Dancehall in Jamaica is an industry with a value that requires accounting and analysis. A largely cottage industry, Dancehall has long overflowed those banks and has spread to the continents of Africa, Asia, North and South America, as well as in parts of Europe.
In 2020, Jamaica's Gross Domestic Product (GDP) was listed at just under US$16 billion. Even if Dancehall's value is estimated as one percent of GDP, this could be worth well in excess of US$100 million, considerably more than the US$20-$25 million suggested by culture minister Babsy Grange in 2017 that all the island's cultural events contribute. What is a fact though is that any such benefit is being sucked into the chasm that comprises the gaping underground economy.
Dancehall's problem is further compounded by the country's sectarian approach to owning its history and recognizing those at the lower rung who are involved in its development. It was born in the bowels of the country's inner-city communities and as a consequence, it has always been met with resistance at every level. Like its big brother Reggae music, Dancehall has been met with the Government's promulgation of night-noise legislation, supported by overzealous policing, to curtail its activities and its growth. We need to acknowledge that the cultural and creative industries of the people of Jamaica have contributed immensely to Jamaica's global image and brand Jamaica, and that contribution needs to be recognized, respected, and appreciated. It is equally important that we remove the stigma attached to Dancehall, including the view that sees the genre and its culture historically as non-professional, non-commercial folklore of the lower socio-economic segments of our society.
In many of our inner-city communities, Dancehall is the backbone and fabric of the resident's survival. Within these communities, dancehall is an industry that extends way beyond the DJ on a recording. The Dancehall industry employs hairdressers, barbers, tailors, dance-hall fashion designers, dancers, caterers, promoters, etc. The industry, while embracing huge tracts of untrained talent, makes the largest use of the talent pool developed through the Edna Manley College for the Visual and Performing Arts, and provides the best representation of Jamaicans with a penchant towards self-employment. It is for this reason that every dollar spent at a dance in a community recirculates within that community for at least a month, touching more people that do traditional employment. Not appreciating these factors means not appreciating the economic value beyond the entertainment value, particularly, their economic value and contribution to gross domestic product (GDP) which has been woefully undervalued, resulting in the sector not being seen as a major contributor to the national economy.
Whether we want to accept it or not, Dancehall has become one of Jamaica's biggest exports except for Tourism, reaching more continents than any manufactured product or service. From Japan to South America, from Central to North America, Africa, and sections of Europe, Jamaican Dancehall is a steadily growing export that no policymaker in Jamaica is prepared to embrace.
Nevertheless, like the phoenix, still, Dancehall rises.
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