DOCSLIB.ORG

La Méthode Du Riddim : Esthétique, Pratique Et Propriété Dans Le Dancehall Jamaïcain the Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
La Méthode Du Riddim : Esthétique, Pratique Et Propriété Dans Le Dancehall Jamaïcain the Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall Volume ! La revue des musiques populaires 13 : 2 | 2017 Inna Jamaican Stylee La méthode du riddim : esthétique, pratique et propriété dans le dancehall jamaïcain The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall Peter Manuel et Wayne Marshall Traducteur : Alexandre Tanase Édition électronique URL : http://journals.openedition.org/volume/5288 DOI : 10.4000/volume.5288 ISSN : 1950-568X Éditeur Association Mélanie Seteun Édition imprimée Date de publication : 21 avril 2017 Pagination : 25-59 ISBN : 978-2-913169-42-5 ISSN : 1634-5495 Référence électronique Peter Manuel et Wayne Marshall, « La méthode du riddim : esthétique, pratique et propriété dans le dancehall jamaïcain », Volume ! [En ligne], 13 : 2 | 2017, mis en ligne le 21 avril 2020, consulté le 08 janvier 2021. URL : http://journals.openedition.org/volume/5288 ; DOI : https://doi.org/ERREUR PDO dans /localdata/www-bin/Core/Core/Db/Db.class.php L.34 : SQLSTATE[HY000] [2006] MySQL server has gone away L'auteur & les Éd. Mélanie Seteun 25 ument Doc La méthode du riddim : Esthétique, pratique et propriété dans le dancehall jamaïcain* par Peter Manuel (City University of New York) Wayne Marshall (Berklee College of Music / Harvard University) Traduit de l’anglais (États-Unis) par Alexandre Tanase Résumé : La scène et l’industrie du disque jamaï- Abstract: The Jamaican system of recording caines, des années 1950 jusqu’à nos jours, ont une and performance, from the 1950s to the present, manière bien particulière d’aborder les notions de constitutes a distinctive approach to notions of composition, d’œuvre originale et de propriété. composition, originality and ownership. Emerg- Prolongeant une tradition où la performance live ing from a tradition of live performance practice implique l’utilisation de disques (et influence en mediated by (and informing) sound recordings, retour leur production), la relative autonomie, the relative autonomy of riddims and voicings dans ce système, des riddims et des parties vocales in the Jamaican system challenges conventional Volume [voicings **] remet en cause les idées habituelles ideas about the integrity of a song and the degree sur ce qui constitue l’identité d’une chanson. to which international copyright law applies ! n° 13-2 * Traduit de Manuel Peter & Marshall Wayne (2006), « The riddim method : aesthetics, practice, and ownership in Jamaican dancehall », Popular Music, no 25, Cambridge, Cambridge University Press, p. 447-470. [Toutes les notes appelées par des * sont du traducteur.] ** Voicing désignant déjà en français une technique d’harmonisation propre au jazz, nous traduisons ce terme par « partie vocale » (parfois par « interprétation vocale ») lorsqu’il s’agit d’un substantif, comme dans riddim/voicing system ou riddim plus voicing, et par l’expression idiomatique « poser » (ou « poser sur ») quand il s’agit d’un verbe. 26 Peter Manuel & Wayne Marshall Cette autonomie pose aussi la question de la façon to local conceptions, as enshrined in decades of dont le droit international en matière de copyright practice, of musical materials as public domain. peut s’appliquer là où des décennies de pratique With the spread of the “riddim method” to the sites musicale vont de pair avec l’idée que le matériau of Jamaican mass migration, as evidenced by sim- musical fait partie du domaine public. Avec la ilar approaches in hip hop, reggaeton, drum‘n’bass propagation de la « méthode du riddim » dans les and bhangra, reggae’s aesthetic system has found aires d’immigration jamaïcaine, l’esthétique propre adherents among artists and audiences outside of au reggae a pu toucher hors de Jamaïque d’autres Jamaica. This paper maps out, through historical publics et d’autres artistes – comme le montrent des description, ethnographic data, and musical anal- genres voisins comme le hip-hop, le