DOCSLIB.ORG

Daggering Inna Di Dancehall

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Daggering Inna Di Dancehall Daggering Inna Di Dancehall Kierkegaard’s Conceptualization of Subjectivity and Nietzsche’s Dionysus in Relation to Jamaican Dance by Randolph-Dalton Hyman B.F.A., Concordia University, 1996 M.A., McGill University, 1999 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Arts Education Program Faculty of Education Randolph-Dalton Hyman 2012 SIMON FRASER UNIVERSITY Summer 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Randolph-Dalton Hyman Degree: Doctor of Philosophy (Arts Education) Title of Thesis: Daggering Inna Di Dancehall: Kierkegaard’s Conceptualization of Subjectivity and Nietzsche’s Dionysus in Relation to Jamaican Dance Examining Committee: Chair: Dr. Lynn Fels, Assistant Professor Dr. Yaroslav Senyshyn Senior Supervisor Professor Dr. June Francis Supervisor Associate Professor Dr. Heesoon Bai Internal Examiner Professor Dr. Robert Walker External Examiner Professor New South Wales University Date Defended/Approved: August 8, 2012 ii Partial Copyright Licence iii Abstract This thesis explores dance beyond entertainment, psychological, behavioural or cognitive theory; beyond conventional interpretations of performance, and beyond the disciplinary categories that tend to separate practices in contemporary Western culture. This is a study of “Daggering,” the Jamaican style of dancing marked by violence and raw sexual licentiousness inna di dancehall (in the dancehall)—a male-dominated dance space in Jamaica. The problem of daggering analyzed stems from the so-called “causes” of violence. Cultural theorists argue the violent situation in the dancehall and throughout Jamaica is related to the history of colonialism and slavery, poverty, the polarization of the country’s political parties, and politicians who first issued guns. Some philosophers argue the myth of ‘poverty’ is an illusion and world-historical logico- mathematical thinking is delusional. Primary texts studied are: The Birth of Tragedy by Nietzsche, and the Concluding Unscientific Postscript by Kierkegaard. I am interested in the inseparability, the embeddedness of Dionysus in all the phenomena of life. The myth of Dionysus contains statements about society and the individual not easily accessible by purely objective techniques. Nietzsche writes: the invisible forces of nature, “through whose gestures and eyes all the joy and wisdom of ‘illusion,’ together with its beauty, speak to us.” Kierkegaard’s aesthetic philosophy of subjectivity challenges the myth of poverty. Thus, this thesis marks a connection between daggering, the myth of Dionysus, and subjectivity. The essential question asked: ‘what’ knowledge is of the most worth to transform the individual and a society in crisis? A philosophical methodology is used to analyze texts in relation to social issues and dance. I conclude ‘how’ to transform the individual and a society in crisis “an apolitical and passionately responsible subjectivity” is necessary. Keywords: Subjectivity; Dionysus; Jamaican Dance; Dancehall; Daggering; Sex; Violence iv Dedication To Thomas E. Ward (5 April 1938 – 28 July 2012) v Acknowledgements Because I am so grateful, to be precise, I give thanks to That which touches everyone and everything in order to acknowledge you all. The profundity of my gratitude goes out to Simon Fraser University, especially my thesis supervisors, examiners, and the Assistant for Theses. With great love and deep respect, I thank you all with all my heart. vi Table of Contents Approval .............................................................................................................................ii Partial Copyright Licence .................................................................................................. iii Abstract .............................................................................................................................iv Dedication ......................................................................................................................... v Acknowledgements ...........................................................................................................vi Table of Contents ............................................................................................................. vii List of Illustrations ............................................................................................................. x Inciting Incident .................................................................................................................xi Preface ............................................................................................................................. xii Introduction ..................................................................................................................... 1 Background Information ................................................................................................ 7 Techne .............................................................................................................................. 8 Father of Existentialism ................................................................................................... 12 The Existential Problem .................................................................................................. 16 The Hypothesis ............................................................................................................... 18 The Method ..................................................................................................................... 20 The Land of Jamaica ....................................................................................................... 26 The What of Jamaican Dance ......................................................................................... 30 The How of Jamaican Dance .......................................................................................... 37 Dance in Theory .............................................................................................................. 40 Behavioural Theory ................................................................................................ 41 Psychoanalytic Theory ........................................................................................... 44 Cognitive Theory .................................................................................................... 46 Philosophy of Dance ....................................................................................................... 48 Rex Nettleford: The National Dance Theatre Company ................................................. 55 Dancehall: Dis/plays ....................................................................................................... 57 Who Is the Dancer .......................................................................................................... 59 Daggering Inna Di Dancehall with Dionysus ................................................................... 61 Madness.......................................................................................................................... 65 Zorba the Greek ..................................................................................................... 65 Theatre of Cruelty .................................................................................................. 68 St. Vitus’s Dance .................................................................................................... 72 Section 1 ........................................................................................................................ 84 Part 1............................................................................................................................... 85 The Madness of Dionysus ...................................................................................... 85 Part 2............................................................................................................................... 97 A Mad Dancer Who Would Become the God Dionysus ......................................... 97 vii Part 3............................................................................................................................. 105 Mad Slave and the Master Dionysus ................................................................... 105 Dionysus the Master and Slave ................................................................... 105 Riding di Riddims of Slavologists ................................................................ 108 Illusion of Slavery ........................................................................................ 113 Maya ............................................................................................................ 121 Contagious Riddimitis .................................................................................. 124 Renewal and Continuity .............................................................................. 128 Closing ........................................................................................................ 132 Dionysian Daggas ...............................................................................................
