It is our collective desire at BCdancehall.com to create a site that encompasses many different aspects of daily living and the culture of Dancehall music. Such facets that we find inherent to a person’s social realm include local, national and world news, music, and visual entertainment (i.e. video/film) These are particulars what we feel illustrate and/or influence almost all social situations. Our aim is to elicit an exchange of thoughts and images which concern the issues facing people not only in Vancouver, B.c Canada(where we are based) , but also topics which all of us in the emerging global community face as well. we are committed to the promotion of local, regional and national awareness of Reggae Dancehall Music in BC and other province in Canada and the Universe.



  • To promote cultural awareness of Reggae Dancehall Music.
  • To produce an annual festival showcasing Reggae Dancehall Music.
  • To work towards hosting the Western Canadian Reggae Music Awards.
  • To lobby mainstream media to give more airplay to Reggae Dancehall Music.
  • To encourage youth involvement in the development of Reggae Dancehall Music





Dancehall is a genre of Jamaican popular music that developed in the late 1970s. Initially it was a more sparse and less political and religious variant of reggae than the roots style, with its emphasis on the Rastafari movement, that had dominated much of the 1970s,[1] though this has not been so since the nineties with the rise of famous dancehall Rasta artists like Sizzla.  In the mid-1980s, digital instrumentation became more prevalent, changing the sound considerably, with digital dancehall (or "ragga") becoming increasingly characterized by faster rhythms with little connection to earlier reggae rhythms.


Two of the biggest deejay stars of the early dancehall era, Yellowman and Eek-a-Mouse, chose humour rather than violence, with both becoming huge stars, and Yellowman the first Jamaican deejay ever to be signed to a major American label, and for a time enjoying a level of popularity in Jamaica to rival Bob Marley's peak. The early 1980s also saw the emergence of female deejays, with Lady SawSister Nancy, and Shelly Thunder bringing a new dimension to the dancehalls. Dancehall also brought a new generation of producers to the fore. Junjo Lawes,Linval Thompson,Gussie Clarke, and Jah Thomas took over from the producers who had dominated in the 1970s.

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". Social and political changes in late-1970s Jamaica were reflected in the shift away from the more internationally-oriented roots reggae towards a style geared more towards local consumption, and in tune with the music that Jamaicans had experienced for some time when sound systems performed live. Michael Manley's socialist PNP government had been replaced with Edward Seaga's right wing JLP.  Themes of social injustice, repatriation, and the Rastafari movement were overtaken by lyrics about dancing, violence, and explicit sexuality. Musically, older rhythms from the late 1960s were recycled, with Sugar Minott credited as the originator of this trend when he voiced new lyrics over old Studio One rhythms between sessions at the studio, where he was working as a session musician. Around the same time, producer Don Mais was reworking old rhythms at Channel One Studios, using the Roots Radics band. The Roots Radics would go on to work with Henry "Junjo" Lawes on some of the key early dancehall recordings, including those that established Barrington Levy,Frankie Paul, and Junior Reid as major reggae stars. Other singers to emerge in the early dancehall era as major stars included Don Carlos,Al Campbell, and Triston Palmer, while more established names such as Gregory Isaacs and Bunny Wailer successfully adapted. Sound systems soon capitalized on the new sound, with the likes of KillimanjaroBlack Scorpio,Gemini DiscoVirgo Hi-FiVolcano Hi-Power, and Aces International also introducing a new wave of deejays. The older toasters were overtaken by new stars such as Captain SinbadRanking JoeClint EastwoodLone RangerJosey WalesCharlie ChaplinGeneral Echo, and Yellowman, a change reflected by the 1981 Junjo Lawes produced album A Whole New Generation of DJs, although many went back to U-Roy for inspiration. Deejay records became, for the first time, more important than records featuring singers, with deejay's often voicing over new rhythms before singers. A further reflection of the live experience was the trend towards "sound clash" albums, featuring rival deejays and/or sound systems going head to head in competition for the appreciation of a live audience, with underground sound clash cassettes often documenting the violence that would come with such rivalries.
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