reggaeton, le drum‘n’bass ou encore le bhangra. L’article conjugue ysis, the Jamaican system as a unique and increas- ainsi récit historique, données ethnographiques et ingly influential approach to music-making in the analyse musicologique en vue de montrer comment digital age. le système jamaïcain constitue une manière à la fois unique et de plus en en plus influente d’aborder la Keywords: creative commons – copyright – dancehall création musicale à l’ère numérique. – DJ – Jamaican music – riddim – sound system Mots-clefs : communs créatifs – copyright– dancehall– DJ – musique jamaïcaine – riddim – sound system au xxe siècle la seconde moitié du siècle dernier, toutefois, sous L’avènement de la musique l’influence notamment des nouvelles technologies populaire et commerciale de masse a contribué à et de l’emploi dans les musiques africaines-améri- la diffusion, dans de nombreuses cultures et par- caines de l’ostinato, sont apparues plusieurs alter- tout sur la planète, d’un certain type de chanson. natives remarquables. Par exemple, les remixes, Selon ce type, devenu dominant, la chanson doit qui combinent des éléments provenant de plu- être un objet reproductible, autonome et original, sieurs chansons déjà connues, le hip-hop, qui se et celle-ci doit articuler de manière relativement sert d’un riff samplé pour l’accompagnement, ou inédite paroles, mélodie et accompagnement har- les chansons funk à la James Brown, avec une monique. Dans la culture musicale occidentale, structure plutôt libre et un ostinato pour colonne ! n° 13-2 par exemple, la structure AABA en 32 mesures, vertébrale. L’objet de cet article est d’étudier l’une éventuellement répétée deux ou trois fois avec de ces alternatives : une autre manière, unique et quelques variations, est un bon exemple de ce bien spécifique, de construire une chanson, incar- Volume modèle consacré et dominant de chanson. Dans née par le reggae dancehall. 27 La méthode du riddim... Depuis les débuts des années 1970, le reggae n’est pas propre au morceau : on le retrouve dans de – dont la forme la plus populaire s’appelle, depuis nombreux autres, ce qui n’est pas vrai du rap, par 1980 environ, le « dancehall 1 » – utilise ce qu’on exemple, qui pourtant utilise lui aussi des ostinatos appelle le riddim : une piste d’accompagnement samplés en accompagnement 2. Il peut par ailleurs autonome, typiquement construite à partir d’un arriver qu’à l’inverse une même partie vocale soit ostinato, celui-ci comprenant souvent une mélodie réutilisée sur différents riddims. Ainsi, le riddim instrumentale et des percussions. Or si un titre de dispose d’un nom à lui, de son producteur et de son dancehall consiste en un deejay chantant ou posant propriétaire, ainsi que d’une vie musicale propre, [voicing] sur un riddim, ce riddim, en revanche, indépendante des parties vocales des deejays. Volume ! n° 13-2 Figure 1 : Loydie Coxsone, selector installé à Londres, place l’aiguille pendant que le DJ est au micro. Crédits : UrbanImage.tv/Jean Bernard Sohiez. 28 Peter Manuel & Wayne Marshall Ce qu’on peut appeler le système « riddim-plus- qu’y prennent les sound systems, et la production en partie-vocale » construit donc les chansons à partir studio, relativement aux groupes jouant sur scène. d’éléments séparables. Cette façon de faire est Retracer et décrire cette évolution, cependant, est familière et va même de soi pour tous ceux qui par- en général plus aisé qu’arriver à l’expliquer. ticipent à la culture dancehall : fans, producteurs Bien que le système « riddim-plus-partie vocale » ou encore critiques musicaux. Elle est pourtant ne soit devenu la norme dominante dans la bien spécifique, et, à ce titre, mérite amplement de musique populaire jamaïcaine que vers la fin retenir l’attention des chercheurs. Nous nous pro- des années 1970, ses racines remontent aux posons ainsi dans cet article de décrire ce système années 1950, c’est-à-dire aux débuts de la culture à grands traits, de donner quelques repères concer- de la musicale commerciale en Jamaïque. En effet, nant son évolution, et d’étudier ses traits distinc- l’une des conditions essentielles de