Load more

Recommended publications
  • Slavery and Manumission in the Pre-Constantine Church
    Eleutheria Volume 2 Issue 2 The Fourth Issue Article 2 August 2013 Slavery and Manumission in the Pre-Constantine Church Joseph Francis Super West Virginia University, [email protected] Follow this and additional works at: https://digitalcommons.liberty.edu/eleu Part of the Biblical Studies Commons, Christianity Commons, and the History of Christianity Commons Recommended Citation Super, Joseph F.. 2013. "Slavery and Manumission in the Pre-Constantine Church." Eleutheria 2, (2). https://digitalcommons.liberty.edu/eleu/vol2/iss2/2 This Article is brought to you for free and open access by the School of Divinity at Scholars Crossing. It has been accepted for inclusion in Eleutheria by an authorized editor of Scholars Crossing. For more information, please contact [email protected]. Slavery and Manumission in the Pre-Constantine Church Abstract This paper looks at the church’s handling of the issue of slavery in the period before Constantine and the officialecognition r of Christianity. The time period is important because Christians had no political authority to end slavery, assuming they wanted to do so. Thus, the aim of the paper is discover how the Church as an institution alleviated the conditions of the slaves and how slaves were treated in the church and examine the relationship of slave to master in the church. This will be accomplished by examining certain doctrines of the faith church leaders applied to these problems as well as ancient understandings of what Paul had written and how it fit into their world and social context, which was the social context of the Bible itself. More specifically, by examining Paul’s letter to Philemon, Ignatius’ Epistle to Polycarp, and the Didache, the paper argues that the early church, using a Scriptural model, worked within its circumstances to ameliorate slaves’ material conditions, to bring all classes of people to the saving knowledge of Jesus Christ, and to ensure that, within the church, all people were treated as equals.
    [Show full text]
  • On Art and Life Ebook, Epub
    ON ART AND LIFE PDF, EPUB, EBOOK John Ruskin | 112 pages | 02 Sep 2004 | Penguin Books Ltd | 9780141018959 | English | London, United Kingdom On Art and Life PDF Book He mines his private life without apology. Lost your password? He writes:. Caroler 1 Pamela Jones Namespaces Article Talk. Was this review helpful to you? Since time immemorial, art has existed as long as man has. I use myself and my personal life and as a narrative and, um Writers: Joe Swanberg , Joe Swanberg created by. It is a huge part of our culture, which shapes our ideas, and vice versa, and provides us with a deeper understanding of emotions, self-awareness, and more. Philosophy Creativity Creativity series Nietzsche. A middle aged graphic novelist who mines his personal life for material gets a taste of his own medicine when he meets a photography student. Remember me Log in. Added to Watchlist. Your world is shouting out to you, revealing something intrinsically glorious about itself. Be Curious — Leeds, Leeds. In this way the fusion between the Apollonian and the Dionysian can transform the self, creating an artist and a lover of life. Pay attention to music. Through art, we gain a better understanding of cultures, history and tradition; as well as help people in the present build better and more complete lives. From Wikipedia, the free encyclopedia. He believed that classical thinkers such as Socrates destroyed this harmony of reason and emotion by solely concentrating on the rational or logical aspect the Apollonian , with little regard for the role of the passions the Dionysian.
