Caribbean Secondary Education Certificate

School Based Assessment

English
Group Topic: The modification of dancehall music across the
Caribbean throughout the years
Individual Topic: The effect of dancehall music on crime and
violence

Name: Daniel Premsukh

Centre Number: 09007

Candidate Number:

Teacher: Shanee Adams

Territory: Guyana

Date of Submission:
Contents
Acknowledgement .................................................................................................................................. 1
Plan of Investigation ............................................................................................................................... 2
Participation Measure ............................................................................................................................. 3
Artefacts Citation .................................................................................................................................... 4
Artefact 1 ................................................................................................................................................ 5
Artefact 2 ................................................................................................................................................ 7
Artefact 3 .............................................................................................................................................. 11
Reflection 1 ........................................................................................................................................... 12
Reflection 2 ........................................................................................................................................... 13
Reflection 3 ........................................................................................................................................... 14
Oral Presentation Plan........................................................................................................................... 15
Group Written Report ........................................................................................................................... 17
Artefacts Selected by Group ................................................................................................................. 19
Mark Scheme ........................................................................................................................................ 27
 Acknowledgement
The researcher would like to thank his teacher Miss Shanee Adams for her help
and guidance throughout the completion of this School Based Assessment
(S.B.A), his group members, friends, family and last but not least the almighty
God.

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 Plan of Investigation
It is a debate whether dancehall music is a promoter of crime and violence or a
reflection of it. Many believe that it has an effect on crime and violence because
of the high crime in the Caribbean, where dancehall is the mostly enjoyed genre
of music, most of which contains violent lyrics. The researcher is interested in
researching the link between dancehall and crime and violence mainly because
the researcher personally enjoys this genre of music.

The researcher expects to benefit from doing this research by gaining

knowledge about the Caribbean culture and music as it relates to how it
influences the listeners. The researcher's cognitive skills will also be enhanced
after doing this research.

The researcher intends to collect pertinent information for this topic and
complete the S.B.A by using three artefacts: a newspaper article, an audio and a
visual.

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 Participation Measure

Rating Preliminary rating Student’s record of teacher’s Final rating

criteria 1-agree comment/suggestions 1-agree
0-uncertain 0-uncertain
-1-disagree -1-
disagree
I know what 1 The teacher advised the 1
I’m supposed students to work assiduously to
to do, and I complete each given task.
work well as
a group.
It is easy to 1 1
focus on what
is taking
place in my
group
In the group I 1 1
feel self-
confident,
self-esteem
and efficiency
I know how 1 The teacher advised students to 1
to control my respect the opinions of other
behavior in members and in doing so, the
the group researcher was able to control
their behaviour
I finish my 0 The teacher told the researcher 0
tasks and do to formulate a time schedule in
so in a timely order to complete tasks in a
manner. timely manner.
Total 4/5 4/5

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 Artefacts Citation
Title of Article Last, First "Article Date of
M. Title." Title of Publication,
the Location.
Newspaper.
Newspaper Scheckleford, "Dancehall and 24th February
Article: Andre. Crime in 2017, Jamaica.
Jamaica."
Jamaica
Gleaner
Title of Article Last, First "Track By Writer Rec. date.
M. Name." First M. Last. Producer,
Album Name. Year. Format.
Song: Teejay "Up Top." By Timoy 2017. Papi
Up Top - Janeyo Jones Don Muziq.
Single. MP3.
Title of Article Last Name, "Title of the Title of the Publication
First Name film or website, Date.
of the video." Publisher.
creator.
Youtube Channel: Russel, "Tommy Lee Youtube, 10th April
Leroy. Sparta - Soul Damage 2016.
Reaper Musiq.
(Official Music
Video)."

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 Artefact 1
Andre Sheckleford | Dancehall And Crime In Jamaica

The carte blanche defence dancehall receives when one dares to whisper of its
vices is unfortunate. Dancehall can't be treated as some autonomous entity,
distinct from her content.

Where the content of dancehall deserves to be scolded, it should be so scolded.

When scandalous parts of our culture elevate dangerous subcultures in the
world outside of music (for e.g., 'informa fi dead'), we must put a pause on our
head-bopping and 'appreciation of lyrics' and make an assessment of what we
love.

"Dancehall is descriptive: a reflection of society" is a common mantra. But

dancehall songs are oftentimes not merely descriptive: they are quite often
prescriptive. Said another way, dancehall influences values and attitudes. Just as
the rise in popularity of a song with the lyrics 'Murda dem an' shub dem inna
ground' won't magically create murders tomorrow, a general change of
dancehall into something sweet and nice won't stop the faucet of destruction
Jamaica is facing.

Take the following lyrics, which may easily find their way into a popular
dancehall song which may be widely received by the defenders: "if a bwoi
violate, him a get a shot inna him face/from di nine inna mi waist/mek him face
displace."