ce système date tifs : règles de composition, attitudes esthétiques, de cette période : l’habitude, qui domine tou- déterminants historiques, relation avec la perfor- jours aujourd’hui, d’aller danser sur des disques mance live, et conception spécifique de la propriété passés par des sound systems, plutôt que sur de la telle qu’elle se manifeste dans les pratiques cou- musique jouée live. Ce trait est caractéristique de rantes et la question du copyright. la Jamaïque : on ne le retrouve pas dans les pays avoisinants, en particulier dans les Caraïbes his- Naissance et évolution du système paniques. Pendant les années 1950, pour aller danser le samedi soir, un habitant de Santiago riddim/partie vocale en République dominicaine allait là où on jouait Une explication commune de la pratique consistant du merengue à l’accordéon ; au même moment, à recycler les riddims est de dire que la Jamaïque est à Kingston, les classes populaires allaient là où un pays pauvre, et qu’il est donc normal de cher- un sound system passait de la musique, avec son cher à diminuer les coûts de production en réutili- matériel, son personnel, ses habitués, et sa propre sant les pistes d’accompagnement, au lieu de payer collection de disques. Dans les années 1950, celle- pour avoir un studio et des musiciens. S’il y a pro- ci était essentiellement composée de singles de bablement du vrai dans cette explication, la réalité R&B venus des États-Unis – ce n’est qu’au début est néanmoins plus complexe – il suffit pour s’en des années 1960, avec le ska, que commencera à rendre compte de constater que beaucoup de socié- émerger une musique populaire et commerciale tés, pourtant plus pauvres encore que la Jamaïque, spécifiquement jamaïcaine. Une conséquence de n’ont pas développé d’équivalents du riddim. Il est cette appétence jamaïcaine pour les sound systems ! n° 13-2 donc plus pertinent d’étudier l’usage des riddims fut que la créativité et la production musicales comme un produit et un déterminant de l’évolu- se concentrèrent principalement dans les studios tion de la culture musicale jamaïcaine moderne – d’enregistrement.
Load more

Recommended publications
  • In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
    In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998).
    [Show full text]
  • Dancehall Dossier – FULL
    DANCEHALL DOSSIER STOP M URDER MUSIC DANCEHALL DOSSIER Beenie Man Beenie Man - Han Up Deh Hang chi chi gal wid a long piece of rope Hang lesbians with a long piece of rope Beenie Man Damn I'm dreaming of a new Jamaica, come to execute all the gays I'm dreaming of a new Jamaica, come to execute all the gays Beenie Man Beenie Man - Batty Man Fi Dead Real Name: Anthony M Davis (aka ‘Weh U No Fi Do’) Date of Birth: 22 August 1973 (Queers Must Be killed) All batty man fi dead! Jamaican dancehall-reggae star Beenie All faggots must be killed! Man has personally denied he had ever From you fuck batty den a coppa and lead apologised for his “kill gays” music and, to If you fuck arse, then you get copper and lead [bullets] prove it, performed songs inciting the murder of lesbian and gay people. Nuh man nuh fi have a another man in a him bed. No man must have another man in his bed In two separate articles, The Jamaica Observer newspaper revealed Beenie Man's disavowal of his apology at the Red Beenie Man - Roll Deep Stripe Summer Sizzle concert at James Roll deep motherfucka, kill pussy-sucker Bond Beach, Jamaica, on Sunday 22 August 2004. Roll deep motherfucker, kill pussy-sucker Pussy-sucker:a lesbian, or anyone who performs cunnilingus. “Beenie Man, who was celebrating his Tek a Bazooka and kill batty-fucker birthday, took time to point out that he did not apologise for his gay-bashing lyrics, Take a bazooka and kill bum-fuckers [gay men] and went on to perform some of his anti- gay tunes before delving into his popular hits,” wrote the Jamaica Observer QUICK FACTS “He delivered an explosive set during which he performed some of the singles that have drawn the ire of the international Virgin Records issued an apology on behalf Beenie Man but within gay community,” said the Observer.
