Uprooted Speakers’ Grassroots English: Metalinguistic Perspectives of Asylum Seekers in Germany

This chapter discusses metalinguistic discourse produced by asylum seekers from English-speaking West Africa in Germany, with a focus on the role of English in participants’ communicative environment and the values and affordances ascribed to different varieties of English. The chapter argues that, in this specific context, a) English loses much of its communicative range but retains important identity-related functions, and b) the values associated with different varieties of English reflect global relationships in the World system of Englishes. African varieties are linked to in-group functions and receive differential evaluation, with Nigerian English being constructed as more standard-distant than Ghanaian English, whereas the English of German interlocutors is associated with the prestige varieties American and British English. Particularly surprising is the frequent equation of Gambian English with Jamaican ways of speech, a pattern accounted for not in terms of linguistic similarity but of the global circulation of reggae and dancehall culture. The chapter thus contributes to the sociolinguistics of globalization and the study of language, mobility, and migration.

Battyboy must die! Dancehall, class and religion in Jamaican homophobia

Homophobia is ingrained in Jamaica, and homophobic violence is rampant. This study, developed from 30 interviews with gay Jamaicans, unravels the nation’s complex ideological issues surrounding political and social discrimination. Few empirical researchers have explored homophobia in Jamaica. This study is the first that includes interviews exclusively from the lesbian, gay, bisexual, transgendered, queer and asexual communities. These interviews, combined with an examination of media reporting and cultural phenomena, reveal the deep interconnections between three predictors of homophobic sentiment: dancehall music, gender and religiosity. Since dancehall culture so thoroughly implicates the other predictive factors, I use it as the primary object of analysis in this essay. Furthermore, since all three predictive factors – religiosity, dancehall music and even masculine identity – are cultural phenomena articulated through social conventions and texts, this essay examines them through a cultural studies lens.

Locating the nihilistic culture within Zimdancehall in contemporary Zimbabwe

A fusion of the Caribbean, African American and Zimbabwean music genres into the infamous glocalized Zimdancehall music has dulled the significance of other traditionalist Zimbabwean music genres. Dancehall culture has caused much controversy in Zimbabwean society, being blamed for the country’s increase in crime, violence and believed to encourage misogynistic attitudes among Zimbabwean youths through its negative themes. Using appraisal and dramatism theories the article shows the existential crisis the youth in Zimbabwe face due to economic as well as other social forces and thus align themselves to rather destructive misogynistic behaviours which somehow characterises contemporary Zimbabwe. Established in the article is the extent to which language used in Zimdancehall music is socially charged as well as globalized thus influencing youth feelings, emotions and behaviors. The article analyses lyrics of selected songs as well as makes references to selected musical videos from Zimdancehall artistes such as Soul Jah Love, Winky D, Lady Bee and Killer T as prominent artists revealing what has come to be considered contemporary ‘ghetto culture’ within popular culture in Zimbabwe. It is further argued that Zimdancehall has come to shape, inform behaviors, perceptions and aspirations of the Zimbabwean youth largely due to its nature of production as well as dissemination.

Screening Subjects: Transnational Dancehall Culture in a Social Media Age

Dancehall, a popular dance style originating from downtown Kingston, Jamaica, now circulates across transnational spaces through digital media and postcolonial consumption systems. This presentation will study dancehall in the twenty-first century as an information age space for transcultural production, with a focus on female participation. It will interrogate the authoritative role of the video camera in the scene, and the impact that the use of screens has on the practitioners' cultural, phenomenological, and economic experience. The discussion will analyze the engagement of diversely situated females in relation to questions of mobility, visibility, and power.

Postcolonial Criticism, Transnational Identifications and the Hegemonies of Dancehall's Academic and Popular Performativities

Despite the unprecedented freedoms that decolonization has brought for many Black1 people – especially in specific regions of the African Diaspora – freedom and its fulfilment, adequate signs and contested meanings remain a preoccupation within Black cultural discourses and practices. At the same time, while political and cultural nationalisms have led to greater political and civil rights, racism has not been eradicated. Furthermore, the new postcolonial globalizations of capital, people and cultures have destabilized the collective identities that framed twentieth-century struggles for national sovereignty and equal citizenship, without necessarily erasing them. Instead, they remain, no longer securely anchored in their old homogenous appearances, but re-configured through the inner differences and contradictions of gender, sexuality, ethnicity and religion. This article addresses these internal differences and the ways in which they produce new contestations over race, the meaning of Black representation and postcolonial freedom, negotiations that are increasingly traced on the intimate contours of the body and the self, through practices of personal consumption, erotic hedonism and style as key performances of freedom. It achieves this through examining two localized moments in the transnational and diasporic circulation of Jamaican dancehall culture, understood as a privileged public space for the performance of Black identifications and personal freedom. It argues that the eroticized discourses of ethnicity, race and gender found in dancehall culture articulate the dominance of neo-liberal conceptions of freedom at the same time as they express, resist and comment on new cultural hegemonies not reducible to racism or the power of the West; that is how dancehall expresses the new problematizations of postcoloniality. 1 Except when quoting other writers, I will capitalise the word Black, in order to recognise Black identity as a historically and politically constituted experience and representational category, and not solely denoting skin colour.