A Generative Perspective of Afro-Jamaican Fathers’ Socialization of Values for Their Children in Middle Childhood

Total Page:16

File Type:pdf, Size:1020Kb

A Generative Perspective of Afro-Jamaican Fathers’ Socialization of Values for Their Children in Middle Childhood A Generative Perspective of Afro-Jamaican Fathers’ Socialization of Values for their Children in Middle Childhood by Amoy Marshall Green A Thesis presented to The University of Guelph In partial fulfillment of requirements for the degree of Master of Science in Family Relations & Applied Nutrition Guelph, Ontario, Canada © Amoy Marshall Green, July, 2017 ABSTRACT A GENERATIVE PERSPECTIVE OF AFRO-CARIBBEAN FATHERS’ VALUES SOCIALIZATIN FOR THEIR CHILDREN IN MIDDLE CHILDHOOD Amoy Marshall Green Advisor: University of Guelph, 2017 Dr. Susan S. Chuang The study explored Afro-Jamaican fathers’ perspectives on their fathering identity and the socialization of values with a focus on middle childhood. Specifically, I examined the roles and responsibilities that the fathers included in their fathering identity, the values that were instilled when the fathers were children and the values that the fathers wanted for their children, and how the fathers promoted values. The study utilized a thematic analysis methodology from a social constructivist perspective to analyse 10 semi-structured interviews with fathers between 28 and 37 years of age. I explored their perspectives in three areas: (a) construction of fathering identity, (b) perspectives on socialization of values, and (c) perceived factors that affect their socialization of values. The current study contributes to a deeper understanding of Afro-Jamaican fathering identity and socialization of values. There were three main empirical contributions. The study revealed that the fathering identity of Afro-Jamaican fathers was not limited to the behavioural dimension which is the primary areas of exploration in the fathering literature (Pleck, 2010). These fathers emphasized that the values that they experienced as children, and wanted for their children were multifaceted with specific explanations that expanded the prevailing conceptualizations of values (Chao, 1995; Chuang & Su, 2009). Lastly, the approaches that both caregivers and fathers encompassed to instill values in their children focused on strategies within several domains such as control, guided learning, group participation, support, and reciprocity. iii Dedicated to: My sons, Jonathan Green and John-Mark My husband and the father of my sons, David Green My Mother, Millicent Clarke-Reid My father, the late Everton Marshall iv ACKNOWLEDGEMENTS Firstly, I am extremely grateful to my advisor, Dr. Susan Chuang for her mentorship, guidance, support, and kindness during the journey of completing this thesis. Your constructive feedback and sharp editing skills have been greatly appreciated. Further, I would like to thank my committee member, Dr. Michèle Preyde, for her insightful and constructive feedback, and encouragement in completing this thesis. It was an honour to learn from you both. My thesis would not have been possible without the fathers who willingly participated in the study and openly divulged their personal information and their experiences. Also, special thanks to David Green for collecting the data in Jamaica. I would like to extend tremendous gratitude to the Covenant Keepers Ministry Church family, and friends for your prayers, love, support, and encouragement: Pastor Stephen Erskine and First Lady Jackie Erskine; Janet and Michael Walder; Millicent Clarke; Esther Lashley; Charmaine Stanley; Charmaine Llewellyn; Leroy McCalla; and Angela Cranston. Also, to my church family and friends in Jamaica Dr. Lenworth and Hyacinth Anglin; George and Monica Lewis; Dr. Dave and Deirdre Gosse; and Audrey Henry for their friendship, support and encouragement over the years. Special thanks to our family friends, Allan and Olwen Brown, for their noble support, love, and kindness, even during their challenging times. Last but by no means least, I would like to express my gratitude and appreciation to my family. To my spouse, confidante, friend, and department peer, David, for your selfless support, love, encouragement, and patience. You have been a tower of strength. To my sons, Jonathan and John-Mark, for your patience and understanding, especially during the times when I needed to work undisturbed. Thanks to my mother and friend, Millicent, for always being a listening ear, for the many prayers and encouragement, and support as I sought to complete this thesis. Thanks v for the commitment and tremendous sacrifice you made to help me achieve my goals and dreams. Thanks to my siblings, Clive, Anniff, Shanice, and Osheena, for their encouragement and support. Thanks to my aunt and uncles, Marjorie, Daniel, and Audley, for their encouragement and for believing in me. Also, I am grateful to my sister-in-law, Marcia, for her kindness and support, especially during our transition to Canada. vi Table of Contents Abstract…………………………………………………………………………………………ii Acknowledgments……………………………………………………………………… iv Table of Content………………………………………………………………………… vi List of Tables………………………………………………………………………………….ix Introduction……………………………………………………………………....