    [Show full text]
  • Curt Magazin N/F/E
    curt Magazin N/F/E #158 - - - OKTOBER 2011 - - - WWW.CURT.DE Vorwort / curt #158 Ich löse vier Aspirin und zwei Alka-Seltzer in meiner Maß Bier auf, da mir das rechte Ohr pfeift. Eigendiagnose: Tinitus. Tinitus durch Ärger mit den curt-Schreiberlingen. Dabei war es von Anfang an klar: Die Besten sind eben auch immer Exzentriker. Dass mich das krank machen NEUERNEUERNEUERNEUER JOB JOBJOB JOB GEFÄLLIG? GEFÄLLIG?GEFÄLLIG? GEFÄLLIG? könnte und von einem Burn-out in den nächsten treiben würde, daran hatte ich nie gedacht. Und: Keine Besserung in Sicht. Dabei führen sie doch ein Leben in Saus und Braus hoch zehn, die curt-Recken. Denn natürlich ist es nicht unangenehm, in Cannes am richtigen Wochenende nur mit einem güldenen String bekleidet und mit einem Starlet im Arm von der Yacht herab ins Blitzlichtgewitter zu schreiten. Oder bei den MTV Awards lasziv von Gwen Stefanie begrapscht zu werden. Auch die richtige Party nach den Oscar-Verleihungen hat was, oder das Abhängen in Boxengassen. Und ebenfalls okay: die eine oder andere Filmpremiere oder Vernissage (Tach, Neo! Servus, Damien!). „Wie kann sich ein curt-Redakteur das alles leisten?“, wird sich ein Naivling jetzt fragen. Haha, Du ahnungsloser Narr! Du unwis- sender Konsument! Das kostet NISCHT! NULLINGER! Wir sind geladene Gäste im Schlaraffenland, so sieht's aus. Der Firmen-Porsche? Ein Geschenk! Der Akquise-Ferrari? Eine Spende. Der Verteiler-Hummer? Eine Leihgabe von einem Scheich, dessen Sohn wir mal zum Kopulieren NEUER JOB GEFÄLLIG? backstage gebracht haben bei der Comedy Lounge. Warum wir gerade alle in Louis Vuitton gekleidet sind? Eine Koop: Der curt-eigene Kaulquappenhund ist Model der aktuellen Kampagne.
    [Show full text]
  • 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]
  • SS05 Naple Full Programme.Pdf
    Across the globe the adaptation of Jamaican sound system culture has stimulated an innovative approach to sound technologies deployed to re-configure public spaces as sites for conviviality, celebration, resistance and different ways-of-knowing. In a world of digital social media, the shared, multi-sensory, social and embodied experience of the sound system session becomes ever more important and valuable. Sound System Outernational #5 – “Sounds in the City: Street Technology and Public Space” (4-5-6 April, 2019 - Naples, Italy) is designed as a multi-layered event hosted at Università degli Studi di Napoli L’Orientale with local social movement partners. Over three days and interacting with the city of Naples in its rich academic, social, political and musical dimensions, the event includes talks, roundtables, exhibitions and film screenings. It also features sound system dances hosting local and international performers in some of the city’s most iconic social spaces. The aim of the program is to provide the chance for foreign researchers to experience the local sound system scene in the grassroots venues that constitute this culture’s infrastructure in Naples. This aims to stimulate a fruitful exchange between the academic community and local practitioners, which has always been SSO’s main purpose. Sounds in the City will also provide the occasion for the SSO international research network meeting and the opportunity for a short-term research project on the Napoli sound system scene. Thursday, April 4th the warm-up session Thursday, April 4th “Warm Up Session” (16:30 to midnight) Venue: Palazzo Giusso, Università L’Orientale - Room 3.5 (Largo S.
    [Show full text]
  • Downloaded from Brill.Com10/05/2021 07:53:15AM Via Free Access University of Chicago Press, 1998
    Book Reviews -James Sidbury, Peter Linebaugh ,The many-headed Hydra: Sailors, slaves, commoners, and the hidden history of the revolutionary Atlantic. Boston: Beacon Press, 2000. 433 pp., Marcus Rediker (eds) -Ray A. Kea, Herbert S. Klein, The Atlantic slave trade. Cambridge, U.K.: Cambridge University Press, 1999. xxi + 234 pp. -Johannes Postma, P.C. Emmer, De Nederlandse slavenhandel 1500-1850. Amsterdam: De Arbeiderspers, 2000. 259 pp. -Karen Racine, Mimi Sheller, Democracy after slavery: Black publics and peasant radicalism in Haiti and Jamaica. Gainesville: University Press of Florida, 2001. xv + 224 pp. -Clarence V.H. Maxwell, Michael Craton ,Islanders in the stream: A history of the Bahamian people. Volume two: From the ending of slavery to the twenty-first century. Athens: University of Georgia Press, 1998. xv + 562 pp., Gail Saunders (eds) -César J. Ayala, Guillermo A. Baralt, Buena Vista: Life and work on a Puerto Rican hacienda, 1833-1904. Chapel Hill: University of North Carolina Press, 1999. xix + 183 pp. -Elizabeth Deloughrey, Thomas W. Krise, Caribbeana: An anthology of English literature of the West Indies 1657-1777. Chicago: University of Chicago Press, 1999. xii + 358 pp. -Vera M. Kutzinski, John Gilmore, The poetics of empire: A study of James Grainger's The Sugar Cane (1764). London: Athlone Press, 2000. x + 342 pp. -Sue N. Greene, Adele S. Newson ,Winds of change: The transforming voices of Caribbean women writers and scholars. New York: Peter Lang, 1998. viii + 237 pp., Linda Strong-Leek (eds) -Sue N. Greene, Mary Condé ,Caribbean women writers: Fiction in English. New York: St. Martin's Press, 1999.
