House is a genre of music that has evolved over the years to have different variations of it to satisfy different clicks of people but in modern times those sub-genres within a genre now border on becoming their own genre. When you plan to have a party where to chill and enjoy a live performance of Philadelphia Private Party Bands, consider female reggae artist and make up a unique event.
Throughout history, females have had it hard, even more so if they happen to be women of color. Music has always been an outlet to allow those who have no voice, per say, to speak out or at the very least, unleash emotion in a manner that doesn t resort to destruction. But even in this sacred space, women find themselves at yet another hurdle to overcome.
Reggae and the subsequent subgenres that have emerged as a result have always been a male-dominated industry. Be it as a result of chance or circumstance, lyrics fuelled by lust and objectification seemed to resonate with the masses and persist long enough for it to become the norm. But in doing so, have made females seen in a limited light okay.
What s ironic is that in sub genres of reggae like dancehall, despite the degradation of the female form, they have always been and continue to be a key feature of the music, s they are often what lure men to the music in the first place.
Music is not enjoyed in isolation. Dance accompanies the tunes on the dancefloor or wherever its played as its only natural to dance to music. Trends that place women in a state of physical danger like the infamous daggering dance end up resulting in the more feminine out of the two dance partners nursing some physical bruises that could have unsavory.
What gets to constitute as entertainment slowly finds itself blurring a line it was unaware existed. But thanks to the voice of Dr. Donna Hope from the University of the West Indies, who has gone on record to state that daggering is demeaning and explained that it s not about the sexual acts emphasized in the music, lyrics and dance moves and more akin to the inflation of the male ego. With powerful words like this from a renowned expert in reggae studies emphasize substance to the argument of the misrepresentation of females in reggae music.
The best example of this is by referring to such women as Delilah in songs. Equating her to the biblical figure who was viewed as a temptress and the source of Samson s downfall.
Reggae music and females have had a troubled past, but as the music finds notoriety elsewhere it brings more than people together. A world audience allows for the voices of those who once went unheard to light and allows for rectifying wrongs without jeopardizing or placing the genre of music in a position where it loses what makes it reggae.
Throughout history, females have had it hard, even more so if they happen to be women of color. Music has always been an outlet to allow those who have no voice, per say, to speak out or at the very least, unleash emotion in a manner that doesn t resort to destruction. But even in this sacred space, women find themselves at yet another hurdle to overcome.
Reggae and the subsequent subgenres that have emerged as a result have always been a male-dominated industry. Be it as a result of chance or circumstance, lyrics fuelled by lust and objectification seemed to resonate with the masses and persist long enough for it to become the norm. But in doing so, have made females seen in a limited light okay.
What s ironic is that in sub genres of reggae like dancehall, despite the degradation of the female form, they have always been and continue to be a key feature of the music, s they are often what lure men to the music in the first place.
Music is not enjoyed in isolation. Dance accompanies the tunes on the dancefloor or wherever its played as its only natural to dance to music. Trends that place women in a state of physical danger like the infamous daggering dance end up resulting in the more feminine out of the two dance partners nursing some physical bruises that could have unsavory.
What gets to constitute as entertainment slowly finds itself blurring a line it was unaware existed. But thanks to the voice of Dr. Donna Hope from the University of the West Indies, who has gone on record to state that daggering is demeaning and explained that it s not about the sexual acts emphasized in the music, lyrics and dance moves and more akin to the inflation of the male ego. With powerful words like this from a renowned expert in reggae studies emphasize substance to the argument of the misrepresentation of females in reggae music.
The best example of this is by referring to such women as Delilah in songs. Equating her to the biblical figure who was viewed as a temptress and the source of Samson s downfall.
Reggae music and females have had a troubled past, but as the music finds notoriety elsewhere it brings more than people together. A world audience allows for the voices of those who once went unheard to light and allows for rectifying wrongs without jeopardizing or placing the genre of music in a position where it loses what makes it reggae.
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