Tanya Batson-Savage, Freelance Writer
LEFT: The late dancer Bogle. RIGHT: Artiste Tanya Stephens. - FILE PHOTOS
THIS SEMESTER'S instalment of Warner's corner at the University of Technology on Thursday evening saw Donna Hope, Tanya Stephens and Brian Schmidt discussing the topic 'Reggae Music: It's Role in Developing a Jamaican Identity'. The rain had brought the discussion from the Sculpture Park it was originally slated for to the Centre for the Arts.
AN INTERESTING TAKE
For the most part, the issue at hand was only partly discussed, but nevertheless what ensued was an interesting take on masculine identity in dancehall, the untapped power of Jamaican music and the need for responsibility in constructing one's own identity.
Hope, a PhD. student at George Mason University started off the evening's discussion by looking at how dancehall, her area of study, reflects a Jamaican identity. She explained that her particular area of focus for the doctorate was masculinities and she explained what she viewed as feminisation of the masculine in the dancehall as men take over traditionally feminine spaces and command the 'video light'.
She also made reference to the proliferation of pink and tight pants, some of which are procured in the female section, in men's fashion. She remarked that this trend pointed to the idea of "fashion over style" a quote taken from the late dancer, Bogle, and goes in hand with men now taking over rituals of beauty.
STRENGTH AND VIABILITY OF JAMAICAN MUSIC
Schmidt focused his attention on the strength and viability of Jamaican music and the possibility for using it to cultivate preferred identities. He referred to music as "Jamaica's gold" comparing it to oil to Kuwait or manufacturing to Japan. "Anybody who does not know this does not deserve to live here," he said.
He argued however, and the audience assented, that "perception" is owned by "the beholder" and as such we need to decide whether or not our perceived identities, especially that pushed through music, is what we as a nation want to project. Nonetheless, he remarked that the media had not done sufficient to shape the country's identity. Arguing that selectors are constantly engaged in shaping identities, he pointed out that music can be used to promote issues like literacy as well as middle-class values.
"Don't fool yuhself that music alone is going to do it," he amended. Schmidt argued that crafting the kind of identity we want to project would also involve authority, policy and vision.
Stephens was the final speaker of the evening and spoke about the effects of dancehall on society. "To ask how dancehall affects Jamaican society is like asking how my parenthood affects my daughter," she said. Stephens argues that dancehall is a product of the society and so we cannot merely remove ourselves from the picture as though dancehall was brought to our "beautiful likkle island" by some "alien force".
"Don't just siddung and play victim," she said. "The media not doing anything to anybody." She argued that rather than complain about what radio played, people could simply not listen and tell surveyors why they do not listen, which would force the radio stations to change their format.
TAKING RESPONSIBILITY
She demanded that people take responsibility for their lives and their tastes and what they are exposed to. "Anything yuh nuh like, fix it. Change." She demanded.
Stephens argued that parents also need to take responsibility. "Yuh cyaa jus lef di tv an radio fi grow yuh pickney," she said. "Yuh need fi go home and raise yuh pickney yuhself."
Later, during the question and answer segment she would push for interrogating information that artistes put forward in the act of self-aggrandisement. "Every time yuh hear Tanya Stephens say 'Mi go a New York and mash up di place'. Did you hear that New York was in shambles?" she said. "Doing two shows is not a tour," she said, "nor is playin in the back of a store 'a big show a farin'."