    [Show full text]
  • Dancehall Dossier.Cdr
    DANCEHALL DOSSIER STOP M URDER MUSIC DANCEHALL DOSSIER Beenie Man Beenie Man - Han Up Deh Hang chi chi gal wid a long piece of rope Hang lesbians with a long piece of rope Beenie Man Damn I'm dreaming of a new Jamaica, come to execute all the gays I'm dreaming of a new Jamaica, come to execute all the gays Beenie Man Beenie Man - Batty Man Fi Dead Real Name: Anthony M Davis (aka ‘Weh U No Fi Do’) Date of Birth: 22 August 1973 (Queers Must Be killed) All batty man fi dead! Jamaican dancehall-reggae star Beenie All faggots must be killed! Man has personally denied he had ever From you fuck batty den a coppa and lead apologised for his “kill gays” music and, to If you fuck arse, then you get copper and lead [bullets] prove it, performed songs inciting the murder of lesbian and gay people. Nuh man nuh fi have a another man in a him bed. No man must have another man in his bed In two separate articles, The Jamaica Observer newspaper revealed Beenie Man's disavowal of his apology at the Red Beenie Man - Roll Deep Stripe Summer Sizzle concert at James Roll deep motherfucka, kill pussy-sucker Bond Beach, Jamaica, on Sunday 22 August 2004. Roll deep motherfucker, kill pussy-sucker Pussy-sucker:a lesbian, or anyone who performs cunnilingus. “Beenie Man, who was celebrating his Tek a Bazooka and kill batty-fucker birthday, took time to point out that he did not apologise for his gay-bashing lyrics, Take a bazooka and kill bum-fuckers [gay men] and went on to perform some of his anti- gay tunes before delving into his popular hits,” wrote the Jamaica Observer QUICK FACTS “He delivered an explosive set during which he performed some of the singles that have drawn the ire of the international Virgin Records issued an apology on behalf Beenie Man but within gay community,” said the Observer.
    [Show full text]
  • The Dub Issue 29 October 2018
    1 Burning Spear by Ras Haile Mecael. Contact Ras Haile Mecael on Facebook or via the Art of Rastafari group on Facebook for other heart works. 2 Editorial Dub Cover photo – Instrument Of Jah mandala, Dubshack tent, One Love Festival 2018. Painting on slate by Mystys Myth, photo by Dan-I Dear Reader, Welcome to issue 28 for the month of Dan. Firstly, apologies to our regular writer Eric Denham, whose Alton Ellis piece should have appeared in the singer’s birth month of September. Afrikan History Season swings into full gear this month in Oxfordshire, with the opening of the Windrush Years exhibition at the Museum of Oxford and the conference on the legacies of Emperor Haile Selassie I. A huge thank you to the organisers of the One Love Festival and all the artists and performers for making us feel truly welcome. I hope the reviews do the event justice. As for local events, Reggae On Tap goes from strength to strength and new venture Enjoy Yourself starts this month at The Swan in Eynsham on a regular basis thanks to long time The Dub contributor Richie Roots. Finally a big thank you to Prince Jamo and Messenger Douglas for a pair of fantastic interviews, tune in next month for the first in our Tales From Birmingham. Welcome to The Dub Editor – Dan-I [email protected] The Dub is available to download for free every month at reggaediscography.blogspot.co.uk and rastaites.com The Dub magazine is not funded and has no sponsors. While this allows for artistic freedom, it also means that money for printing is very limited.
