As Dancehall music continues to strive for international
recognition among the mainstream genres of music, it apparently remains
blemished by crime, homophobia, and violence. While there have been several
dancehall pioneers who have worked and continue to work tirelessly to highlight
the versatility and creativity of the genre, and to launch themselves and the
dancehall flavor into international markets, dancehall reggae still fails to
garner the international appeal its producers, artistes and marketers
envisage.
Sometimes one wonders if dancehall music and
criminality are inextricably linked. Recently, too many dancehall artistes have
been brought before the courts for varying degrees of criminality. This state
of affairs does not reflect favorably on a genre struggling to take its place
on the international music scene. Dancehall artistes must know that they play
an important role in Caribbean society, especially when one looks at the impact
of dancehall reggae on the socialization of modern Caribbean youth.
Caribbean youth are tuned in to dancehall. This
is a fact that cannot be denied. Therefore, it is my belief that our Caribbean
dancehall artiste need to be more responsible in their words, thoughts and
actions.
Bounty Killer was recently brought before the
Jamaican courts on domestic violence charges. Movado was also recently charged
with aggravated assault. Elephant Man was booked together with Bounty Killer and
others on tax evasion charges. Ninja Man remains in jail on a murder charge.
Vybz Kartel, the self-proclaimed “World Boss”, is also before the Jamaican
courts on drug charges and his alleged role in two murders. Buju Banton is
incarcerated in the US on drug charges. And a very beloved Busy Signal is about
to be extradited from Jamaica to the US on drug charges.
Who precisely is a dancehall reggae role model?
Can dancehall music even produce positive role models? Are Sean Paul, Shaggy,
Cécile, or even Beenie Man role model material?
Rap/Hip-Hop also has its fair share of criminal
personalities at the forefront of its success. However, it seems as if the
world is far more interested in the Rap/Hip-Hop genres and exercises more
tolerance for the notorious crime figures it exemplifies. A large number of
rappers and hip hop artiste have gone to prison and continue to go to prison
for a variety of criminal activity.
The litany of rap/hip-hop artistes who have
been inmates at some point in time in their careers are too numerous to
mention. Names like T.I., Lil Wayne, Tony Yayo, Mystical, and DMX immediately
come to mind. Yet somehow rap and hip-hop manage to be widely accepted
internationally, far more than dancehall reggae could dare dream of
accomplishing. Arguably, rap, hip/hop and dancehall reggae are all black music
albeit different genres.
Perhaps the dancehall industry might want to strategically
focus on the image of their artistes who like it or not, are the brand
ambassadors of the industry. While many might argue that a tough image is
needed to lend ‘street’ credibility to the genre, this has little effect on the
international audience. Dancehall must rise from its humble beginnings and
establish itself as an internationally commercially viable product.
Dancehall lyrics must evolve from its
primitive, internationally unmarketable form, where violence, explicitly gross
sexual content and stunning homophobia forms the basis of its structure.
On the issue of homophobic lyrics, Beenie Man
has come out recently with an apology for using this harmful lyrical formula in
his music and urges its eradication from the genre. However, this brave move by
the self-proclaimed ‘King of Dancehall’ has been met with conspicuously mixed
reactions from friends, fans and foes.