Now, let us try and achieve that same tone with a different theme of lyrics: "if a
gyal violate, she get a slap in 'ar face/now she cyaan escape/panty a guh get
displace".

The former - which heralds gun violence and murder - will be accepted and may
even be played at children's gatherings (I've witnessed many a children's
gathering where such music plays). The latter - which heralds abuse against
women and rape - would likely draw ire, and rightfully so (i.e., assuming the
song gains popularity).

"But violent movies are shown all the time. What about them?" The central
question to ask here is if those imported movies are norm-creating in our
society. That is, is a movie about a police officer killing terrorists in a tower in

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LA (the plot of Die Hard) so closely related to Jamaican society so as to
influence values in a meaningful way?

SOCIETAL NORMS

"But dancehall music is enjoyed all over the world without sparking violence."
The central question is whether those societies are such that dancehall has a
norm-creating character there (take Japan, for example, where one would be
hard-pressed to find a gun).

So, what danger does a constant defence of dancehall, whatever its content,
pose? For one, it empowers the crafters of these lyrics and positions them as
defenders of culture. Additionally, it contributes to a sliding scale from the
genre: the music gets more violent and sexually explicit as time goes on.

Additionally, the strength of the defence of the genre is not normally coupled
with strong calls for social responsibility. Taking a stroll through Half-Way
Tree with scores of schoolchildren? You will certainly hear all sorts of lyrics of
murder and pounding of vaginas.

So my call is for a proper assessment of dancehall's content and effects before

giving it widespread love. I'm not positing that there's a straight-line, causative
link between content and what happens on the ground. Much of dancehall's
content has fed from society's waste, and has in turn, contributed to the waste,
which it once again feeds from, become a grotesque cyclical monster that is but
a shade of its former self.

Sheckleford, Andre. “Dancehall And Crime In Jamaica.” Jamaica Gleaner, 24

Feb. 2017, jamaica-gleaner.com/article/commentary/20170224/andre-
sheckleford-dancehall-and-crime-jamaica.

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 Artefact 2
Teejay - Up Top

Teejay. "Up Top." Teejay Up Top - Single., Papi Don Muziq, 2017, track 1.
Spotify, open.spotify.com/album/3j5vQrifVUqFqicvvrhnqW.

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 Teejay - Uptop Lyrics

[Intro:]
Papi Don Muziq
Up top

Gwan like say dem head it can't buss

Shoulda say a Psalms fuss
When di AR it buss pon people
Boy get wet up with the taurus

[Chorus:]
We nuh laugh with people
Rise the matic and run them out
Di grenade weh mi dip inna yuh scheme
Ah empty a clip inna yuh girlfriend mouth
We nuh laugh with people
Rise the matic and run them out
Di grenade weh mi dip inna yuh scheme
Empty a clip inna yuh girlfriend mouth

[Verse 1:]
Buss one inna head make yuh drop ah ground
Mi fi hold yuh flat foot do not try bother run
Boots up yuh likkle fren she ah got ah gun
Shoot up ends when unno drink bagga rum
Mi n dat toppy AR Mi na stagga sun
And di Glock ah sing sweet inna Bobba hand
Pu*** ah fi dead ah wah do sum man
Pon yuh bloodclaat ends mi send two gunman
Jump out ah di vehicle murder di fuss four
Head affi jump like when goal just score
Just get ah brand new riffle mi just sure
Pressi make every marrow touch floor
Pu*** head affi open like the tuff door
Wah cut ah fly thru chest vest muss bore
All fi Mi addi bleach pon ah bus tour

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Beat up for yuh life the clutch when ah touch floor...
Ravers

[Chorus:]
We nuh laugh with people
Rise the matic and run them out
Di grenade weh mi dip inna yuh scheme
Ah empty a clip inna yuh girlfriend mouth
We nuh laugh with people
Rise the matic and run them out
Di grenade weh mi dip inna yuh scheme
Empty a clip inna yuh girlfriend (empty a clip)

[Verse 2:]
A shoot mi shoot people ah nah chat mi chat
Some boy only come pon ends when strap fi lock
Shub up the 32 belly inside the Glock
Buss one inna head and make yuh body drop
Mi know dem ends like mi design di map
Rifle with the spikey back K from chiney clap
Buss one inna head round n fly di top
Bare gun man mi par with mi nah like eediat
Dem-dem-dem mudda fi cyah go ah work
Rifle a burst
Boy affi drive inna hearse
Every gun mi a par wid did a work trigger work
Fi mi leff boy marrow inna dirt
Pussy should ah build demself and go ah church
Bare rifle men inna yuh place man a squirt
Fi tek weh yuh dippy God know mi ah first
All when mi a catch Harry mi a murder him first
Aye Bronx

[Chorus:]