…..… 1 Overview of Scholarship on Fathering…………………………………………..……... 2 Bronfenbrenner’s Bioecological Model…..……………………………………..……… 5 Afro-Caribbean Families: A Historical Perspective…………………………….……... 7 A Historical Account of Afro-Caribbean Families…………………………….…..7 Experiences of Slavery………………………………………………….…11 Apprenticeship and Post-Slavery……………………………………….…16 Contemporary Cultural Perspective of Afro-Caribbean Fathering…………………….. 21 Early Socialization and Identity Development of Afro-Caribbean Fathers…..... 21 Contemporary Afro-Caribbean Family Structure………………………………. 22 Gender Role and Identity……………………………………….………………. 26 Child Socialization……………………………………….…………………….. 29 Parenting Values and Child Characteristics…………………………….. 29 Afro-Caribbean Fathers’ Parenting Goals and Behaviours..…………………31 Gender Socialization……………………….…………………………………… 33 Economic Status……………….…………………..…....................................... 36 Education………………………………………….…….……………………… 38 Purpose of the Study……………………………………….…………………………… 41 Research Questions……………………………………….……………..…..…. 42 Methods……………………………………….……………………………………….. 42 Participants………………………….…………………...…………………….. 42 Procedures………………………….…………………………….……………. 43 Recruitment……………………………………………………………. 43 Demographic Questionnaire..…………………………………….....….. 44 Semi-Structured Interview……………………………………………... 44 Data Analysis………………….………………………………………………. 45 vii Rigour and Trustworthiness………………………….………………………... 48 Reflexivity………………………….…………………………………………. 49 Results………………………….…….……………………………………………….... 49 Fathering Identity……………………………..………………………….……. 50 Behavioural Domain………………………………………………….... 50 Affective Domain…………….………………………………………… 55 Fathers’ Perspectives on Socialization of Values ………………………………….56 Listing of Values……………………….………………………………. 57 Strategies Used to Promote Values………………………………….…………. 58 Control…………………………………………………………………. 60 Guided Learning……………………………………………………….. 62 Group Participation…………………………………………………….. 64 Support…………………………………………………………………. 65 Reciprocity……………………………………………………………… 66 Justifications for Promoting Values………………………………….………… 67 Training………………………………………………………………… 67 Enhancing Interpersonal Relationships……………………………….. 68 Developing Personal Characteristics……………………………………..70 Facilitating Accomplishments……………………………………………71 Being Trained Spiritually………………………………………………………72 Meeting Societal Expectations…………………………………………...72 Engaging in Prosocial Behaviours………………………………………..73 Ensuring Personal Safety…………………………………………………74 Discussion……………………………….………….……………………………………74 Multidimensionality of Fathering Identity…………………………….………….75 Multidimensional Roles and Responsibilities……………………………75 Multidimensionality of Fathering Values…………………………..……….……81 Multifaceted Reasons for Socialization of Values………………….……….. 83 Multiple Approaches to the Socialization of Values……………………………..8 4 Intergenerational Transmission of Values………………………………………. 87 Limitations of the Study……………………………….………….………………………89 viii Future Directions……………………………….………….……………………………..91 Implications and Conclusions……………………………….…………………………...92 References……………………………….………….…………………………………….9 4 Appendix A – Certificate of Ethics Approval………………………………………..……..124 Appendix B – Consent Information…………………………….………….………………..125 Appendix C – Recruitment Letter…………………………….………….…………………129 Appendix D – Recruitment Flyer…………………………….………….…………………130 Appendix E – Background Questionnaire…………………………….………….………13 1 Appendix F – Interview Protocol…………………………….………….…………………13 4 ix List of Tables Table 1- Demographics and Background Information…………………………………... 116 Table 2 – List of Values Instilled When Fathers Were Children and Values that Fathers Wanted for their Children…………………………………………………………….… 117 Table 3 – Values Instilled When Fathers Were Children and Those They Wanted for their Children………………………………………………………………….…………11 9 Table 4 – Promotion of Values by Fathers’ Caregivers and the Fathers…………………. 121 Table 5 – Strategies Used by the Fathers' Caregivers and Fathers Employed to Promote Values ……………………………………………………………………………………12 2 1 Introduction Fathering in diverse cultural contexts is under-researched, and fathers in ethnic and minority families have been misunderstood and stereotyped (Miller & Maiter, 2008). Researchers have employed a deficit perspective for decades that has not given attention to important contextual factors such as history, culture, and political systems (Bronfenbrenner & Morris, 2006). However, there is significant empirical support for the contributions that fathers make to children’s development in some regions of the world,
