Song selections are delivered with taunting microphone commentary in a war of words-something like a cross between a hip-hop DJ battle and a playground game. Each attempts to fortify their position with higher walls of custom-built speaker boxes. Soundclashes are gladiatorial face-offs between rival soundsystems, or mobile DJ crews who vie for the biggest crowd reactions (or “forwards”). In turn, the singers began adopting the call-and-response hooks and improvised couplets of deejays, creating a whole new hybrid style of singing they called “sing-jay.” Those vocals became a defining feature of dancehall, along with harder, sparer rhythm sections and an emphasis on “slackness” (raunch or decadence).Īnother major driver of dancehall’s development, as a culture and artform, has been the competitive sport of soundclash. But in celebrating the best of the best, separating the tangled ingredients that make dancehall so consistently brilliant-a fearless approach to sexuality, an experimental approach to sound technology, a military approach to lyrical wordplay, a joyful approach to resistance-is like cutting open the drum to see what makes it go bang.ĭancehall became a subgenre distinct from other styles of reggae around 1977, a time in Jamaica when deejays (equivalent to stateside MCs) were becoming as prominent as singers.
That’s not to mention related terms like “highly rated,” “strictly the best,” and “tougher than tough.” It is doubtful, in fact, whether there has ever been another musical genre or subculture so uniquely focused on rankings, ratings, and constantly updated scorekeeping of who is king, queen, or even “don of all dons.”Ĭompetition may accelerate innovation in dancehall it’s what makes the culture such a bottomless wellspring of new rhythms, choreography, fashion, and slang. “Top ranking” is a phrase so common in the lexicon of dancehall reggae, it could almost be punctuation.
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