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We nuh laugh with people
Rise the matic and run them out
Di grenade weh mi dip inna yuh scheme
Ah empty a clip inna yuh girlfriend mouth
We nuh laugh with people
Rise the matic and run them out
Di grenade weh mi dip inna yuh scheme
Empty a clip inna yuh girlfriend mouth

[Verse 1:]
Buss one inna head make yuh drop ah ground
Mi fi hold yuh flat foot do not try bother run
Boots up yuh likkle fren she ah got ah gun
Shoot up ends when unno drink bagga rum
Mi n dat toppy AR Mi na stagga sun
And di Glock ah sing sweet inna Bobba hand
Pu*** ah fi dead ah wah do sum man
Pon yuh bloodclaat ends mi send two gunman
Jump out ah di vehicle murder di fuss four
Head affi jump like when goal just score
Just get ah brand new riffle mi just sure
Pressi make every marrow touch floor
Pu*** head affi open like the tuff door
Wah cut ah fly thru chest vest muss bore
All fi mi addi bleach pon ah bus tour
Beat up for yuh life the clutch when ah touch floor...

[Chorus:]
We nuh laugh with people
Rise the matic and run them out
(Rise the matic and run them)
Empty a clip inna yuh girlfriend (Girlfriend, Bronx, Bronx)
We nuh laugh (laugh)
Run-run them out
Di grenade weh mi dip inna yuh scheme
Empty a clip inna yuh girlfriend (Ravers)

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 Artefact 3
Tommy Lee Sparta - Soul Reaper (Official Music Video)

Russel, Leroy. “Tommy Lee Sparta - Soul Reaper (Official Music Video).”
YouTube, Damage Musiq, 10 Apr. 2016, youtu.be/OcKiARwJxoY.

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 Reflection 1
How each piece of material helped me to shape my thinking?
How did I feel about the topic before engaging with materials?
What impact was created after I engaged with materials?

When I initially started this SBA, I had sundry feelings about dancehall music
impacting crime and violence. I had the notion that dancehall music was
predominantly promoting positivity since personally this genre of music is used
for daily motivation, but it was evident that the perceivers of this specific genre
of music were negatively influenced by the violent lyrics and videos, which was
shown through the high crime rate and frequent fights which occurred at shows
and parties. But personally, the dancehall songs that contains violent lyrics
never had a negative effect on me. It just gave me an insight into what happens
in the Caribbean as it relates to crime and violence. I was perplexed as to
whether or not it has an influence on the behaviour of listeners.

After recording and screening the artefacts, not only did I have less difficulty
understanding the topic but I also chose a side on the debate. After reading the
newspaper article, I have come to the conclusion that dancehall music is merely
a reflection of the crime and violence happening and not intended to be a
promoter. Therefore, personally the crime and violence is a repercussion of the
music. But to answer the question, “Does dancehall music have an effect on
crime and violence?” I think circuitously it does.

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 Reflection 2
The use of language
After reading and screening the article ‘Dancehall and crime in Jamaica’ I was
exposed to a better point of view of this controversial topic. The writer uses an
expository technique to write this article, in doing so his goal was to inform us
about this topic within the including him opinions.

This was not a formal article since it contains Jamaican creole and slangs which
was used more than once throughout, this is the literary device colloquialism
being used, I believe the writer used this to appeal to the Caribbean readers. In
the beginning of the article we see the use of personification giving dancehall
the title ‘her’, leading to believe that it is like one of us who deserves a fair
chance. The writer intends on reaching out to people in all corners of the world
and helping them to see that dancehall isn’t the negative genre it is perceived to
be.

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 Reflection 3
How the process of completing this SBA has helped me to grow?
During the course of completing this SBA, I had to meticulously research the
topic and information pertaining to it. Which in the end had a colossal impact
on me by expanding my preceding knowledge and helping me to better
understand what the real issue is. My research has helped me to become more
open to ideas rather than jumping on the bandwagon of the most common
opinion, and I feel like I will benefit tremendously from this in the future since a
skill like this will definitely be needed in the business community.

Working in groups has not always been my strong suit, but I have found it to be
easier and more productive working together on this SBA with other people.
This is simply because I was able to charge my ideas and ask for help and
advice whenever needed, I also feel that this is another skill that will benefit me
in the future.

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 Oral Presentation Plan

Topic: The effect of dancehall on crime and violence

Genre: Speech

Sources: Cooper, Carolyn. “‘Lyrical Gun’: Metaphor and Role Play in Jamaican Dancehall
Culture.” The Massachusetts Review, vol. 35, no. 3/4, 1994, pp. 429–447. JSTOR,
www.jstor.org/stable/25090549.

