by Dr Leo Gilling
SOUTH FLORIDA – There’s been a whole lot of buzz recently about awarding a Dancehall Grammy individually from the Reggae Grammy. However right here’s the query: How can we make this occur when the very authorities chargeable for Jamaican music haven’t formally outlined the variations between these genres?
From my perspective, Jamaican music is a residing, respiration tapestry—an exquisite evolution that started with Mento, flowed into Ska, simmered in Rocksteady, and blossomed into Roots Reggae, Lovers Rock, and Dancehall. These genres didn’t simply observe each other; they usually coexisted, competing and collaborating in each nationwide and worldwide areas. The variations are clear for many who grew up with this music. However to the remainder of the world, it’s not so easy.
So, how can we outline these genres for the worldwide stage? Is it the singer, the lyrics, the vibe, the author, the producer, the venue, or the devices that make them distinct? We should reply these questions earlier than we will count on worldwide organizations to acknowledge them as separate entities.
The Delivery of Dancehall Music: A Rise up Turned Revolution
Dancehall didn’t simply emerge out of skinny air. It was born out of necessity. From the Nineteen Fifties to the Nineteen Seventies, Jamaican radio stations usually ignored sure kinds of music. So, the place did these songs discover a dwelling? Within the dance halls, the place sound methods dominated the evening. This gave beginning to the “model,” the flip facet of a file, usually stripped down to only drums and bass, leaving area for DJs to “toast” over the music. These DJs didn’t simply play data; they carried out, creating a singular expertise for the group.
Artists like U-Roy, I-Roy, Scotty, King Stitt, Lone Ranger, Tappa Zukie, Michie & Smilie, Yellowman, Hugh Brown, Beres Hammond, and George Nooks didn’t got down to create a brand new style. They had been recording Reggae tracks. However within the dance halls, with a mic in hand and a crowd at their ft, they had been nicing up the dance,” laying the muse for what would change into Dancehall.
By the late Nineteen Eighties and Nineteen Nineties, Dancehall music had totally emerged as its personal style. Singers took a backseat as sing-jays (artists who mix singing and DJing, like Buju Banton, Sizzla, Chronixx, and Tarrus Riley) and pure DJs flooded the worldwide market. The sound was uncooked, the vitality was electrical, and the tradition was plain.
The Huge Query: How Do We Outline Dancehall and Reggae?
That is the place it will get difficult. We want clear definitions if we wish worldwide organizations just like the Grammys to acknowledge Dancehall and Reggae as separate classes. Is it the rhythm? The lyrics? The instrumentation? The vibe? Or is it one thing deeper, such because the cultural context, the viewers, or the historical past?
This can be a name to motion for the music authorities and the Authorities of Jamaica. It’s time to unite, sit down, and formally outline these genres. Let’s construct the infrastructure that enables the world to see and have a good time the distinct fantastic thing about each Dancehall and Reggae.
The Great thing about Unity and the Energy of Separation
Jamaican music is a worldwide phenomenon—various, distinctive, and endlessly interesting. There’s an argument to be made for retaining it collectively, simply as there’s a case for separating it. In any case, we’ve already topped the King of Reggae (Bob Marley) and the Prince of Reggae (Dennis Brown). However what about Dancehall? Is there a King of Dancehall? A Prince of Dancehall? If that’s the case, who would you identify?
This isn’t nearly awards or classes. It’s about honoring the richness of our musical heritage and guaranteeing that each artist, each style, will get the popularity it deserves. So, let’s begin the dialog. Let’s outline, have a good time, and elevate Jamaican music in all its kinds.
What do you suppose? How would you outline Dancehall and Reggae? And who would you crown because the King and Prince of Dancehall?

Diaspora Strategist & Engagement Advocate
Chairman
Jamaica Diaspora Taskforce Motion Community
(JDTAN)