companion Sun that he was about to call off the party. From over the horizon, Sun shot out his first rays across the sky, every minute reminding that it was time to go.

We hugged everybody – at least those from the conference and went in search of our ride. The cab driver smiled upon seeing us: “Mi did ah wonder if onnu did ah go stay!” His smile betraying the seeming seriousness of his remarks.

“It did hype!” I say, emphasisng the last word, embodying the excitement! My voice hoarse from the constant shouting, the night air and the high voltage performances. I was tired. My feet leaden from the all night standing only just make it to my seat. The five women chimed in: “it was fun!”

“Wow! What an amazing party!”

“This was definitely better than Fiction!”

“A____________, we must do this again!” the Indian girl says to me, her eyes sparkling. She meant, when next she is in Jamaica.

I am happy. I have managed to entertain my friends/ colleagues, even while enjoying the experience myself. I will have to enter this as part of my field notes, I remind myself. The cab pulls away. Spanish Town Road and the energetic sounds of Passa Passa drifitng away with each second.

Still, the memory is so real it is hard to see how we would soon forget this. My friends’ excited chatter reliving every moment!

Daggerin’ and the Dancehall: The Politics of Representation

From all appearances, Daggerin’ has gone global and members of the international press are very much interested in covering it. Between the BBC and NEWSWEEK.com and also Youtube, there is no want of international attention on this issue. In fact, I too was recently solicited for an interview from a writer from NEWSWEEK.com. I was invited to speak in my capacity as a ‘writer/ critic’ (blogger) of Dancehall, from the ‘inside’. Unfortuantely, however, we seemed unable to coordinate our schedules. In between returned Facebook messages and phone calls by me, the story went to press without my inputs.

The article was an interesting account of the Daggerin’ dance phenomenon in Jamaica and also gave some implications for how the male sex organ may be damaged during these high voltage and very physical performances, as well as gestured to poverty here. A number of Jamaican sources, as well as one American doctor from Baylor Medical Centre were cited. The range of perspectives included known academics, to sound system operators and at least one other blogger. Entitled: ‘Really, Really Dirty Dancing: More On Daggering’ (http://blog.newsweek.com/blogs/thehumancondition/archive/2009/06/08/really-really-dirty-dancing-more-on-daggering.aspx), the narrative focussed on the dance form as especially sexy and provocative. 

From all appearances, Daggerin’ has gone global and members of the international press are very much interested in covering it. Between the BBC and NEWSWEEK.com and also Youtube, there is no want of international attention on this issue. In fact, I too was recently solicited for an interview from a writer from NEWSWEEK.com. I was invited to speak in my capacity as a ‘writer/ critic’ (blogger) of Dancehall, from the ‘inside’. Unfortuantely, however, we seemed unable to coordinate our schedules. In between returned Facebook messages and phone calls by me, the story went to press without my inputs.

The article was an interesting account of the Daggerin’ dance phenomenon in Jamaica and also gave some implications for how the male sex organ may be damaged during these high voltage and very physical performances, as well as gestured to poverty here. A number of Jamaican sources, as well as one American doctor from Baylor Medical Centre were cited. The range of perspectives included known academics, to sound system operators and at least one other blogger. Entitled: ‘Really, Really Dirty Dancing: More On Daggering’ (http://blog.newsweek.com/blogs/thehumancondition/archive/2009/06/08/really-really-dirty-dancing-more-on-daggering.aspx), the narrative focussed on the dance form as especially sexy and provocative.

The story also highlighted some other key issues, primary among them the fact that Jamaica has, increasingly, come to be regarded in the international media as a (very) stratified society, in which concerns about class and access have very real implications for how the society works. Indeed, insofar as the author moves between the various sources referenced, shows what is potentially the very complex nature of Dancehall in Jamaica and, quite possibly, Jamaican culture, itself.

Still, there is a very real question which came to mind head after I read the story. What is the objective of the message regarding the stratified nature of Jamaican society and ultimately, the story? Is it aimed at highlighting the imbalances, in terms of how that presents Government with real obstacles for solving crime, or for that matter increasing the education budget and the levels of access which are had by those at the lowest levels in the system?

Or, could it be that by drawing attention to the stratified nature of Jamaica, it also highlights how the economy seems to be stagnating, even before the the current fallouts caused by the contraction of the world economy, globally? If so, then there are ideal opportunities for a discussion about Dancehall and its role in Jamaica, at this time.