Language used: Formal English, rhetorical question, Jamaican patois

Main Idea: Dancehall music is not a promoter of crime and violence

Aids:

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 Oral Presentation
Praiseworthy teacher, I bid you a good morning. I am here before you today to
present on my individual topic "The effect of dancehall on crime and violence"
which was derived from my group topic "The modification of dancehall music
across the Caribbean throughout the years" . I chose my individual topic
because I enjoy this genre of music and there is a controversy surrounding
whether dancehall has an effect on crime on violence or not. Because of this, I
was interested in researching the connection between dancehall and crime and
violence. If you're uninformed, dancehall music is a genre of urban folk music
which came out in Jamaica in the 1970s. To this day, dancehall is the one of
most enjoyed genre of music among Caribbean natives. The songs occasionally
contain violent lyrics about guns and murder, there is even a sub-genre that's
related to war in which artistes strive to be pre-eminent at writing violent lyrics.
There is a high crime rate in the Caribbean, where the music is most enjoyed.
This is one of the reasons why people think dancehall has an effect on crime.
There were also past situations where fights started at dancehall shows. But
aren't there fights everywhere? While some people posit the view that dancehall
promotes crime and violence because of these lyrics, others believe that it's
merely a reflection of the crime happening. Dancehall artistes also use
metaphorical language , a great example would be when artistes talk about
killing somebody, most times they just mean overcoming an impediment or a
person that was in the way of success. A lyric example would be, "When mi talk
about gun it is a lyrical gun". Metaphorical language is misinterpreted and this
leads to the attachment to crime. In this case dancehall music does not have a
direct intentional effect on crime.

It's safe to say that dancehall has an effect on crime on violence, but not
intentionally. The crime and violence is a repercussion of the music and the
violent lyrics are a reflection of the crime happening in the Caribbean.

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 Group Written Report
Dancehall music is one of the most popular and interesting genres of music
throughout the Caribbean, which is why it was agreed to be a topic of research
among the members of the group. Each of the members after coming up with a
suitable theme then selected a sub-topic relating to the theme. The sub-topic
selected was one of their choice and likeness to conduct research on
individually. The first step that was completed was the plan of investigation in
which the members discussed how they would go about doing the project as
well as their reason for selecting the topic and how they planned on gaining
benefits from the topic. After the plan of investigation was approved of by the
teacher the students then went ahead to complete the second step which was
finding suitable artefacts based on the sub-topics to complete the SBA. As a
means of collecting data for the sub-topics, the internet was surfed for articles,
songs, videos, journals etc. The artefacts selected were a journal entitled
‘Jamaican Creole ‘written by Otelmate G. Harry. This artefact was selected
since it relates to the sub-topic regarding the language incorporated into
dancehall music. The article briefly highlights the difference that exists between
Jamaican English and Jamaican Creole. The second artefact selected was a
newspaper article in the Guyana chronicle newspaper entitles ‘some aspects of
dancehall music, crime, violence and youth’ which show the negative effects
that dancehall music has on teens in today's society. The final artefact selected
was a blog entitled ‘The effects of dancehall genre on adolescent sexual and
violent behaviour in Jamaica: A public health concern.’ In this artefact a study
was conducted to show the effects of dancehall music on teenagers. Majority of
the adolescents who listened to dancehall music were likely to indulge in sexual
acts and most of the responses were from females.

After finding suitable artefacts they were then submitted to the teacher to show
progress and for the purpose of making sure that they were suitable enough to
be included in the SBA. The second step of the SBA involved writing three
reflections based on the artefacts found. Each member did one reflection at a
time and it was submitted and if necessary changes were made to them. It
should also be added that at the end of every section the group members
compared their finding and discussed them. If any help was required by a group
member it was offered to make the overall SBA tasks easier and for it to be
completed faster and successfully. The members were very unified and were
always able to come up with a solution for any problems encountered during the
SBA.
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The final aspect of the SBA involved the group members typing/writing their
individual SBA and submitting it to their English teacher. Overall it was a very
successful project since much was obtained from it. The members learned how
to work together and respect the opinions of their peers. They were also able to
respect due dates by submitting a new section of the SBA every week to their
English teacher. They were also able to enhance and improve their ability to
write and comprehend standard English. The SBA has also exposed them to a
variety of formal as well as informal language which were included on some of
the articles.

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 Artefacts Selected by Group

Artefact 1

Some aspects of dancehall music,

crime, violence and youth
By Staff Reporter -

May 16, 2018

by Ronald Austin Jr

In December 2009, the University of the West Indies announced the findings of a study on
violence and dancehall conducted by Dr. Donna Hope-Marquis. This study was carried out
among 300 15-24-year-olds in Jamaica. Not only did the study show no correlation between
dancehall music and violence, Dr. Hope-Marquis declared “The results were so insignificant
that they could not be used as a guiding principle”. These results killed the noise on this
issue. So, should we say that was the end of the debate? I think not. We cannot dismiss the
influence of some aspects of dancehall music on the youth. Since crime and violence are most
associated with this constituency in the Caribbean, I find the dismissal of this connect
between some aspects of dancehall music, crime and violence, to be incredulous.