    [Show full text]
  • Canada Dance Mapping Study: Literature Review
    REPORT Canada Dance Mapping Study: Literature Review PREPARED FOR PREPARED BY Claire McCaughey Maria De Rosa and Marilyn Burgess Head, Research and Evaluation Section MDR Burgess Consultants Canada Council for the Arts With the participation of Philip Szporer Constitution Square 12th Floor, 350 Albert Street 503 Victoria Avenue P.O. Box 1047 Westmount, Québec Ottawa, Ontario H3Y 2R3 K1P 5V8 March 28, 2012 2 Canada Dance Mapping Study: Literature Review Table of Contents TABLE OF CONTENTS............................................................................................................................... 2 INTRODUCTION ......................................................................................................................................... 4 1. PREAMBLE .................................................................................................................................................. 4 2. APPROACH AND METHODOLOGY .............................................................................................................. 4 A. OVERVIEW OF FINDINGS.................................................................................................................... 7 B. POLITICAL: NO OVERARCHING POLICY.......................................................................................14 1. PREAMBLE ................................................................................................................................................14 2. FEDERAL GOVERNMENT POLICY IN THE ARTS .......................................................................................14
    [Show full text]
  • John Chrysostom on Slavery
    John Chrysostom on slavery Chris de Wet Department of New Testament and Early Christian Studies, University of South Africa, Pretoria, South Africa Abstract This article examines John Chrysostom’s (347-407 AD) views on the topic of slavery. His arguments prove to be quite advanced for his time, and still relevant to a modern context. I shall start by briefly describing the different views of slavery in antiquity. This is followed by an in-depth discussion of Chrysostom’s opinion on slavery, which includes an examination of his statements on the social status of the slave, the manumission of slaves and the treatment of slaves. The study concludes with a critique of Chrysostom’s elaborations on the topic of slavery. I shall argue that his delineations are particularly relevant to the modern researcher, since slavery, directly and indirectly, deals with issues of equality, rights and dignity – topics that are frequently debated in the scholarly and popular arenas. Chrysostom is also an indispensible dialogue partner both for the ecclesiastical and biblical sciences. Introduction The aim of this article is to show that John Chrysostom’s (347-407 AD) views on slavery were “ahead of the times” in which Chrysostom lived. In the West, ever since the Enlightenment, slavery has been considered a violation of human rights, with various abolitionist movements throughout the world condemning the practice. However, slavery, as a social institution during the first century AD (which included the rise of the “Jesus Movement”) seems to have been treated as quite a banal subject. This approach to slavery is also present in Christianity and continued until late antiquity (the second to eighth century AD): very few authors petitioned for the manumission of slaves.
    [Show full text]
  • Shame and Respectability
    SHAME AND RESPECTABILITY: A NARRATIVE INQUIRY INTO CAPE TOWN’S ‘COLOURED’ FAMILIES THROUGH PHOTOGRAPHS, CULTURAL PRACTICES AND ORAL HISTORIES (C. 1950 TO 2016) By Nadia Kamies (17405361) Submitted to the University of Pretoria in fulfilment of the requirements for the degree Doctor of Philosophy Department of Historical and Heritage Studies Date of submission: 31 August 2018 Supervisor: Dr Siona O’Connell, University of Pretoria DECLARATION I, Nadia Kamies, hereby declare that the work on which this thesis is based is my original work (except where acknowledgements indicate otherwise) and that neither the whole work nor any part of it has been, is being, or is to be submitted for another degree in this or any other university. I authorise the University of Pretoria to reproduce, for the purpose of research, either the whole or any portion of the contents in any manner whatsoever. Signature: Date: MY GRANDMOTHER’S DREAM CATCHERS Mama made these doilies for me, my mother says, as green and blue tightly crocheted works of art fall softly out of the plastic packet she’s kept them in. I see my grandmother sitting in her chair, grey hair escaping from under a white cotton scarf wrapped around her head; her fingers hold the thin steel hook wrapping cotton thread in elaborate patterns, making poor man’s lace, creating circles in the air to catch bad dreams. Her hands are never idle, weaving and spinning a livelihood to keep her family together, her work good enough for even white people, my father says, the patterns out of a secret book in her head dipped in starch and ironed to attention.
