Dance hall (Jamaican): Difference between revisions
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The '''dance halls''' of [[Jamaica]] in the [[1950s | 1950's]] and [[1960s | 60's]] were home to public dances usually targeted at younger patrons. [[Jamaican_sound_system|Sound System]] operators often provided the entertainment with their massive home-made audio systems (often housed in the flat bed of a pick up truck), spinning records from popular American [[Rock and roll | Rock&Roll]] musicians, and local [[ska]] and [[rocksteady]] performers. Dance hall owners--and the sound system operators which kept their halls hopping--often competed fiercly with other owners/operators to capture the attention of their young clientelle. This competition often lead to the hiring of [[Rude Boy]]s to break up a competitors dance, which fostered the growth and violent tendencies of this particular sub-culture. In addition to these "[[Rude Boy | rudies]]", dance halls also contributed to the rise of [[ska]] as the predominant form of popular music on the island during this time, fostered the development of early ska culture, and gave rise to a new social power in the form of major [[Jamaican_sound_system|Sound System]] operators like [[Duke Reid |Duke Reid the Trojan]], and [[Coxsone Dodd | Sir Coxsone Dodd]]. |
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{{About|the Jamaican locations||Dance hall (disambiguation)}} |
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The '''dance halls''' of [[Jamaica]] in the 1950s and 1960s were home to public dances usually targeted at younger patrons. [[Sound system (Jamaican)|Sound system]] operators had big home-made audio systems (often housed in the flat bed of a pickup truck), spinning records from popular American [[rhythm and blues]] musicians and Jamaican [[ska]] and [[rocksteady]] performers. The term ''[[dancehall]]'' has also come to refer to a subgenre of reggae that originated around 1980. |
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==History== |
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Dance hall owners and sound system operators often competed fiercely with other owners/operators to capture the attention of their young clientele. The competition often led to the hiring of [[Rude boy]]s to break up a competitor's dance, which fostered the growth and violent tendencies of this subculture. Dance halls contributed to the rise of [[ska]] as the predominant form of popular music at the time, and gave rise to a new social power in the form of major [[Sound system (Jamaican)|sound system]] operators like [[Duke Reid]], and [[Coxsone Dodd]]. It was in the dance halls that [[Skank (dance)|ska dancing]] originated. |
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Jamaican dance halls of today still bear strong resemblance to the days when Dodd was spinning the latest release out of [[Studio One (record label)|Studio One]]. Dance halls of today often serve as competition grounds for DJs, just like they did in the early days, though today's competitions end less often in the dance being broken up by rude boys. |
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==Notable early DJs== |
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[[Coxsone Dodd]] was born on January 26 1932 in Kingston, Jamaica. He began at a young age playing [[bebop]] and [[jazz]] records in his parents' liquor store for their customers in the late 1940s. He then moved to United States to work as a cane cutter, and it was there that he began to listen to [[rhythm and blues]]. After a short period of time he moved back to Jamaica with his own PA system, [[Phonograph|turntable]], and box of records. Dodd set up his first sound system, the DownBeat, in 1954 playing [[boogie-woogie]], jazz, and R&B. [[Prince Buster]] was born Cecil Campbell in 1938 in Kingston, Jamaica. After working for the Coxson Sound System, he created his own sound system in 1962 called The Voice of the People. Campbell dedicated himself to providing a voice for the [[African diaspora]]. |
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==Notes== |
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[[Dancehall]] has also come to refer to the style of music associated with more contemporary dance halls. |
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{{reflist}} |
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{{stub}} |
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==See also== |
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*[[Dancehall]] |
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*[[Ska]] |
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*[[Rocksteady]] |
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*[[Rude Boy]] |
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*[[Jamaican sound system]] |
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*[[Jamaica]] |
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*[[Studio One]] |
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*[[Trojan Records]] |
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==References== |
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* Chang, Jeff (2005). Can't Stop, Won't Stop: A History of the Hip Hop Generation. St. Martin's Press. {{ISBN|0-312-30143-X}}. |
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* Barrow, Steve and Peter Dalton, Reggae: The Rough Guide. Rough Guides. (1997) {{ISBN|1-85828-247-0}}. |
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==External links== |
==External links== |
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* [http://www.daveyd.com/interviewkoolherc89.html Kool Herc interview] |
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* [https://web.archive.org/web/20070407052036/http://www.bigupradio.com/artistDetail.jsp?aid=2872 Profile of Prince Buster] |
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* [https://web.archive.org/web/20070928011155/http://www.bigupradio.com/artistDetail.jsp?aid=2504 Profile of Coxsone Dodd] |
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{{reggae}} |
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*ISBN 0822325144 |
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[[Category: |
[[Category:Dance venues]] |
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[[Category:Music of Jamaica]] |
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[[Category:Reggae culture]] |
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Latest revision as of 20:30, 4 April 2024
 | This article needs additional citations for verification. (May 2010) |
The dance halls of Jamaica in the 1950s and 1960s were home to public dances usually targeted at younger patrons. Sound system operators had big home-made audio systems (often housed in the flat bed of a pickup truck), spinning records from popular American rhythm and blues musicians and Jamaican ska and rocksteady performers. The term dancehall has also come to refer to a subgenre of reggae that originated around 1980.
History
[edit]Dance hall owners and sound system operators often competed fiercely with other owners/operators to capture the attention of their young clientele. The competition often led to the hiring of Rude boys to break up a competitor's dance, which fostered the growth and violent tendencies of this subculture. Dance halls contributed to the rise of ska as the predominant form of popular music at the time, and gave rise to a new social power in the form of major sound system operators like Duke Reid, and Coxsone Dodd. It was in the dance halls that ska dancing originated.
Jamaican dance halls of today still bear strong resemblance to the days when Dodd was spinning the latest release out of Studio One. Dance halls of today often serve as competition grounds for DJs, just like they did in the early days, though today's competitions end less often in the dance being broken up by rude boys.
Notable early DJs
[edit]Coxsone Dodd was born on January 26 1932 in Kingston, Jamaica. He began at a young age playing bebop and jazz records in his parents' liquor store for their customers in the late 1940s. He then moved to United States to work as a cane cutter, and it was there that he began to listen to rhythm and blues. After a short period of time he moved back to Jamaica with his own PA system, turntable, and box of records. Dodd set up his first sound system, the DownBeat, in 1954 playing boogie-woogie, jazz, and R&B. Prince Buster was born Cecil Campbell in 1938 in Kingston, Jamaica. After working for the Coxson Sound System, he created his own sound system in 1962 called The Voice of the People. Campbell dedicated himself to providing a voice for the African diaspora.
Notes
[edit]References
[edit]- Stolzoff, Norman C. Wake the Town and Tell the People: Dancehall Culture in Jamaica. ISBN 0-8223-2514-4
- Chang, Jeff (2005). Can't Stop, Won't Stop: A History of the Hip Hop Generation. St. Martin's Press. ISBN 0-312-30143-X.
- Barrow, Steve and Peter Dalton, Reggae: The Rough Guide. Rough Guides. (1997) ISBN 1-85828-247-0.