I have been ridiculed by friends for playing dancehall music in my car. I have been
admonished for listening to ‘sick music’, as some describe it. They ask ‘how could you
understand what is being said by those mad men’? There are many who believe that
dancehall music is directly linked to crime and once you listen, you are automatically seen as
part of a ethos. Not every dancehall song is laced with vulgarity and violent content, Exhibit
A: ‘I am blessed’ by Mr. Vegas. That is another issue. Be that as it may, please note that the
article speaks to some lyrics, there is no broad brush being applied. Further, I have defended
this simple pleasure by saying that I cannot be so easily influenced, I have attended strong
institutions and I grew up under good parental leadership. In my case, that has worked for
me. Can everyone boast of this lack of fear of being influenced? I think not. In the absence of
robust parental interventions and stable and steady values, music will always have an impact
on the mind, some aspects of dancehall music are no different in this regard. Let us examine
the lyrics of the song ‘Banger’ released by Sheldon Lawrence, also known as ‘Aidonia’ on
December 2, 2016: ‘We no listen when chatty mouth chatty mouth chat. Me saw off shotgun,
the shotty mouth chop. Just, plat up ya head, shot a chop it out back. Badman no tek style
dawg, you haffi know that’.

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The lyrics, documented here, contain the glorification of death and reinforces violence as a
means of settling disputes. In strained circumstances, poor institutional structures, when this
meets the ear of persons who cannot discern careful judgment, who would dare argue that this
can have no influence. Some dancehall musicians are the leaders of a dangerous sub-culture
that captures fragile minds. To present a case of them having no responsibility for what their
listeners do is to suggest that they have no effect on the behaviour of their fans. So why do
companies pay millions to procure their services for advertising and how come they drive
taste in clothing and more? Constantly absorbing ‘Informa fi dead’ and ‘murda dem and shub
dem inna ground’, cannot be a simple engagement that has no impact on the behaviour of
impressionable minds. It is the validation of criminal sub-culture. Not everyone has the
luxury of being exposed to institutions that give them good values which are adopted. For the
unlucky few who gravitate to dancehall music, this is often their only guidance.

The United Nation’s Office on Drugs and Crime (UNOC) reported that three of the top 10 for
most murders per 100, 000 inhabitants were Caribbean islands. This report also stated,
“Nearly one in three said they had lost someone to violence. Guns are used about twice as
often in robbery and three times as often in assault in the Caribbean as compared with the
global average”. ‘Bust me gun inna yuh face’ and ‘lay them body out inna morgue’ pounding
in the ears of our youth consistently and intensely has to have some backlash. I say reopen the
investigations and studies, try other methodologies, something might be uncovered. I am
aware that some lyrics in dancehall music are not the only source for the reinforcement of
violence. Many youths are exposed to violent movies and the internet is the frontier for all
manner of negative portrayals. However, I maintain that music has its special ability to
motivate for positive and negative reasons.

The solutions to solving this unprecedented surge in crime in the Caribbean have got to be
fraught with an evidence-based approach. The national conversations have been exhausted in
my view. It is time to revisit, from an academic standpoint, the correlations between some
aspects of dancehall music, crime, violence and our youth.

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 Artefact 2

Volume 36, Issue 1

June 2006, pp. 125-131
Jamaican Creole
Otelemate G. Harry (a1)

Published online: 18 May 2006

Extract
Jamaican Creole is one of the major Atlantic English-lexifier creoles spoken in the
Caribbean. In Jamaica, this creole is popularly labelled as ‘Patwa’ (Devonish & Harry 2004:
441). There is a widely-held view in Jamaica that a post-creole continuum exists. The
continuum is between Jamaican English and Jamaican Creole (Meade 2001: 19). Many
scholars holding this view find it necessary to distinguish among acrolectal, mesolectal and
basilectal varieties (Irvine 1994, Beckford-Wassink 1999, Patrick 1999, Meade 2001, among
others). Major phonological differences are found between the two extremes. However, a
discussion of the phonological differences in the continuum and problems with the theoretical
notion of a ‘post-creole continuum’ is beyond the scope of this paper. The aim of this paper is
to provide an adequate description of some salient aspects of the synchronic phonetics and
phonology of Jamaican Creole based on the speech forms of two native Jamaican Creole
speakers, Stacy-Ann Watt, a post-graduate female student at the University of West Indies,
Mona, and Racquel Sims, 22-year-old female from the parish of St Catherine. Both come
from the Eastern parishes of the island

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 Artefact 3

The effects of dancehall genre on adolescent sexual and violent behavior in Jamaica: A public
health concern
Alexay D. Crawford

