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Our youths minds has been corrupted from the impact of dance hall.
Reference
Crawford AD. The effects of dancehall genre on adolescent sexual and violent behavior in Jamaica: A
public health concern. North Am J Med Sci 2010; 2: 143-145.
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Dangers of a Si
Should men be given Paternity leave in Jamaica?
1.
I so agree with everything that you have said and what is so funny is that they do not consider what
they are doing as any form of impact on the persons who are listening to their music.
REPLY
One cannot therefore reject the fact that Dancehall indeed has negative effects on youths
within Jamaica since it helps promotes their sex drive and violent behaviors based on the
lyrical contents of the songs they listen to.
In concluding one can only say that dancehall plays and integral role in the lifes of
individuals in society which is affecting it negatively because they are highly influenced by
the dancehall industry however, it is leading to a downfall in society where the youths are
concerned. Therefore, there is indeed a relationship between hardcore dancehall genre and
the sexual and violent behavior of youths.
REFERENCES:
Crawford.A.D, (2010 March).The effects of dancehall genre on adolescent sexual and violent
behavior in Jamaica: A public health concern,North American Journal of Medical Sciences,
Volume 2. No. 3, retrieved March 13, 2012
fromhttp://vle.bcatja.com/file.php/6/Readings_for_CAT_1000/dancehall_effects_and_adolesce
nt_sexual_and_violent_behaviour.pdf
Dancehall Culture: How does it affect our children?, retrieved
from:http://www.abibitumikasa.com/forums/oppression-afrikans-culturally/38951-dancehallculture-how-does-affect-our-children.html
Watson.J, (April 2, 2008). Dance Hall Music and Jamaican Society, Yardvybz, retrieved
March 14,2012 fromhttp://www.yardflex.com/archives/002444.html
http://littlejulliet.wordpress.com/2012/03/13/dancehall-has-negative-effects-on-jamaicanyouth/SAMMY ZONE Music plays an important role in the development of young people. The
different elements of music such as its lyrical content can evoke different emotions and
impact on physical behaviour. Dancehall music is very popular in Jamaican society. It is
heard numerously all across the island whether in public transportation, homes and even in
schools.
Jamaican youths are easily attracted to this genre by its rhythm, beats and lyrical content.
Dancehall artists have continued to portray sexual images, violence, aggressive behaviours,
smoking, promiscuity and the promotion of alcohol and skin bleaching in the lyrics of their
songs. According to Manning 2008, these contents have the potential to impact the brain
and influence emotional behaviour in humans especially among adolescents. As a result of
hearing dancehall music very often, they seem less of a nuisance and more of a norm to
adolescents. In a study conducted in 2008, 30% males and 50% females said that they
sometimes heard the music in their heads while focusing on other things. It has become
prevalent within their subconscious.
Songs like Movados Neva Believe yuh and Vybz Kartels Dumper Truck depict lewd
images of how women in particular and men should behave.
Is this what we want our teens to be emulating? Backing it up on each other to loud music
in public displaying sexual behaviours. Artists fail to take responsibility for their strong
influence on the nations youth. Women are also degraded in these songs; referring to
women as Gyal in a demeaning and derogatory manner.
Parents play your role and educate your children. Monitor their behaviours and ensure that
they maintain a level of respect for themselves and towards others.
References
Crawford A.D. (2010) The effects of dancehall genre on adolescent sexual and violent
behaviour in Jamaica: A public health concern. North American Journal of Medical Sciences;
2: 143-145
Forbes M. A (2010) Music Media and Adolescent Sexuality in Jamaica. Arawak Publications;
1st Edition.
Marcia A. Forbes (2010) Music, Media and Adolescent Sexuality in Jamaica. Arawak Publications:
Kingston, Jamaica.
Reviewed by Elsa A. Leo-Rhynie CD, PhD (Univ. of West Indies)
The information explosion of the late 20th century coincided with a technology revolution and
heralded a new century in which the worlds population is bombarded by messages of all sorts,
through a variety of media. These messages are powerful because of the creative new media
technologies carrying them and the appeal they have to individuals in different demographic
categories based on factors such as age, gender and social class.