Recommended publications
  • Jamaican Politics, Nationalism, and Musical Culture in Transition, 1974-1984
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-18-2007 Between Two Giant Sounds: Jamaican Politics, Nationalism, and Musical Culture in Transition, 1974-1984 Caree Banton University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Banton, Caree, "Between Two Giant Sounds: Jamaican Politics, Nationalism, and Musical Culture in Transition, 1974-1984" (2007). University of New Orleans Theses and Dissertations. 508. https://scholarworks.uno.edu/td/508 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Between Two Giant Sounds: Jamaican Politics, Nationalism, and Musical Culture in Transition, 1974 – 1984 A Thesis Submitted to the Graduate Faculty of the University of New Orleans In partial fulfillment of the Requirements for the degree of Master of Arts In History By Caree Ann-Marie Banton B.A. Grambling State University 2005 B.P.A Grambling State University 2005 May 2007 Acknowledgement I would like to thank all the people that facilitated the completion of this work.
    [Show full text]
  • Pst12 Galvez.Pdf
    José Gálvez, Machtverhältnisse, Genderasymmetrien und Körperkonfigurationen in Reggaeton Schriftenreihe herausgegeben vom Forschungszentrum Populäre Musik der Humboldt-Universität zu Berlin Machtverhältnisse, Genderasymmetrien und Körperkonfigurationen in Reggaeton José Gálvez „Mulier, id est, caro“[1] -Martin Luther Zur Aktualität des Reggaeton Kaum ein anderes Phänomen hat sich einer so immensen Beliebtheit erfreut und zugleich eine so erbitterte Diskussion in Lateinamerika ausgelöst wie Reggaeton. Seit mehr als zehn Jahren ist Reggaeton ein nicht nur im spanischsprachigen Raum sehr verbreitetes und erfolgreiches Musikgenre, dessen Wurzeln im Reggae, Dancehall und Hip-Hop liegen.[2] Im Vergleich zu anderen lateinamerikanischen Genres populärer Musik weist Reggaeton oft explizite sexuelle Inhalte im Songtext auf, in denen, die Frau zum Begehrensobjekt oder zur unterwürfigen (Sex-)Dienerin degradiert wird. Insbesondere in den letzten Jahren wurde Reggaeton vorgeworfen, zur Reproduktion von patriarchalischen Ideologien in einer Region beizutragen, in der Gewalt gegen Frauen nach wie vor ein gravierendes Gesellschaftsproblem ist. So hat Reggaeton für kulturpolitische Diskussionen, pädagogische Überforderung und religiöse Empörung in etlichen lateinamerikanischen Ländern gesorgt.[3] Die Online-Kampagne Usa la razón, que la música no degrade tu condición (Sei vernünftig – lasse dich nicht durch Musik erniedrigen) plädiert beispielsweise für das Verbot von sexistischen Reggaeton-Songs und versucht Menschen für explizit sexistische, erniedrigende
    [Show full text]
  • Moving Dancehall Off the Island: Female Sexuality and Club Culture in Toronto
    Karen Flynn: Moving Dancehall Off the Island: Female Sexuality and Club Culture in Toronto Moving Dancehall Off the Island: Female Sexuality and Club Culture in Toronto Karen Flynn Associate Professor University of Illinois, Urbana-Champaign, IL, USA Abstract While there has been an exciting growth in scholarship on dancehall culture, primarily in the fields of cultural and literary studies as they relate to Jamaica, more attention needs to be given to its configuration in other geographical locations and other popular culture arenas. This article explores dancehall culture from a geographic site, in Toronto, which, despite its large Caribbean population, is often a mere footnote in larger diasporic studies. Moving beyond the proclivity of viewing dancehall culture and music from a purely patriarchal misogynistic viewpoint, the article focuses on the redemptive and empowering possibilities that this popular Black expressive form holds. It underscores how dancehall culture and music challenge hegemonic scripts predicated on stereotypes of Black women’s sexuality. Despite the contradictions inherent in the music and the performance of female artists such as Lady Saw and Tanya Stephens, dancehall culture evokes women as active agents who are able to articulate their sexual desires. Keywords: sexuality, dancehall music, Black/Caribbean women, dance 183 www.sta.uwi.edu/crgs/index.asp UWI IGDS CRGS Issue 8 ISSN 1995-1108 Dedication This article is dedicated to KaosKrew (especially Philip Cole), Slim & Trim (Michael Banfield and Leslie Corion) DJ’s Quincy, Bobby B, Mark Anthony, Mike Gibbs, Wayne; my brother DJ Extacy (Dwayne Reynolds), Eddie Williams, Andy Coward, the late Michael Charles and Dorian Major (RIP) and the rest of the Tdot promoters.