Abstract

Introduction
Adolescents’ psycho-social response to dancehall genre has become a national and public
health concern, and has raised policy debate in terms of adolescent's sexual and violent
behavior (with respect to pregnancy, sexually transmitted infections (STI) and human
immunodeficiency virus (HIV)).
Issues relating to sex and violence among adolescents have, in recent times, raised much
public health and policy concerns, especially in an era where first sexual debut is at the mean
age of 11.4 years for boys and 12.8 years for girls in Jamaica
Studies have shown that graphical lyrical contents in some music can impact adolescent
sexual and violent behavior. This research has explored the literature and noted that there is a
correlation between dancehall genre and adolescent sexual and violent behavior. Unlike the
literature which shows that such genre is likely to impact the behavior of male than female
(because of its delivery from a masculine perspective), the findings of this research show that
females are more likely to be impacted psycho-socially, hence would act upon the lyrical
contents that they hear.
This research has posited the various policy and health implications governing adolescent
behavior and the playing of dancehall music on public buses and taxis. Recommendations are
also made regarding policy and legislative directions that may be taken by the health sector of
Jamaica.

Materials and Methods

This study is informed by quantitative and qualitative data. The former was captured through
field research, which was collected in Jamaica, during the period February-May, 2008. The
subjects were 100 adolescents (50 males and 50 females).
Information was obtained using both convenience and purposive sampling methods. The
instrument used in the collection of data was a 20-item close-ended questionnaire. The
respondents were instructed to opt-out, should they become uncomfortable with any aspect of
the questionnaire. They were also informed that the process of questionnaire administration
was of high confidentiality.
Qualitative information was obtained via secondary research. The analysis of the data was
done via Microsoft Excel.

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Results
The findings reveal (Table 1) that unlike females (40%) who gravitated to sexually explicit
lyrical content than their male counterpart (26%), males were more inclined to lyrical
contents that were conscious (34%) and violent (20%) rather than their female counterpart
(24% and 16% respectively). Both males (20%) and females (20%) responded similarly to
lyrical content of expletive language.
Table 1
Adolescent's response to dancehall genre

From a psychological perspective, Table 2 shows that there is no significant difference

between the respondents who claimed that dancehall genre inspired their dreams (males 64%,
females 62%). To be more specific, these respondents postulated that they dream of the
sexual and violent graphics of the genre and that this resulted in waking up with an orgasm
and/or a feeling of rage or fright. Males (62%) were, however, less likely to be emotionally
stimulated by the dancehall genre than their female counterpart (82%). Males were also less
likely to act on lyrical content (46%) or feel controlled by the lyrics (42%) than the females
(74% and 64% respectively). More males (54%) than females (26%) claimed that the
dancehall lyrics did not influence them. During the questionnaire administration, there were
respondents who claimed that the graphical overture of sex and violence in the dancehall
music, helped to stimulate and empower them to behave according to the impression
conveyed, whether or not they had prior exposure to sex and/or violence.
Table 2
Psychological impact

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Of the 100 respondents, 52% males and 58% females claimed to be sexually active, while
19% male and 13% females demonstrated violence in schools, in their communities, and/or in
their homes - 7% females and 9% males were taken to the Principal's office; 3% females and
5% males suspended; and 5% females and 8% male were warned by police (without arrest);
3% male and 6% female contracted STI (including HIV).
There was no significant difference between those who would sing the lyrics of the dancehall
genre without hearing it (100% male, 98% female). However, 30% male and 58% female
said that they sometimes heard the music in their heads while focusing on other things.

Discussion
In support of the findings of this study, the literature reveals that music (especially in the
dancehall genre) has influence on adolescent sexual behavior. In a 2007 study in Jamaica
(Table 3), out of 238 cases of 9-17 year olds, 10.1% male and 3.4% female were sexually
influenced by dancehall genre. 42% respondents (18.5% male, 23.5% female) contracted
STIs/HIV[2]. Unlike the findings of this study, males were more likely influenced (than their
female counterpart) by dancehall genre[2].
Table 3
Influences of sexual activities[2]

The literature also shows that music is highly influential and can create negative impact on
youths, who imitate these negative acts[3]. Music also plays an important role in the
development of youths[3].
Schubert contends that music tend to evoke intense pleasure[4]; while McFarlane holds the
view that a link does exist between exposure to sexual content via the media and the sexual
behavior of our children[5].
Unlike the findings of this study, the literature also points out that males were more likely to
be impacted by the sexual messages from the dancehall genre, because such message is
usually delivered from a masculine perspective[6].