    [Show full text]
  • Oxford Reference
    11/11/2020 Slavery - Oxford Reference Oxford Reference The Oxford Classical Dictionary (4 ed.) Edited by Simon Hornblower, Antony Spawforth, and Esther Eidinow Publisher: Oxford University Press Print Publication Date: 2012 Print ISBN-13: 9780199545568 Published online: 2012 Current Online Version: 2012 eISBN: 9780191735257 slavery Greek From Homer's claim that a man loses half his selfhood when ‘the day of slavery’ comes upon him (Il. 6. 463) to Aristotle's doctrine of ‘natural slavery’ (Pol. bk. 1, 1253b15–55b40), Greek life and thought were inextricably bound up with the ideology and practice of human servitude. Eventually, and incompletely, the notion became established that it was not right for Greeks to enslave their fellow-Greeks, and the correlative idea prevailed that non-Greek ‘barbarians’ were fitted for servitude by their very nature (not just social or political organization). See . But that did not prevent the continuing enslavement of Greeks by Greeks, and the language of slavery in the Greek New Testament was by no means a dead metaphor. ‘Slavery’, however, covered a multitude of sins and life-chances. The ultimate, extreme form of the slave is the chattel, ‘socially dead’ (Patterson) in the sense of ripped forcibly from organic ties of kin and community, transported to an alien environment there to be treated as merely a piece of property or as a factor of production to be used and abused at will, an ‘animate tool’ (Arist. Pol. 1253b32–3) or beast of burden with no sense of self other than that allowed by the slave‐owner and no legal, let alone civic, personality whatsoever (see also , ).
    [Show full text]
  • Dance Studies
    CONVERSATIONS ACROSS THE FIELD OF DANCE STUDIES e Talking Point s . Society of Dance History Scholars Newsletter Illustrations: © Bibliothèque nationale Rethinking de France 19th Century Dance2011 | VolumeXXXI www.sdhs.org PAGE 1 A Word from the Guest Editors | Sarah Davies Cordova & Stephanie Schroedter ................. 3 Remembering The socio-political Fault-lines While Dancing at Quebec’s Winter Carnival | Charles R. Batson ............................................................... 4 Giselle at Mabille: Romantic Ballet and the Urban Dance Cultures of Paris | Stephanie Schroedter ........ 6 At Work on the Body: 1860s Parisian Tutus and Crinolines Or Women’s Silhouettes on Stage, at Fashionable Gatherings and in the Streets | Judith Chazin-Bennahum .................................................... 8 Why bother with Nineteenth-Century Ballet Libretti? | Debra H. Sowell ............................................ 12 CLOWNS , EL E PHANTS , AND BALL E RINAS . Joseph Cornell’s Vision of 19th Century Ballet in Dance Index (as collage) | Eike Wittrock ................. 14 From the Romantic to the Virtual | Norma Sue Fisher-Stitt ...................................................... 24 Notes & Pointεs from the field ................................ 26 Contributors .................................................................. 30 News SDHS Awards ............................................................................. 31 SDHS Publications. ..................................................................... 33 Forthcoming
    [Show full text]
  • Proquest Dissertations
    THE STATE OF CANADIAN DANCE AND DANCING WITH THE STATE FROM 1967-1983 By Katherine Cornell, B.A., M.A. Toronto, Ontario, Canada, 2008 A dissertation presented to Ryerson University/York University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the Program of Communication and Culture Toronto, Ontario, Canada, 2008 ©Katherine Cornell, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-40489-8 Our file Notre reference ISBN: 978-0-494-40489-8 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • Dancehall Artistes by Artiste Name in Alphabetical Order Note: This Listing Will Continue to Be Updated
