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Home , Beenie Man, Dancehall, Demarco (musician), Elephant Man (musician), Josey Wales, Reggae

SESSION HANDOUT Mash-Up

LaToya Bufford & Catherine Chiemelu

Zumba® Jammers , USA

SESSION HANDOUT

Presenters LaToya Bufford/Catherine Chiemelu, Zumba® Jammers, USA

Schedule 5 min: Introduction 10 min: History of Jamaican Dancehall 25 min: Movement Time 30 min: Choreography Breakdown (use basic steps learned and take home TWO choreographed songs) 45 min: Master Class 5 min: Thank you/Farewell (Total: 2 hours)

Session Objective · Expose a variety of styles of dancehall and emphasize its contribution to current dance culture in the Caribbean, other tropical countries and all over the world. Dancehall’s journey across boundaries exemplifies a dance “globalization” similar to other such as Hip-Hop, Salsa, and Capoeira.

· Learn how to use Dancehall steps and movements as a base for creating exciting and innovative choreographies.

· Learn how to modify or intensify the moves and how to personalize and add your own flavor.

· The main objective in dancehall is to have fun while expressing YOURSELF, whether it be edgy, sassy, or sexy!

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History & Background To define DANCEHALL you must begin with the definition of . Reggae is a style of with a strongly accented subsidiary beat, originating in . Reggae evolved in the late 1960s from and other local variations on calypso and and , and became widely known in the through the work of Bob ; its lyrics are much influenced by Rastafarian ideas.

Dancehall is a style of current Jamaican popular music and is a spinoff of reggae. The dancehall genre was developed in the late 1970s from the seductive chant of the dancehall deejay—part talking and part singing. This style dates as early as 1969, when the reggae artist U-Roy experimented with talking over or under a “” (rhythm). Pioneers of the current style of dancehall include and Eek-A-Mouse. Dancehall is a style and genre that was mainly developed by urban in Jamaica; its lyrical content is based on the lives of the people who created it and often contains lyrical content considered by many to be overly sexual or violent. In a word, dancehall might be described as "raw" and it has often been criticized in a similar way to gangsta rap despite the fact that many "conscious" artists continue to release dancehall music. This multimodal African diasporic style is also evident in the hip-hop music of North America, and the origins of both can be traced to West African performance styles. The current style is characterized by a deejay singing and rapping over . The style of early dancehall deejays was developed into a more continual rhythmic pattern of rapping that contained much more than the rapping style being developed in America around this time. It's important to note that the rhythmic patterns dancehall deejays developed in their rapping are based around the phrasing and speech patterns of (Jamaican dialect). is often used to refer to the type of dancehall music based around "mix" rhythms and contains almost no elements of what is traditionally perceived as reggae.

You can’t have dancehall without dance! The rhythmic movements in dancehall act as an expression emerging from the inner-city communities of Kingston, Jamaica. This style of dance is fundamentally global, and an outcome of centuries of varied dance expressions, predominantly African-based but with European influences as well. The popularity of dancehall has spawned dance moves that help to make parties and stage performances more energetic and exhilarating.

Founding Artists of Dancehall:

Eek-A-Mouse/Yellowman//General Debris/ Michigan and Smiley// Ninja Man/ / / /Patra

Current Popular Artists:

Beenie Man/Mr. Vegas//Lady Saw/ / Khago/Mavado/ Cham///

Basic Steps & Variations Wine + Variations Pepper Seed Melody Jiggy Come Outta Mi Way Trakkle

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Movement Time Movement/Description Notes Fitness Variations Wine Basic Get low to work the thighs and (Circle hips) Tempa buttocks. Shaxxa Weezy Egyptian Pepper Seed Take it high then low. (Single single double (SSD) side step while rolling opposing shoulder forward, arms at sides) Jiggy Be careful of knee placement. Contract abs during torso twists. Lift (March and twist, lifting knees) knees higher.