    [Show full text]
  • Dancehall, Rap, Reggaeton: Beats, Rhymes, and Routes Indicate If Seminar And/Or Writing II Course
    Music History 79 General Education Course Information Sheet Please submit this sheet for each proposed course Department & Course Number MUS HST 79 Course Title Dancehall, Rap, Reggaeton: Beats, Rhymes, and Routes Indicate if Seminar and/or Writing II course 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Foundations of the Arts and Humanities • Literary and Cultural Analysis • Philosophic and Linguistic Analysis • Visual and Performance Arts Analysis and Practice x Foundations of Society and Culture • Historical Analysis • Social Analysis Foundations of Scientific Inquiry • Physical Science With Laboratory or Demonstration Component must be 5 units (or more) • Life Science With Laboratory or Demonstration Component must be 5 units (or more) 2. Briefly describe the rationale for assignment to foundation area(s) and subgroup(s) chosen. The course will analyze the history, aesthetics, and social relevance of the following musical genres: dancehall, rap, and reggaeton. In addition, it will introduce students to a variety of related musical genres and increase their ability to hear differences among styles of popular music and to interpret the meanings of such differences. 3. "List faculty member(s) who will serve as instructor (give academic rank): Jerome Camal, Visiting Assistant Professor Do you intend to use graduate student instructors (TAs) in this course? Yes x No If yes, please indicate the number of TAs 2 4. Indicate when do you anticipate teaching this course over the next three years: 2010-2011 Fall Winter Spring Enrollment Enrollment Enrollment 2011-2012 Fall Winter Spring x Enrollment Enrollment Enrollment 120 2012-2013 Fall Winter Spring Enrollment Enrollment Enrollment 5.
    [Show full text]
  • 7 Ragga Music
    7 Ragga Music: Dis/Respecting Black Women and Dis/Reputable Sexualities Denise Noble We take the girls dem out the darkness, And put the girls dem in the light, That’s why the girls love to hear, Shabba voice ‘pon mic’ (Shabba Ranks, ‘A Wi De Girls Dem Love’, ) Through the blues, black women were able to autonomously work out – as audiences and performers – a working class model of womanhood … it revealed that black women and men, the blues audience, could respond to the vastly different circumstances of the post slavery era with notions of gender and sexuality that were, to an extent, ideologically independent of the middle class cult of ‘true womanhood’. In this sense … the blues was a privileged site in which women were free to assert themselves as sexual beings. (Angela Davies : ) In thinking about my own enjoyment of Ragga music as a Black British woman, I have been intrigued by my own contradictory responses. For as much as I have ‘disapproved’ of some of the overtly sexist and porno- graphic lyrics of some songs, I have also found myself basking in their celebration of Black womanhood. Furthermore, this very public display and celebration of Black sexuality, and particularly Black female sexuality, struck me as very different from other forms with which I had been familiar which represented Black women’s sexuality in my immediate experience of Black culture; an experience that is geographically located in London, but traversed by my familial connections with Jamaica and the USA, travels in Europe and a diasporic consciousness of Blackness that shapes my sense of myself as a Black British woman.
