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Dancehall is a type of Jamaican popular music which developed in the late 1970s, with exponents such as Yellowman and Shabba Ranks. It is also known as bashment.

The style is characterized by a deejay singing and toasting (or rapping) over raw and danceable music riddims. The rhythm in dancehall is much faster than in reggae, sometimes with drum machines replacing acoustic sets. In the early years of dancehall, some found its lyrics crude or “slack“, particularly because of its sexual tones, popular among youths in Jamaica. Like its reggae predecessor, dancehall eventually made inroads onto the world music scene. It may be the predecessor of hip hop music. skiing  christian  five  tube  tag  you  game  skull  soldiers  village  facts  pottery 

This deejay-led, largely synthesized chanting with musical accompaniment departed from traditional conceptions of Jamaican popular musical entertainment. Dub poet Mutabaruka maintained, “if 1970s reggae was red, green and gold, then in the next decade it was gold chains”. It was far removed from its gentle roots and culture, and there was furious debate among purists as to whether it should be considered some sort of extension of reggae music.^[1] holladay  holla  habib  christmas  holidays  rap  hanukkah  goremy  kwanzaa  happy  virginia  holladays  remy  go 

Dancehall owes its moniker to the spaces in which popular Jamaican recordings were aired by local sound systems and readily consumed by its “set-to-party” patronage; commonly referred to as “dance halls“. Dancehall, the musical genre, is long considered to be the creation of Henry “Junjo” Lawes in 1979. The production of dancehall music was further refined by King Jammy in the early 80s, during the transition from dub to dancehall, and original attempts to digitize “hooks” to “toast” over by Jamaican deejays.

King Jammy’s 1985 hit, “(Under Me) Sleng Teng” by Wayne Smith, with an entirely-digital rhythm hook took the dancehall reggae world by storm. Many credit this song as being the first “digital rhythm” in reggae, leading to the modern dancehall era.^{[2] [3]} However this is not entirely correct since there are earlier examples of digital productions; Horace Ferguson’s single “Sensi Addict” (Ujama) produced by Prince Jazzbo in 1984 is one.