    DANCEHALL ARTISTES BY ARTISTE NAME IN ALPHABETICAL ORDER NOTE: THIS LISTING WILL CONTINUE TO BE UPDATED. DO EMAIL US THE NAMES OF ARTISTES TO BE VETTED FOR INCLUSION [email protected] 1. Admiral Bailey 39. Chronic Law 2. Aidonia 40. Chuck Fenda 3. Alkaline 41. Clement Irie 4. Alley Cat 42. Cocoa Tea 5. Alozade 43. Collie Buddz 6. Angie Angel 44. Courtney Melody 7. Anthony B 45. CR3 8. Anthony Red Rose 46. Culture 9. Apache Scratchie 47. Cutty Ranks 10. Assassin (Agent Sasco) 48. Daddigon 11. Baby Cham (Cham) 49. Daddy 1 12. Baby Demus 50. Daddy Lizard 13. Baby Lawd 51. Daddy Screw 14. Baby Wayne 52. Damian ‘Jr Gong’ Marley 15. Barrington Levy 53. D’Angel 16. Beenie Man 54. Danielle D.I 17. Benzly Hype 55. Delly Ranx 18. Billy Boyo 56. Demarco 19. Black-er 57. Denyque 20. Blak Ryno 58. Derrick Irie 21. Bling Dawg 59. Devonte 22. Boom Dandimite 60. Dexta Daps 23. Bounty Killer 61. Diana King 24. Bugle 62. Dignitary Stylish 25. Buju Banton 63. Dillinger 26. Bunny General 64. Ding Dong 27. Burro Banton 65. Dirtsman 28. Busy Signal 66. Dovey Magnum 29. Capleton 67. Dugsy Ranks 30. Cecile 68. Early B 31. Chaka Demus 69. Eek-A-Mouse 32. Chargii 70. Egg Nog 33. Charlie Chaplin 71. Elephant Man 34. Charlie Pride 72. Erup 35. Charly Black 73. Esco 36. Cherine Anderson 74. Etana 37. Chi Ching Ching 75. Fabby Dolly 38. Christopher Martin 76. Fahrenheit DPHope Sunday, May 16, 2021 Page 1 of 5 DANCEHALL ARTISTES BY ARTISTE NAME IN ALPHABETICAL ORDER NOTE: THIS LISTING WILL CONTINUE TO BE UPDATED.
    [Show full text]
  • What's in a Song? Copyright's Unfair Treatment of Record Producers and Side Musicians Gabriel J
    Vanderbilt Law Review Volume 61 | Issue 4 Article 4 5-2008 What's in a Song? Copyright's Unfair Treatment of Record Producers and Side Musicians Gabriel J. Fleet Follow this and additional works at: https://scholarship.law.vanderbilt.edu/vlr Part of the Intellectual Property Law Commons Recommended Citation Gabriel J. Fleet, What's in a Song? Copyright's Unfair Treatment of Record Producers and Side Musicians, 61 Vanderbilt Law Review 1235 (2019) Available at: https://scholarship.law.vanderbilt.edu/vlr/vol61/iss4/4 This Note is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Law Review by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. NOTES What's in a Song? Copyright's Unfair Treatment of Record Producers and Side Musicians 1. INTRODU CTION ................................................................... 1236 II. LEGAL BACKGROUND .......................................................... 1240 A. Distinct Copyrights for Musical Compositions and Sound Recordings..................... 1241 B. Copyright Infringement .......................................... 1242 C. Joint A uthorship..................................................... 1246 III. POPULAR MUSIC COMPOSITION AND PRODUCTION N ORM S .......................................................... 1250 A. M usic Composition Today ...................................... 1251 B. The Role of the Record Producer ............................ 1256
    [Show full text]
  • Brian Eno • • • His Music and the Vertical Color of Sound
    BRIAN ENO • • • HIS MUSIC AND THE VERTICAL COLOR OF SOUND by Eric Tamm Copyright © 1988 by Eric Tamm DEDICATION This book is dedicated to my parents, Igor Tamm and Olive Pitkin Tamm. In my childhood, my father sang bass and strummed guitar, my mother played piano and violin and sang in choirs. Together they gave me a love and respect for music that will be with me always. i TABLE OF CONTENTS DEDICATION ............................................................................................ i TABLE OF CONTENTS........................................................................... ii ACKNOWLEDGEMENTS ....................................................................... iv CHAPTER ONE: ENO’S WORK IN PERSPECTIVE ............................... 1 CHAPTER TWO: BACKGROUND AND INFLUENCES ........................ 12 CHAPTER THREE: ON OTHER MUSIC: ENO AS CRITIC................... 24 CHAPTER FOUR: THE EAR OF THE NON-MUSICIAN........................ 39 Art School and Experimental Works, Process and Product ................ 39 On Listening........................................................................................ 41 Craft and the Non-Musician ................................................................ 44 CHAPTER FIVE: LISTENERS AND AIMS ............................................ 51 Eno’s Audience................................................................................... 51 Eno’s Artistic Intent ............................................................................. 55 “Generating and Organizing Variety in
    [Show full text]
  • Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
    Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project.
    [Show full text]