    [Show full text]
  • Complete9,99Sales List
    THE BIG IRIE RECORDS 9,99 EURO CD SALE! MORE THAN 600 CDs @ SPECIAL SALE PRICE OF 9,99 EURO (INCL. TAX) THIS OFFER HAS BEEN EXTENDED UNTIL FEBRUARY 28, 2010! Artist Title Format Label Alpha & Omega Spirit Of the Ancient GB-CD INNER SANCTUARY Althea Hewitt Introducing Althea Hewitt USA-CD VP Anthony B Real Revolutionary GB-CD GREENSLEEVES Anthony Cruz Fight With All Your Might USA-CD VP Assassin Gully Sit'n USA-CD VP Page 1 of 22 Artist Title Format Label Assassin Infiltration USA-CD VP Augustus Pablo King David's Melody GB-CD GREENSLEEVES Augustus Pablo One Step Dub GB-CD GREENSLEEVES Augustus Pablo Pablo Presents Rockers International GB-CD GREENSLEEVES Augustus Pablo Rising Sun GB-CD GREENSLEEVES Barrington Levy DJ Counteraction GB-CD GREENSLEEVES Barrington Levy Englishman GB-CD GREENSLEEVES Barrington Levy Here I Come GB-CD GREENSLEEVES Barrington Levy Robin Hood GB-CD GREENSLEEVES Barrington Levy Too Experienced - The Best Of USA-CD VP Barrington Levy Teach The Youth: 1980- 85 At Joe Gibbs USA-CD 17 NORTH PARADE Beenie Man Best Of Beenie Man USA-CD VP Beenie Man Maestro GB-CD GREENSLEEVES Beenie Man Monsters Of Dancehall GB-CD GREENSLEEVES Beres Hammond Lifetime Guarantee GB-CD GREENSLEEVES Beres Hammond Love From A Distance USA-CD VP Beres Hammond Love Has No Boundaries USA-CD VP Beres Hammond Music Is Life USA-CD VP Bounty Killer Down In The Ghetto GB-CD GREENSLEEVES Bounty Killer Ghetto Gramma GB-CD GREENSLEEVES Bounty Killer No Argument GB-CD GREENSLEEVES Bounty Killer Roots, Reality, & Culture USA-CD VP Bounty Killer The Mystery
    [Show full text]
  • Redalyc.ANALYSIS of JAMAICAN ENGLISH VOWELS and CONSONANTS from REGGAE and DUB MUSIC
    SABER. Revista Multidisciplinaria del Consejo de Investigación de la Universidad de Oriente ISSN: 1315-0162 [email protected] Universidad de Oriente Venezuela ZORRILLA, DARIO; BERIA, JOSÉ ANALYSIS OF JAMAICAN ENGLISH VOWELS AND CONSONANTS FROM REGGAE AND DUB MUSIC SABER. Revista Multidisciplinaria del Consejo de Investigación de la Universidad de Oriente, vol. 18, núm. 1, enero-junio, 2006, pp. 72-78 Universidad de Oriente Cumaná, Venezuela Available in: http://www.redalyc.org/articulo.oa?id=427739428012 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Saber, Universidad de Oriente, Venezuela.Vol. 18. Nº 1: 72 - 78 (2006) ANALYSIS OF JAMAICAN ENGLISH VOWELS AND CONSONANTS FROM REGGAE AND DUB MUSIC ANÁLISIS DE LAS VOCALES Y CONSONANTES DEL INGLÉS JAMAIQUINO PROVENIENTE DE LA MÚSICA REGGAE Y DUB DARIO ZORRILLA Y JOSÉ BERIA Universidad de Oriente, Núcleo de Sucre, Escuela de Humanidades y Educación. Departamento de Idiomas Modernos. E-mail: [email protected] ABSTRACT This article describes Jamaican English vowels and consonants through the analysis of fragments of dub and reggae music. Jamaican English is the product of a specific reality which makes it difficult for an untrained ear to understand it. The artists chosen for this article were Mutabaruka, Yellowman and Shabba Ranks. They are representatives of dub music, a style that was born out of reggae. These singers use both Jamaican English and Standard English in their songs. The most notorious fact of Jamaican pronunciation is the opening of the central reduced vowel in final position before “r”.
