Tanya Batson-Savage, Freelance Writer
THOUGH IT was created in the 1990s, the film The Darker Side of Black, proved extremely relevant to the current situation of dancehall, and Jamaican society. The Centre for the Arts, University of Technology, St Andrew, presented their first video forum, which centred on the film, last Friday, March 4, 2005.
The discussion surrounded whether homophobia and violence is driven by market forces, the toil it has taken on the music, as well as whether the society can tackle the issue by engaging in personal responsibility.
The room was filled with high school and college students, other professionals, as well as music.
In a sense, this reflected the panel of discussants comprising Ronny Burke project manager; Jerome Hamilton publicist; Imani Duncan, Nesta Andrews accountant, and two high school students Sasha-Kay Blake (Trench Town High) and Tasneka Kassie (St. Hugh's High).
THE ISSUES
The documentary, written and researched by Edward George, sets itself out as tackling the issues of violence, sex and faith in hip hop and dancehall. In truth, it largely looks at homophobia in dancehall, which it examines through the issues violence and faith.
The film begins by setting the slavery and religion as the boiling pot and fire that produced dancehall and its offshoot, hip hop. With commentary from Ice Cube, Shabba Ranks, Carolyn Cooper, Chuck D, Buju Banton, Lady Saw, Aston Cooke and a slew of writers and cultural critics, the film strides forth to make its assessments.
Though the homosexual debate surrounded Buju Banton's Boom Bye-Bye, which is approximately a decade old, and featured an almost pubescent Buju Banton, the relevance of the topic quickly translated to present day dancehall with Hamilton's first comment. He pointed to the present furore about homophobic content in dancehall and the unsettling lack of response that has followed in its wake.
Hamilton countinued to point out that deejays not only sing of their experiences, but they also learn to sing what the audiences expect of them. He said that while international pressure may force the music to change, the heart of the homophobia lay within the Jamaican populous.
One member of the audience argued that the violent and homophobic content, where it exists is a reflection of economics. "It's not necessarily that they [the artistes] want to do some of these things, but they have no option. It sells," he argued.
Interestingly, Ronny Burke argued that if economics were the main thrust then the deejays are going about it from the wrong end. He pointed out that the cancellation of tours has severely hampered the earning potential of many deejays, in a situation where most of their earnings come from overseas tours.
Both younger panellists argued that the music was merely a reflection of what the deejays see in society. However, Duncan argued that though deejays may be the 'messengers' of the culture as it exists, each individual is responsible for creating that culture. "We are creating that culture," Duncan said. "It is not something that just happens to us."
Her sentiment was reiterated by a member of the audience who stated that by wallowing in the idea that the 'ghetto' is a place filled with strife and terrible happenings, Jamaica was 'letting' itself down. With the various points of view which arose, one particular sentiment reared itself up time and again.
It was the idea that if the
players in the industry and the wider society behaved more responsibly, then maybe real, tangible change could occur.