If not, then there is need to further contextualise Dancehall and the phenomenon of Daggerin’, by extension; in part, because acts of representation are almost always political, especially those involving sex and sexuality. It behooves us ‘insiders’, then, to continue this very important dialogue, in an effort to widen out the discussion from just a narrow focus on sex and, in particular, damaged male organs, poverty and crime. After all, there is more to Jamaica than just this. Isn’t there?

The explanations offered, not so much in the story itself, but by some of the sources referenced regarding poverty in Jamaica, did not sufficiently interrogate the significance of that reality for Jamaican culture, or for that the culture of the ‘masses’. How is Dancehall produced and what does it mean for Jamaica’s own development as a ‘middle income country’, according to the designation of some multi-lateral lending agencies? Are those even applicable questions in this context?

Also curious is the seeming facination with the highly charged and very sexual nature of the Daggerin’ dance. This is not to suggest that Daggerin’ is not worthy of such importance as a discussion by the international press. However, it must be asked whether these media reports do not also help to reinforce a view of Jamaica as an especially sexually permissive place; where people are so destitute, marginalised and disempowered that their only means of survival is engaging in apparently lewd dances, at nights? The goal of which, it appears, is to seduce specific audiences whose main aim it also seems, is to voyeuristically consume Daggerin’ for purposes often disguised under the rhetoric of ‘research’, or even ‘curiousity’.

Why are poor, disenfranchised youth in the ghettoes of Kingston and elsewhere in Jamaica pushed to choreograph such explicit and provocative types of dances? Do these forms of entertainment have any implications for their real lives in a ’stratified’Jamaican society? If not, then perhaps some of the bemused facination also require further exploration.

Of critical importance here, is a kind of middle-class logic which also seems bent on promoting an image of Jamaica almost as if to excuse the fact that the Daggerin’ dance not only simulates violent sex but is also very dangerous. The story did not, in my view at least, appear to give a simultaneous qualification that such dances, when consumed in a generalised context often breach codes of responsibility and civility.

Questions about the civic responsibilities of these very adult entertainers are not just about an effort to side against ‘poor people’; that is, in their push to eke out an existence, however marginal in class obsessed Jamaica. Nor is it a prudish, if not irrational attempt at controlling those who would otherwise exist in the unbridled freedoms of their sexualities, if even at the level of ritualising such liberation through dance. Indeed, whereas the over sexualisation of our children may not seem like much to frown at in the ‘dance and do what you feel like’ atmosphere which currently characterises the society, the breakdown in Jamaican family structures, over time, coupled with the ever increasing, if not alarming reports of illiteracy at particular grade levels, among other related factors should allow us pause in this discussion.

In fact, it is especially curious that most of those who would make remarks about censorship are often also able to shield their own charges from the direct effects of this kind of ‘cultural’ broadsiding, in which young girls are encouraged to dance on their heads, feet splayed wide for various men to entertain themselves with carefree abandon. Such was the opening of the Newsweek article. This is not to say, though, that this position strictly limited Jamaican middle-class notions of ‘freedom’. However, it is to make the point that, in many respects, Dancehall is very adult entertainment. A fact that is sometimes forgotten in the traditional haste to brand it, not only as popular but oppressed culture.

Beyond the health implications for broken penises and the near death defying stunts, as explained in the Newsweek story, little is mentioned about the links between dancing and the presumed permissiveness of black sexualities, historically. How does that impact questions of medical care for the growing numbers of teen pregnancies, sexual assaults and also the spread of HIV-AIDS, especially amongst economically and socially depressed communities? And, is there also a need to identify such meanings in the context of the toursim discourse of sun, sand, sea and sex for which Jamaica is known?

These issues are not just simple matters of relativising Daggerin’ with similarly licentious displays of middle-class Carnival-type ‘wining’, which itself further complicates such concerns. On the contrary, issues about Daggerin, insofar as dances like these place Jamaica in the spotlight of international attention, have very real implications for how development is considered here.

Regardless of whether Dancehall sees itself as having a crucial part to play in this conversation, however, does not change the fact that it has also achieved a kind of notoriety for which Jamaica has also become branded. As I have argued before in this forum, as well as elsewhere, there is no escaping the Dancehall’s need to rehabilitate its public image, whetherat the local and or international levels. This is, in part, because the time for matured responsibility has long been upon us.

Dancehall is one of the important ways in which international audiences think about Jamaica and Jamaican culture. The focus on the sexual permissiveness of its proponents, at the level of dance, coupled with the emphasis on homophobic violence and the general sense of mayhem often sits at odds with the ‘paradise’ motif with which Jamaica has been ubiquitously referenced in the tourism discourse of Government. Going by this conception of Dancehall alone, Jamaicans hardly seem like a serious people ready to embrace the complex realities around us and in which we also live.