    [Show full text]
  • GTA SA 360 MANUAL ENG.Pdf
    LOCAL BUSINESS ADVERTISER’S GUIDE WARNING Before playing this game, read the Xbox 360® console, Xbox 360 Kinect® Sensor, and accessory manuals for important safety and health information. www.xbox.com/support. Important Health Warning: Photosensitive Seizures A very small percentage of people may experience a seizure when exposed to WELCOME TO certain visual images, including flashing lights or patterns that may appear in video games. Even people with no history of seizures or epilepsy may have an undiagnosed condition that can cause “photosensitive epileptic seizures” while watching video games. Symptoms can include light-headedness, altered vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, confusion, momentary loss of awareness, and loss of consciousness or convulsions that can lead to injury from falling down or striking nearby objects. Immediately stop playing and consult a doctor if you experience any of these symptoms. Parents, watch for or ask children about these symptoms—children and teenagers are more likely to experience these seizures. The risk may be reduced by being farther from the screen; using a smaller screen; playing in a well-lit room, and not playing when drowsy or fatigued. If you or any CONTENTS relatives have a history of seizures or epilepsy, consult a doctor before playing. 02 MOST WANTED 03 CONTROLS 05 TRAVEL SERVICES 07 FACTS + ACCOMMODATION 10 HOSPITAL + PERSONAL SAFETY SERVICES 13 MONEY + SHOPPING 14 GAMBLING 16 SPORT + EATING OUT 17 PERSONAL GROOMING SERVICES 18 PERSONALS Local
    [Show full text]
  • Erotic Maroonage: Embodying Emancipation in Jamaican Dancehall Culture
    Proceedings of the Ninth Annual Gilder Lehrman Center International Conference at Yale University, co‐sponsored by the Yale Center for British Art The Legacies of Slavery and Emancipation: Jamaica in the Atlantic World November 1‐3, 2007 Yale University New Haven, Connecticut Erotic Maroonage: Embodying Emancipation in Jamaican Dancehall Culture Carolyn Cooper, University of West Indies, Mona, Jamaica Available online at http://www.yale.edu/glc/belisario/Cooper.pdf © Do not cite without the author’s permission I deploy the trope “erotic maroonage” to signify an embodied politics of disengagement from the Euro‐centric discourses of colonial Jamaica and their pernicious legacies in the contemporary moment. Almost two decades ago, I proposed in my exploratory essay, “Slackness Hiding From Culture: Erotic Play in the Dancehall,” that the hypersexuality articulated in the lyrics of the DJs, which is conventionally dismissed as pure vulgarity, or “slackness” in the Jamaican vernacular, ought to be retheorised as a decidedly political discourse. Slackness, in its invariant coupling with Culture, is not mere sexual looseness – though it certainly is that. Slackness is an ideological revolt against law and order; an undermining of consensual standards of decency. In my revisionist reading, slackness constitutes a radical, underground confrontation with the patriarchal gender ideology and pious morality of fundamentalist Jamaican society. 1 Encoding subversion, the title of that early essay, taken from the lyrics of DJ Josey Wales – “Slackness in di backyard hidin[g], hidin from Culture” – celebrates the cunning wiles of slackness.i The subtitle, foregrounding the erotic, underscores the ambiguities of disgust and desire in the dancehall imaginary: feminised, seductive Slackness simultaneously resisting and enticing respectable Culture.
    [Show full text]
  • Slackness: the Antithesis of Culture and Its Place in Dancehall Music Racquel Fagon Nova Southeastern University
    Quadrivium: A Journal of Multidisciplinary Scholarship Volume 1 Article 11 Issue 1 Issue 1, Spring 2009 12-1-2014 Slackness: The Antithesis of Culture and its Place in Dancehall Music Racquel Fagon Nova Southeastern University Follow this and additional works at: http://nsuworks.nova.edu/quadrivium Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Fagon, Racquel (2014) "Slackness: The Antithesis of Culture and its Place in Dancehall Music," Quadrivium: A Journal of Multidisciplinary Scholarship: Vol. 1: Iss. 1, Article 11. Available at: http://nsuworks.nova.edu/quadrivium/vol1/iss1/11 This Article is brought to you for free and open access by the CAHSS Journals at NSUWorks. It has been accepted for inclusion in Quadrivium: A Journal of Multidisciplinary Scholarship by an authorized administrator of NSUWorks. For more information, please contact [email protected]. Fagon: Slackness: The Antithesis of Culture and its Place in Dancehall M About the Author Racquel Fagon is a candidate for a Master of Arts degree in Writing in the Farquhar College of Arts and Sciences Division of Humanities at Nova Southeastern University. NSU. She currently resides in Hollywood, Florida, and aspires to be a professor of composition studies. She is currently completing her thesis, a novella on a Jamaican family's trials and triumphs. "Slackness": The Antithesis of Culture and its Place in Dancehall Music by Racquel Fagon A Jamaican's conception and experience of Jamaican popular culture are not solely subjected to the sociopolitical and cultural happenings of the past , but are unequivocally porous to present influences within the Caribbean and the world at large.
