- ContributedChris Goldfinger
Deon Green, Freelance Writer
THE evolution of the dancehall, which was created on the bedrock of reggae music, has created fame for Jamaica worldwide and is intrinisically linked to images of paradise, sunshine, and white sand beaches associsated with the island.
'Reggae in the sun' points only to Jamaica and whether it be a Lebanese, African, Asian or Israeli, here in London names like Bob Marley, Peter Tosh, Toots Hibbert have put the seal of approval on Jamaica's existence.
The importance of the music was highlighted on February 6, Bob Marley's birthday, with tribute being paid to his music, alongside recognition of the importance of the dancehall connection.
But many Londoners, some with Jamaican roots, have diverse views on dancehall.
For Lorraine Anderson, once a regular at dancehall sessions, violence, overcrowding and poor arrangements have held her back from the shows.
"Mi love it, Beenie Man, Buju and dem man deh, a my type a ting. But mi na go a dem place de again," she told The Sunday Gleaner.
According to her, there have been too many sad endings when the venues are overcrowded and it is difficult to get in.
One problem is that whenever there are conflicts, it's difficult to get out of those jam-packed sessions.
Some others who have avoided the dancehall shows in London and Birmingham say that patrons carrying weapons such as knives, plus gun salutes, have turned them away.
Tony, a record seller in Harlesden, a black-dominated community says, however, the violence in London is not attached to dancehall.
"Man have dem difference and settle it a road, not a dance," he said.
He also stressed that reggae music has grown so large that it can't be avoided. "It has become the base for many other music. The cultural mix and all that has made the sale of reggae music one in it's own realm," he said.
Steven Daly, Mastermind Sound System operator and of West Indian background, who has a spot at Notting Hill Carnival each year, says dancehall has had a great effect on the London populace.
"Dancehall has had a big impact. In the early days, the phrases, the associated dress, the moves like 'Butterfly' added a different dimension," he said.
He said dancehall appeals to the massive and allows for cultural expression in a meaningful way.
Interestingly, he points out that cultural roots music is more popular amongst a vast majority of nationalities, however, the dance halls are flocked by many youngsters.
Breeding ground
In a recent interview with renowned Jamaican disc jockey at the British Broadcasting Corpo-ration (BBC), Chris Goldfinger, Baby Cham disclosed the essence of dancehall for himself and other performers.
For Baby Cham, like many other artistes, during the early days Studio Mix, Jammys, Stone Love, Metro Media, Jam Rock were among the favourite sound systems.
The entertainer believes dancehall is about music and people enjoying themselves and, as a result, selectors play a variety of music.
An important point, the DJ told the BBC, is that radio is like a commercial playing what they get, but sound systems play what the fans ask for.
He said that for new artistes, if the song does not make it to the sound system land it is not 'mashing up the place' - and if it is not mashing up the place the sound system doesn't play it. Therefore, if the song goes to sound system land it is likely to be a hit.
As to what is 'mashing up the place' on the reggae chart in the UK the BBC's Top Ten reads:
1. Elephant Man - Log On (V.P.)
2. Beres Hammond - Rock Away (Harmony House)
3. Warrior King - Virtuous Woman (Lion Paw)
4. Buju Banton - Nah Live Too Right (Cali Bud)
5. Capleton - Call Me On The Telephone (Footstep)
6. Warrior King - Pagans (Cali Bud)
7. Bounty Killer - Outcry (Pot of Gold)
8. T.O.K. - Keep It Blazing (V.P)
9.Beenie Man/Devonte/-Tonto Metro - One Girl (Shocking Vibes)
10. Sizzla - Pump Up (Black Shadow)
See you next week when The Sunday Gleaner takes a closer look inside the BBC' s Reggae Studio to see the impact of Jamaican Reggae music.