Marcia Forbes, in her very comprehensive investigation, has targeted messages in music videos
which communicate with their audience in visual as well as auditory modes. The particular audience
she has selected to explore is Jamaican adolescents of both sexes, and her focus is on the sexual
feelings, opinions, attitudes and behaviour which are associated with their exposure to music videos.
The research which was conducted for a doctoral degree was carried out with the necessary
academic rigour, and is methodologically sound. The result is a publication which will be of value to
the entire academic community and which should be required reading for students pursuing a variety
of university courses, but certainly those in education, sociology and media. It should also be
appealing to many audiences the curious adolescent, the caring parent, the conscientious
educator, the committed media practitioner, the dedicated social worker and the concerned citizen as
well as policy makers who should find this book invaluable as a reference point in the design of
educational and developmental programmes for children and youth.
The author, noting that adolescents .voraciously consumed the messages contained in music
videos which feature expletives, partial nudity and sexual content which could be described as soft
porn, skillfully probed the views of her sample of 543 Jamaican youth, ages 10 to 18 years. She
used focus groups and interviews in both urban and rural centres across Jamaica in order to
determine adolescents consumption of (number of hours spent watching) music videos as well as
various outcomes from this consumption. The data collected are rich and have been analyzed and
presented in chapters, each of which has been carefully constructed to address the major concerns
of this research investigation.
One of the most interesting chapters of the book contains the testimonies of the adolescents In their
own Words (the author provides translations where the spoken words in Jamaican patois may be
difficult to understand). It is here that the reader is able to appreciate the textured nature of the
response which such music messages generate and the behavioural implications. The videos do not
merely provide models of dance for the adolescents, but also dictate fashion, provide new norms
for male/female sexual relationships, inform gender interactions and encourage the persistence of
patriarchy. The chapter includes interesting opinions from the sample to the explicit sexual content
and slackness in the lyrics and images to which they are exposed.
The investigation also explores the role of family and the church in the consumption of music videos
by adolescents. Family restrictions and the teachings of the church do seem to moderate this
consumption to some extent, but the influence does not seem to be significant and is greatest in
younger adolescents. This is troubling as the findings point to heavy consumption of music videos
being associated with risky sexual behaviour, permissive attitudes re multiple sex partners, and an
inability to effectively differentiate between reality and fantasy in what is portrayed. Of interest also is
the section in which adolescents report that music videos stimulate their sexual desire, and the
effects of such stimulation.
The students, on the whole, viewed music videos in a positive light. Across the social class groups
there were expressions of the positive impact music videos had had on the adolescents lives, and
several respondents cited these videos as having contributed to the resilience they possess and the
positive directions in which they see their lives going. A number of performers were identified as role
models and the girls, in particular, identified with popular female performers. Forbess investigation
demonstrates that Jamaican adolescents are not unique in their opinions and attitudes as they are
part of a globalized youth culture consuming a culture of sex which is linked by social networks and
music videos and this makes the content of this book highly relevant to persons interacting with
adolescents in any culture.
The author not only clearly and comprehensively sets out the problems and issues associated with
consumption of music videos by adolescents; she also offers suggestions as to how the negative
factors associated with this culture can be addressed. The book is an excellent addition to the
literature on adolescents and media, and fills a gap which has existed for decades.
Elsa Leo-Rhynie is a former Pro Vice-Chancellor and Principal of the University of the West Indies
(UWI) Mona Campus. Her career in education has included stints as high school teacher, Lecturer
and Senior Lecturer in the UWI School of Education as well as Professor of Gender and
Development Studies, Pro Vice Chancellor and Chair of the Board for Undergraduate Studies and
Deputy Principal of the Mona Campus, UWI. She also served as Executive Director of the Institute of
Management & Production (IMP) which is now part of the University College of the Caribbean. She
was named Professor Emerita by the UWI following her retirement in 2007.
Professor Leo-Rhynies academic interests centre on education and gender and she has researched
and published extensively in these areas. She currently sits on a number of Boards and Foundations
which advocate for and support educational initiatives. She was awarded the national honour of
Officer of Distinction (Commander Class) in 2000.