Melody Badda Wave Pump fist and arms like a jack (Arms up then push down w/ body hammer. Contract abs. roll)

Come Outta Mi Way Ensure that arm movements are like (Walk up on 4 counts pushing away chops. Keep them strong and maintain with arms, then move back on 4 strong lines. Squat. counts prayer hands forward) Trakkle Move your arms during the (Plant 1 leg, pivot & take ATW hitting movements. each quadrant (1-2-3-4). Hop in/out. Rock Hips side to side in place 4 x)

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Choreography Notes Turn Your Swag Up Artist - RDX (3:44) - iTunes

Song Part Choreography Reps Notes

Intro Look Outta Road (side to side, use hand to look out) Jiggy - march and twist lifting knees (2 counts of 8) A ------Come Outta Mi way - walk up on 4 counts pushing away with arm, 1 X (:24) then move back on 4 counts prayer hands forward (2 counts of 8)

Half turn to side -fist knock – on 4 counts B Pon Di Cloud side to side – 4 counts Half turn opposite side -fist knock – on 4 counts 2 X (:44) Pon Di Cloud side to side – 4 counts Badda Wave 4 times turning to opposite side “Ahhhh we swaggin…” C Swag – S, SSD 1 X (1:03) Turn it up-dip, Turn it up-dip…4X Turn it up 3X -dip, turn it up 3X -dip opposite Jiggy - march and twist lifting knees (2 counts of 8) ------A Come Outta Mi way - walk up on 4 counts pushing away with arm, 1 X (1:23) then move back on 4 counts prayer hands forward (2 counts of 8)

Half turn to side -fist knock – on 4 counts Pon Di Cloud side to side – 4 counts B Half turn opposite side -fist knock – on 4 counts 2 X (1:43) Pon Di Cloud side to side – 4 counts Badda Wave 4 times turning to opposite side “Ahhhh we swaggin…” C Swag – S, SSD 1 X (2:02) Turn it up-dip, Turn it up-dip…4X Turn it up 3X -dip, turn it up 3X -dip opposite Jiggy - march and twist lifting knees (2 counts of 8) ------A Come Outta Mi way - walk up on 4 counts pushing away with arm, 1 X (2:22) then move back on 4 counts prayer hands forward (2 counts of 8)

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Half turn to side -fist knock – on 4 counts Pon Di Cloud side to side – 4 counts B Half turn opposite side -fist knock – on 4 counts 2 X (2:42) Pon Di Cloud side to side – 4 counts Badda Wave 4 times turning to opposite side “Ahhhh we swaggin…” Swag – S, SSD C Turn it up-dip, Turn it up-dip…4X 2 X (3:01) Turn it up 3X -dip, turn it up 3X -dip opposite (repeat combo until end)

Choreography Notes Wining Train Artist- Mr. Vegas- 3:20- iTunes

Song Part Choreography Reps Notes

Introduce Step: Ride di Train IN PLACE 2 x 8 A 2 x Ride di Train x8- Pivot to the R Wine Hips x8- PIvot to return front Repeat Sequence and change direction B Weezy Wine 6 x (0:31) A Ride di Train x8 Wine Hips x8 2 x (0:59) Repeat Sequence C Trakkle 6 x (1:18) Ride di Train x8 A Wine Hips x8 2 X (1:46) Repeat Sequence B Weezy Wine 6 x (2:04) Ride di Train x8 A Wine Hips x8 2 x (2:31) Repeat Sequence C Trakkle Until Get crazy with it...go AWD in (2:50) end reverse!!!

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Recommended Music The following songs are a few of Cat & Toya’s favorite dancehall songs/artists and can be found on iTunes, .com, or Yahoo Music. The actual playlist will be shared during the Dancehall Mash-Up session.

Song/Artist (Please be sure to download the clean or edited versions only). Star Bwoy/Mavado Dancehall Queen/ Dash Wata/Elephant Man Champion/Buju Banton Nah Sell Out/Khago Summertime/Vybz Kartel Bruk it Down/Mr. Vegas I’m So Special/Mavado Come Over/Patra Miss Fatty/Million Stylze No Talk Too Long/Beenie Man Bubbling Party/Charley Black

Items to bring to the session (Optional) · Hat (fitted, baseball cap, snap-back, etc.) · Country flag, bandana, or rag of any kind to represent YOU · Yourself! Come ready to bring the “FIYAH!”

References Dancehall. Wikipedia, The Free Encyclopedia. July 31, 2012, 15:23 UTC. Available at: http://en.wikipedia.org/w/index.php?title=Dancehall&oldid=505111357. (http://www.dancehallreggaeworld.com/dancehall-dance-moves.html) (http://www.britannica.com/) (http://sophia.smith.edu/blog/danceglobalization/)

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