    [Show full text]
  • Download Download
    :::::: Pum Pum Rule Jamaican Dance: An Analytic Response to the Inability to Recognize Female Sovereignty in Dancehall Leslie-Ann Fullerton “All I want to be is a Jamaican Dancehall Queen. If this is not possible, I will be satisfied writing about women in Jamaican dancehall.” - Leslie-Ann Fullerton. Leslie-Ann Fullerton was born and raised in a Christian home in Jamaica. She later became a dedicated lover and participant of Jamaican dancehall as a dancehall “mogela” [model], which played an instrumental role in informing this essay. Leslie-Ann is currently a 4th year student at the University of Toronto pursuing a double major in Caribbean Studies and Political Science. She was the 2012-2013 president and is currently the 2013-2014 Co-President of CARSSU. In reading this essay, Leslie-Ann hopes that the reader takes the advice of Chimamanda Adichie and beware of “The Dangers of Telling a Single Story” about a people and its culture. She implores the reader to look at women in Jamaican dancehall from a positive perspective. Jamaican music has had a close relationship with expressing the island’s various socio-economic and political stages. In Chude- Sokeis’s work, POST-NATIONALIS GEORGRAPHIES: Rasta, Reggae, and Reinventing Africa,1 the author traces Jamaica’s societal changes through music. This includes analyzing the relationship between post-nationalism, Rastafarianism, Dancehall, and women response to these phenomenon. Particularly, the emergence of dancehall introduced a rise African women participating in overt sexual expressions that was considered indecent. In this light, dancehall was rejected by the “ideological underpinnings of the elite culture”2 and their desires to mold nationalism in Jamaica into a replica of European model.
    [Show full text]
  • The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall1
    Popular Music (2006) Volume 25/3. Copyright © 2006 Cambridge University Press, pp. 447–470 doi:10.1017/S0261143006000997 Printed in the United Kingdom The riddim method: aesthetics, practice, and ownership in Jamaican dancehall1 PETER MANUEL† and WAYNE MARSHALL‡ †127 Park Ave, Leonia, NJ 07605, USA ‡88 Holworthy Street, Cambridge, MA 02138, USA Abstract The Jamaican system of recording and performance, from the 1950s to the present, constitutes a distinctive approach to notions of composition, originality and ownership. Emerging from a tradition of live performance practice mediated by (and informing) sound recordings, the relative autonomy of riddims and voicings in the Jamaican system challenges conventional ideas about the integrity of a song and the degree to which international copyright law applies to local conceptions, as enshrined in decades of practice, of musical materials as public domain. With the spread of the ‘riddim method’ to the sites of Jamaican mass migration, as evidenced by similar approaches in hip hop, reggaeton, drum’n’bass and bhangra, reggae’s aesthetic system has found adherents among artists and audiences outside of Jamaica. This paper maps out, through historical description, ethnographic data, and musical analysis, the Jamaican system as a unique and increasingly influential approach to music-making in the digital age. The advent of commercial, mass-mediated popular music genres in the twentieth century has contributed to the spread, in many music cultures worldwide, of a certain conventional ‘mainstream’ form of song, comprising an original, autonomous and reproducible entity with a relatively unique integration of lyrics, melody and chordal accompaniment. In mainstream Western music culture, the thirty-two-bar AABA structure, perhaps repeated twice or thrice with some sort of variation, constituted a quintessential type of this conventional song form.