On the contrary, an image of Jamaica as having a devoted penchant for extreme/ x-rated partying and also, a presumed hatred of sexual minorities, itself, characterised by constant sectoral violence/ turf wars has become part of the signifiers by which we are known, internationally. This was also referenced in the article.

The debate around Dancehall is also a discussion about where Jamaica now finds itself in the international human development indices, in many ways. This is not to suggest that, Dancehall’s producers and consumers must change, by necessity, to suit the whims of Government, insofar as it may be percieved to be failing at these responsibilities. Far from it! The marketing, production and consumption of Dancehall do not exist in isolation of other realities with which Jamaica also grapples, whether as a government and, or a nation.

Daggerin’ and other such explicit dances mask some very serious concerns about and within Jamaica; that is, if we were to look closer. Significantly more harm than good will be done to both Dancehall and Jamaica too, if this is not acknowledged as important in the inter/national narratives of awe and bemused, if not defensive ‘curiousity’ used to articulate Dancehall’s identity, whether to ourselves and or the world.

The problem is not that others write about us, but that they do not seem to either understand the realities of life here or are not as invested in doing so, necessarilly. We are obligated to pen our own histories from our own vantage points, as a result! Failure to do so will, undoubtedly, be a very costly mistake later on up the road! Such is the nature of representations of this kind, which are never without their accompanying and intractable politics.

Dancehall Must Rehabilitate Its Public Image!

Below is a letter which I sent to the local media, here.  Not sure if it will be published, but it has been sent to other commentators, as well.  So, at least the views expressed in the letter may show up somewhere in the Jamaican media. Hopefully, I will be acknowledged. Please read and comment.

Thanks!

 

Dear Editor:

I write to acknowledge my endorsement of the efforts of the Broadcast Commission to review and address the untenable state of affairs regarding the wholesale promotion of values and attitudes contrary to the upliftment of the nation. Its decision to discontinue further airplay of the popular Dancehall tune ‘Rampin’ Shop’, though belated, is a timely reminder that the uncontrolled state of permissiveness encouraged in many areas of the Jamaican media require very careful monitoring.

This is not the same as suggesting that there is no place for Dancehall or that the heavy hand of moral arbitration is beyond being questioned. Far from it. It is to foreground instead, the singular importance of popular culture in shaping our collective national outlook in Jamaica, currently. Dancehall plays a crucial role in this regard. It is more than just a genre of popular music. Dancehall is also a very developed culture and includes issues related to economics and power, some of which often run counter to the goals of the state.

Indeed, there is no expectation that, Dancehall should fall neatly in line with the requirements of ‘establishment’ and sacrifice, in the process, its artistic integrity in the effort to school and parent Jamaicans. On the contrary, it is to highlight that whether wittingly, or not Dancehall has contributed much to the process of values formation in Jamaica and has become, as a result, a critical institution of socialisation.

This coupled with the increased weakening of some of the traditional systems, previously, responsible for socialising the state has resulted in the creation of a vacuum. New and different forces have risen up to fill these gaps. Dancehall is one such force. Alongside an acknowledged dissonance about what constitutes appropriate values in Jamaica, therefore, it is not hard to see how Dancehall may be regarded as more than just casual ‘adult entertainment’. For better or worse, it may be regarded as holding a preeminent position of socialisation within the society.

Dancehall must seriously consider rehabilitating its public image, as a result; not just in the interests of practicality given its increased powers of importance in the society, but also as a means of demonstrating its inherent versatility/ creativity. The latter, as we are aware, goes beyond a focus on only themes of sex and violence. Excuses regarding a chronic lack of education on the part of many of its producers and artistes are an insult to the diversity of intelligence and depth of talent within the industry/ culture. These must yield to the more urgent demands of true national development, cultural pride and meaningful progress.

The banning of ‘Rampin Shop’ as well as all other songs with words considered more generally offensive must be viewed in context, then, in terms of its attempt to guard against a moral opprobrium, especially in the interests of posterity. It is more than a mere question of ‘freedom of expression’ or even censorship, though these are also crucial considerations.

We are far more than just thugs for hire and sex crazed party-goers. I am confident, as a result, that it is well within our capacity to clean up Dancehall and as well as all other forms of entertainment which often fall outside of the boundaries of acceptability. Self regulation, education and civic responsibility must not be sacrificed, therefore, in the efforts to win popularity, wealth and power.

We can do much better! I am sure of it!

I am, etc.

Rawpoliticsjamaicastyle