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One author noted that the lyrical contents of dancehall genre have the potential to impact the
brain, and affect emotional behavior in humans, especially for the young people[6]. This is
probably because there is a direct correlation between the playing of “hard-core” music on
public transportation and the proliferation of sexual display on these said transportations[6].
In a 2009 Jamaican study, school children were more drawn to heavily-tint public buses with
‘lewd’ dancehall music. This study explains that female students would often sit in the laps of
the male students and engage in sexual activities while gyrating their bodies to the sound of
the music. This kind of behavior is usually facilitated by both the bus driver and
conductor[7]. The said study further pointed out that such kind of sexual behavior,
demonstrated by adolescents, was also prevalently practiced in taxis. The gyration of the
body brings to mind one's scholar's perspective that owing to the rhythmic pattern, timbre and
amplitudes of the music, in general, this can affect emotional behavior[6].
It is noted that the lyrical contents in the majority of the dancehall genre are messages which
relate to male-female sexual relationships, and are not messages of respect, care,
consideration and values. In these musicals, the artistes sing about what men should do and
how they should treat women (in a derogatory manner)[8].
One deejay artist charged that parents become more responsible and censor what their
children see or hear[8]. As a result, it is encouraged that “effective controls over crime in
Jamaica need to start with the music industries, the artistes and the music lyrics which
explicitly describe and depict murder so callously to a level where it is difficult to fathom.
Dancehall music with these violent lyrics helps to build the thought process of our
youths”[9].
The encouragement of sexual activities of minors by bus and taxi operators (adults) is a
breach of (1) Article 34 of the United Nations Convention of the Rights of the child (1989),
which addresses sexual exploitation, abuse, unlawful sexual activity/practices, pornographic
performance or materials[10]; and (2) the Child Care and Protection Act, which refers to
exposing the child to moral danger[11].
In addition, such practice suggests conflict with the Jamaican Government's efforts (under its
National Development 2030 Plan) to achieve (i) “a healthy and stable population”[12]; (ii) a
society which is “safe, cohesive and just”[12]; (iii) the goal of being able to “combat
HIV/AIDS”[12].
It is therefore recommend that the state should make it a responsibility to educate public bus
and taxi operators on the psycho-social, legal and health implications (abuse, pregnancy,
STI/HIV) of playing loud inappropriate music while transporting passengers. At the same
time it is imperative that there be political support for this cause.
Policies should be enforced (if already implemented) regarding the matter of public bus and
taxi operators facilitating sexual activities by adolescents while on their public
transportations. Sanction should be applied where there is breach of such policy.
Close attention should be paid to the legislation (Child Care and Protection Act, 2004), which
protects the interest and rights of the child.
Loud and inappropriate music on public buses and taxis should be forbidden (especially
while located in public domain) whether or not such transportations contain passengers.

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Conclusion
There is a correlation between ‘hard-core’ dancehall genre and the sexual and violent
behavior of adolescents. Based on the responses obtained from the respondents, the findings
reveal that females more than males are more likely to respond psychologically to the lyrical
contents of dancehall genre

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 Mark Scheme
Scoring Rubric for Quality of Within-Group Activities

Name of Group:_________________

Date: __________________________

Facets of process Rating Scale Score

0 1 2 3
1 Communication Action plan of Action plan exists All members have All members have
work not known and may be seen, seen and read seen, and
to all members if requested notes of action discussed action
plan plan

2 Collaboration No awareness of Some interest in Group discussing Members seek out

what other what other work of other and are aware of
groups are doing groups are doing groups the work of other
groups
3 Leadership Same person Leadership of Leadership is Each member
leads group all group is rotated rotated and willingly takes
the time members feel his/her place in
comfortable with it turn

4 Norms of Group Not agreed on a Norms are Norms are written All members feel
set of norms for written for the and mostly responsible for
the group group, but not observed norms being
observed observed
5 Diaries/Logbooks/Notebooks Not open to To members of Diaries are helpful Diaries tell rich
persons outside other groups, not to other groups – story of the
the group available knowing what is activities in other
being done groups
6 Reflection Group members Reflection on Members took on Reflection on
show no evidence group work is work of group, but members’ work is
of reflecting on practised at end not reflecting on focus of group
group work of each work during
sessions
7 Interaction There is Members are Members are Members respect
misunderstanding beginning to creating and appreciate
among members. trust one another interaction with each other; and
Members feel each other show empathy
distant
8 Equality Hierarchy exists Some members Members support Equality is evident
within group have more equality, but not in all behaviour of
influence than always seen group members
others
9 Expert Voices Members rely on Members bring Members identify Members actively
what they some literature experts, books, seek and invite
already know only visual media, and expert voices
bring some to
sessions
10 Experimentation No interest in Hesitant to try Members use Members share
trying new new strategies some new results (obtained
strategies or strategies from using new
materials strategies) among
themselves
Total___________

Score awarded group = 𝑇𝑜𝑡𝑎𝑙 𝑆𝑐𝑜𝑟𝑒/3 = ______________* (*Round up to the next integer number)

Name of Teacher: ________________________________ Time/Date: ______________________________________

