Contents
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Ol' time somet'ing come back again Ol' time somet'ing come back again
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African Continuities African Continuities
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The Role of the Dancer The Role of the Dancer
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Gerald “Bogle” Levy—The Unnamed King (1966–2005) Gerald “Bogle” Levy—The Unnamed King (1966–2005)
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Reaping Rewards from Dancehall Reaping Rewards from Dancehall
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Masking in the Dance Masking in the Dance
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Attributes of a Good Dancer Attributes of a Good Dancer
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Gender Demarcations and Negotiations in Dance Gender Demarcations and Negotiations in Dance
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A Preliminary Chronology A Preliminary Chronology
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Chronology of Major Dance Moves Chronology of Major Dance Moves
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Conclusion Conclusion
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9 Dance, Divas, Queens, and Kings: Dance and Culture in Jamaican Dancehall
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Published:August 2010
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Abstract
Sonjah Stanley Niaah enters the creative world of dancehall queens and kings as they invent and pass on new moves and dances in a milieu that transforms people from their workaday lives. She cites wellsprings of Jamaican culture that provide a reservoir of movement for dancehall dances, cultural manifestations such as costuming, and an intensity of involvement akin to possession. Stanley Niaah offers the thoughts of dancehall stars like Bogle and Stacey about their roles, notes aspects of the subculture, including changing gender roles, and describes some of the dances. She charts an extensive chronology of dance moves, including yanga, shay-shay, cool an’ deadly, poco man jam, bogle, butterfly, urkel, jerry springer, log on, drive by, signal di plane, shelly belly, shankle dip, chaka chaka, spongebob, gangsta rock, dutty wine, beyonce wine, and gully creeper.
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