Liquor, fashion & manhood

Mel Cooke, Gleaner Writer

Reading from her book Man Vibes: Masculinities in Jamaican Dancehall last Friday evening, University of the West Indies (UWI) lecturer Dr Donna Hope connected levels of alcohol competition to the measure of a man.

Homosexuality and dance also figured in the discussion inside Bookophilia, Liguanea, St Andrew, before an involved audience.

The liquor weighed into the proceedings as Hope read from the Haffi Bling and Clean chapter and, introducing it, she said when it was being written she was "very upset with everybody at the end". "It suggested to me that there has been a kind of rush by a large enough section of the society - men - to announce how successful and powerful you are which is not necessarily backed by resources," Hope said.

She added that it has inhibited full development, with scarce resources being used to show off.

conspicuous consumption

Hope also mentioned D&G and Red Stripe's quarrels with dancehall, in the context of the Guinness drink's place in announcing a man's success in a dancehall, through conspicuous consumption. So there was a time when buying a crate of Guinness and standing over it in a dance got the purchaser respect and "this respect and attention would often transcend the dancehall and go into the community".

Other alcoholic beverages were also part of this pattern, Hope identifying Heineken and Red Stripe (commenting "D&G again"). Eventually, the purchaser would be surrounded by an entourage which "participated in the libation".

Hope noted the drinks that have succeeded those stouts and beers, including Alize, Cristal (champagne), Hypnotiq and Hennessy (a cognac). The common factors are that they are sold in bottles large enough to be noticeable in any setting, have a conspicuous colour and known to be expensive.

flamboyance

Analysing the change in bling alcohol, Hope said that whereas Guinness is identified with strength Hennessy is associated with flamboyance. Therefore, flamboyance and magnificence have taken over from strength in defining manhood. "It has become OK for you to be more sensitive, wear certain things," she said. That is addressed in the Fashion Over Style chapter.

The cellular phone is another product whose consumption has been reinforced by dancehall, Hope pointing out that the BlackBerry is now the instrument of choice. There were chuckles when she noted the common exhortation to "hol' up yu phone if it have credit". However, she explained that "dancehall really encourages and supports something that is in our society".

In the post-reading discussion, Hope said there was a time when the National Dance Theatre Company (NDTC) was taboo for many men, what with its "men in tights". However, in dancehall there are now "men in tights, dancing in groups, all choreographed, and it is not seen as a threat to male heterosexuality".

Hope noted the increase in men paying attention to their grooming, including doing manicures and pedicures, and said it all suggested a relaxing of "this hard and harsh grip of what it means to be a man in Jamaica".

And there was laughter as she referred to Elephant Man's pre-2000 song Bad Man no Dress Like Girl and asked "have you seen Elephant Man lately?". The song details a number of things that 'bad man' do not do, Hope pointing out that "madmen are bleaching their faces, dressing in tight pants and, if it is not tight enough, they get it adjusted". Plus, they are getting their hair well coiffed. "Bad men are wearing pink. Bounty Killer is still wearing black," she said.

Homosexuality came up in the earlier stages of Hope's reading and took up a significant portion of the discussion. Hope said that in justifying their stance, many deejays refer to the Bible and say that God created Adam and Eve, not Adam and Steve.