    [Show full text]
  • EINZELHANDEL NEUHEITEN-KATALOG NR. 128 RINSCHEWEG 26 IRIE RECORDS GMBH (CD/LP/10" & 12"/7"/Dvds) D-48159 MÜNSTER KONTO NR
    IRIE RECORDS GMBH IRIE RECORDS GMBH BANKVERBINDUNGEN: EINZELHANDEL NEUHEITEN-KATALOG NR. 128 RINSCHEWEG 26 IRIE RECORDS GMBH (CD/LP/10" & 12"/7"/DVDs) D-48159 MÜNSTER KONTO NR. 31360-469, BLZ 440 100 46 (VOM 01.07.2003 BIS 26.07.2003) GERMANY POSTBANK NL DORTMUND TEL. 0251-45106 KONTO NR. 35 60 55, BLZ 400 501 50 SCHUTZGEBÜHR: 0,50 EUR (+ PORTO) FAX. 0251-42675 SPARKASSE MÜNSTERLAND OST EMAIL: [email protected] HOMEPAGE: www.irie-records.de GESCHÄFTSFÜHRER: K.E. WEISS/SITZ: MÜNSTER/HRB 3638 ______________________________________________________________________________________________________________ IRIE RECORDS GMBH: DISTRIBUTION - WHOLESALE - RETAIL - MAIL ORDER - SHOP - YOUR SPECIALIST IN REGGAE & SKA -------------------------------------------------------------------------------------------------------------- GESCHÄFTSZEITEN: MONTAG/DIENSTAG/MITTWOCH/DONNERSTAG/FREITAG 13 – 19 UHR; SAMSTAG 12 – 16 UHR ______________________________________________________________________________________________________________ *** CDs *** ANTHONY B......................... SMOKE FREE.................... BOGALUSA....... (GER) (03/03). 17.99EUR CEDRIC 'IM BROOKS & THE LIGHT OF SABA............................. THE MAGICAL LIGHT OF SABA..... HONEST JON'S... (GBR) (--/03). 23.99EUR 2LP DJ SPOOKY THAT SUBLIMINAL KID (feat. LEE PERRY/MAD PROFESSOR /TWILIGHT CIRCUS/DJ GOO (2x)/ ALTER ECHO DUBTOMETRY/I-SOUND /COLORFORM/ROSEMARY/SEQUENTIA ABSENTIA/NEGATIVLAND/BLEND/ALTER ECHO/PARACHUTES/KARSH KALE)...... DUBTOMETRY (CD INCL. VIDEO TR) THIRSTY EAR.... (USA) (02/03). 17.49EUR PABLO GAD (REMASTERED!)........... BLOOD SUCKERS (+3 DISCO MIXES) CELLULOID...... (FRA) (78/03). 16.99EUR KEITH HUDSON...................... PLAYING IT COOL............... JOINT INTERNATI (GBR) (81/03). 17.49EUR JAMMA (STEEL PAN)................. COOL EVENINGS (STEEL PAN)..... HEARTS AGLOW... (GBR) (03/03). 20.79EUR STEL JAMMA (STEEL PAN)................. RELAXING NIGHTS II (STEEL PAN) HEARTS AGLOW... (GBR) (03/03). 20.79EUR STEL IRIE RECORDS GMBH NEUHEITEN-KATALOG 07/2003 SEITE 2 *** CDs *** JAZZIE B (feat.
    [Show full text]
  • Homophobic Attitudes and Stigma Toward Gay Men and Lesbians in the Caribbean: a Systematic Review of the Literature
    HOMOPHOBIC ATTITUDES AND STIGMA TOWARD GAY MEN AND LESBIANS IN THE CARIBBEAN: A SYSTEMATIC REVIEW OF THE LITERATURE by Carol Martin-Mack BSW, Florida Atlantic University, 2002 MSW, Barry University, 2004 Submitted to the Graduate Faculty of the Graduate School of Public Health in partial fulfillment of the requirements for the degree of Master of Public Health University of Pittsburgh i 2012 UNIVERSITY OF PITTSBURGH GRADUATE SCHOOL OF PUBLIC HEALTH This thesis was presented by Carol Martin-Mack It was defended on December 6, 2012 and approved by Mark S. Friedman, MSW, MPA, PhD, Assistant Professor, Behavioral and Community Health Sciences, Graduate School of Public Health, University of Pittsburgh Candace M. Kammerer, PhD, Associate Professor, Department of Human Genetics,Graduate School of Public Health, University of Pittsburgh Thesis Director: Martha Ann Terry, BA, MA, PhD, Assistant Professor, Director, Master of Public Health Program, Behavioral and Community Health Sciences, Graduate School of Public Health, University of Pittsburgh ii Copyright © by Carol Martin-Mack 2012 iii HOMOPHOBIC ATTITUDES AND STIGMA TOWARD GAY MEN AND LESBIANS IN THE CARIBBEAN: A SYSTEMATIC REVIEW OF THE LITERATURE Carol Martin-Mack, MPH University of Pittsburgh, 2012 Violent acts against gay men and lesbians are common in the Caribbean, including rape and assault. Widespread violence and attacks against homosexuals have prompted a human rights group to confer on one Caribbean country, Jamaica, the distinction of being the most homophobic place on earth. Homophobic ideology and stigma toward gay men and lesbians in the Caribbean can be observed in the interactions of various institutions such as the church, the health care system, the laws, the police, the government, formal culture (e.g., newspapers), and popular culture (e.g., music).
    [Show full text]