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 Scoring Rubrics for Written Report

Facets of Task Rating Scale

0 1 2 3 4
1. Content of report Findings Key points Context of task Data source Easy to follow
inappropriate incompletely implied, not referenced reporting
Source of data identified stated Easy to follow Tasks for each
unclear Limited coverage Some important Reporting student are
of what was done key points not expressed similar
Response addressed smoothly Tasks are
inadequate Key points Context clearly defined
maintained explicitly stated
Too repetitious in
parts
Vague in parts
2. Evidence of Many responses Experiences of All analysis focus Citing well used
investigation/inquiry/research misrepresent the participants not on the key issues Facts and
issue Inadequate well used Weak Discussion well opinions well
use of referencing use of world-wide focused Probing distinguished
web Summary patterns, line by Important
inadequate line, of text movements are
Patterns are synthesized
identified and Important issues
used Ample are probed
evidence of under 2 or more
research different
methods
Synthesizing
finding
3. Language use and vocabulary Too many basic Basic words not Good control of Arguments
grammatical errors used well Limited basic grammar logically
Large errors range of Good use of arranged
occasionally found grammatical appropriate Accurate
expressions words Paragraphs spelling Wide
Paragraphs carefully range of
contain little constructed sentences
cohesion Reliance on Report clearly
Sentences are formulaic organised
stilted expressions

Score awarded = __________ + _________+ _________ = __________

Name of student: _____________________________

Name of assessor: ________________________________

Time/Date of assessment: ___________ /____________

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Facet 1. Content of report Low High
Use: 0 1 2 3 4
1. Context of task implied, not stated
2. Context explicitly stated
3. Data source referenced
4. Easy to follow reporting
5. Some important key points not addressed
6. Key points incompletely identified
7. Key points maintained
8. Findings inappropriate
9. Limited coverage of what was done
10. Too repetitious in parts
11. Expressed smoothly
12. Source of data unclear
13. Response inadequate
14. Vague in parts
15. Tasks for each student are similar
16. Tasks are clearly defined
17. Task are too specific

Level 0 : Findings inappropriate. Source of data unclear.

Level 1: Key points incompletely identified. Limited coverage of what was done. Response inadequate.

Level 2: Context of task implied, not stated. Some important key points not addressed. Key points maintained
Too repetitious in parts. Vague in parts.

Level 3: Data source referenced. Easy to follow reporting. Expressed smoothly.

Level 4 : Context explicitly stated. Easy to follow reporting. Tasks for each similar. Tasks are clearly defined.

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Facet 1. Language and Use of Vocabulary Low High
Use: 0 1 2 3
1. Arguments logically arranged
2. Accurate spelling
3. Basic words not used well
4. Too many basic grammatical errors
5. Good control of basic grammar
6. Extensive vocabulary used
7. Good use of appropriate words
8. Limited range of grammatical expressions
9. Paragraphs carefully constructed
10. Paragraphs contain little cohesion
11. Reliance on formulaic expressions
12. Wide range of sentences
13. Sentences are stilted
14. Report clearly organised
15. Large errors occasionally found

Level 0: Too many basic grammatical errors. Large errors occasionally found.

Level 1: Basic words not used well. Limited range of grammatical expressions. Paragraphs contain little
cohesion. Sentences are stilted

Level 2: Good control of basic grammar. Good use of appropriate words. Paragraphs carefully constructed.
Reliance on formulaic expressions.

Level 3: Arguments logically arranged. Accurate spelling. Wide range of sentences. Report clearly organized.

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 Scoring Rubric for Oral Presentation

Facets of Tasks Rating Scale

0 1 2 3 4
1. Fluency of jerky, halting choppy awkward but Intelligible; clear;
delivery fragmentary long acceptable smooth; well-
pauses intonation; paced flow
continuous;
natural
2. Structure, connections Relationships Limited Coherent; Heavy Clear progression
Comprehensibility, unclear unclear; Slightly comprehension reliance on of ideas;
and development incomprehensible incoherent in (about 60% repetition; Well Sustained; Well
of topic (less than 25% parts; Utterance understood); expressed in developed
understood); incorrect lacks elaboration; many parts;
lacks substance Slightly
incoherent in
parts; Somewhat
limited; vaguely
expressed in
parts
3. Language use lacks basic words; Ideas limited to Basic sentences Extensive
and vocabulary lack specificity; inadequate are used; Control vocabulary;
very many errors words and jargon of basic Effective use of
in words and Limited range of grammatical grammar and
sentences grammar Lacks structures; vocabulary; High
specificity Reliance on degree of
practical automaticity;
expressions; Rich vocabulary
Reliance on
formulaic
expressions

Score awarded = __________ + _________+ _________ = __________

Name of student: _____________________________

Name of assessor: ________________________________

Time/Date of assessment:___________ /_____________

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