Bakare-Yusuf, Bibi (2006) Vol 11, Issue 1. Clashing Interpretations in Jamaican Dancehall Culture pp. 191- 173
One of the clashes running throughout this source is that between the native and the foreign interpreter and the consumer-audience dichotomy within dancehall culture. From the outset, Cooper asserts that her project “is stubbornly rooted in a politics of place that claims a privileged space for the local and asserts the authority of the native as speaking subject”. Part of the need to assert the authority of the “native speaking subject” has not only to do with the “devaluation of misunderstood local traditions” (173) by both elite Jamaicans and the parasitic cultural “outsiders who do not understand the multi-track discourse of the dancehall” (39),2 but as a strategy to recuperate “the power of the indigenous voice and the nativist worldview of the marginalized wordsmiths, especially the DJs” (7).
The Source further explains the in depth issues associated with the culture and allows the audience to acknowledge finding our own Jamaican culture is going to be a up hill struggle and that the Dj’s in the Dancehall must do there part in leading the culture through positive celebration. This has been useful as I now know have a clear understand of the Dancehalls of Jamaica’s political and social standing. This very argument with create a exciting textile, that visually tells this narrative but a positive narrative of celebration.