    [Show full text]
  • Handout 1: Select Latin American Genres
    Handout 1: Select Latin American Genres Reggaeton Region of Origin: Jamaica/Panama/Puerto Rico Background: Reggaeton is a hybrid genre which mixes reggae, rap, and Latin American music styles. Though it emerged in the 1990s, Reggaeton has a long developmental history that spans both decades and countries. In the early 1900s, the United States began construction on the Panama Canal—one of the largest infrastructure projects ever undertaken. As a result, thousands of Jamaicans moved to Panama to work on the canal. These immigrants and their children maintained a close connection with their homeland, and were aware of cultural developments occurring in Jamaica, including the rise of Reggae in the 1960s. It was only a matter of time before Panamanians also began embracing Reggae, and soon singers and groups such as Renato y La 4 Estrellas started covering Reggae songs in Spanish. A new style was born: Reggae en Español. Reggae en Español then spread to New York City, with the Don Omar in Concert help of Panamanian immigrants. There the genre was soon embraced by the Puerto Rican community and sent back to Puerto Rico, where producers such as Luny Tunes and rappers such as Don Omar and Daddy Yankee began adding their own influence to Reggae en Español, mixing it with Hip Hop and the Latin styles of Salsa, Merengue, and Bachata. They named this new genre Reggaeton. Musical Characteristics: Like Hip Hop, Reggaeton is created largely through sampling and other studio production techniques, although it is not unusual for producers to incorporate acoustic instruments as well. More than anything else, the defining musical feature of Reggaeton is the underlying beat, which can be traced back to the 1991 song “Dem Bow,” by Jamaican DJ/Vocalist Shabba Ranks.
    [Show full text]
  • Funny Man: Performances of Masculine Identities in Dancehall Music from Late 20Th Century Jamaica
    FUNNY MAN: PERFORMANCES OF MASCULINE IDENTITIES IN DANCEHALL MUSIC FROM LATE 20TH CENTURY JAMAICA By Ezekiel Timen Undergraduate Honors Thesis submitted to the faculty of the History department Muhlenberg College December 8, 2020 Thesis Committee: Dr. Cathy Marie Ouellette, Advisor Dr. Jacqueline Antonovich Dr. Tom Cartelli Timen 2 Table of Contents Title 1 Table of Contents 2 Acknowledgements 3 Introduction 4 Methodology 6 Historiography 8 The Rudeboy: Who Is He? 11 The Rudeboy: Where Is He? 15 The Lyrical & Symbolic Significance of Guns 18 Chauvinist Performances 22 Conclusions 27 References 31 Timen 3 Acknowledgments We stand on the shoulders of giants. This work would not have been possible without the dedicated scholarship of countless researchers, but I would like to thank Judith Butler, Carolyn Cooper, Maurice Hall, and especially Donna P. Hope by name. I am privileged to have worked with, and truly indebted to, my classmates at Muhlenberg College. To Anne Apmann, Alyssa Curtis, Dalissa Duran, Emily Hurley, Chane Kaba, Katrina Voorman, and Alexandra Watson: I express my deepest gratitude. Your patience and kindness have helped me grow immeasurably as a writer, as a responsible historian, and as a friend. I would also like to thank the faculty and staff of Muhlenberg College for their knowledge and guidance. Special thanks to Dr. Kelly Cannon, a world-class librarian, scholar, and finder-of-lost-sources. To my advisor, Dr. Cathy Ouellette, whose wisdom, high standards of excellence, and willingness to let me rant and ramble in her general direction until I have my “a-ha” moment, have been instrumental in my development as a historian and as a teacher.
    [Show full text]