6.1 OTRYCKTA KÄLLOR
6.1.1 INTERVJUER
Tre intervjuer utförda under hösten 2016/ våren 2017 via Skype med verksamma inom olika områden av dancehall ifrån Sverige, Danmark och Jamaica. Inspelning och transkription finns i författarens ägo.
6.1.2 INTERNET
http://www.apa.org/pi/oema/resources/communique/2010/08/native-themed-mascots.aspx
Sorry not sorry: Parris Goebel explains use of dancehall in Justin Bieber video.
http://www.nzherald.co.nz/entertainment/news/article.cfm?c_id=1501119&objectid=11567212 http://jamaica-star.com/article/entertainment/20151228/jamaicans-attack-justin-beibers-choreographer
6.2 TRYCKTA KÄLLOR
Blair, M. E. (1993) Commercialization of the Rap Music Youth Subculture. Journal of Popular Culture; Bowling Green, Ohio 27.3
Cooper, C. (1994). "Lyrical Gun": Metaphor and Role Play in Jamaican Dancehall Culture. The Massachusetts Review, 35(3/4), 429-447. Retrieved from http://www.jstor.org/stable/25090549
Cooper, Carolyn. (1995). Noises in the blood: orality, gender, and the "vulgar" body of Jamaican popular culture. Durham: Duke University Press.
Fundberg, Jesper (2009) "Idrott, globalisering och professionalisering – om drömmar och vardag bland fotbollens ungdomsproffs”. Svens idrottsforskning 3:2009
Gratton, Jones (2010) ”Researchmethods for sportstudies” Taylor & Francis Group. Routledge. New York.
Hallgren, F. (2008) ”Identitet i praktik: Lokala, regionala och överregionala sociala sammanhang inom nordlig trattbägarkultur” Department of Archaeology and Ancient History. Uppsala University
Henriques, Julian. (2011). Sonic bodies: reggae sound systems, performance techniques, and ways of knowing.
New York: Continuum.
Henriques, J. (2014) Rhythmic Bodies: Amplification, Inflection and Transduction in the Dance Performance Techniques of the ‘‘Bashment Gal’’ Goldsmiths, University of London.
Hope, Donna. P. (2006). Inna di dancehall: Popular culture and the politics of identity in Jamaica. Mona, Jamaica: University of the West Indies Press.
Hope, Donna P. (2006b). “Passa passa”: interrogating cultural hybridities in Jamaican dancehall. Small Axe : a Journal of Criticism. (21): 125-139.
Hope, Donna P. (2010). Man vibes: masculinities in the Jamaican dancehall. Kingston: Ian Randle.
Hubbard, W.K. (2008) Valuing Cultural Context and Style: Strategies for Teaching Traditional Jazz Dance from the Inside Out, Journal of Dance Education, 8:4, 110-116, DOI: 10.1080/15290824.2008.10387371
Joseph, O (2012) Jamaican Dancehall: Misconceptions and Pedagogical Advantages. Booktango. Bloomingdale.
Pérez, E (2016) The ontology of twerk: from “sexy” Black movement style to Afro-Diasporic sacred dance, African and Black Diaspora: An International Journal, 9:1, 16-31, DOI: 10.1080/17528631.2015.1055650 Robinson, D. (2006) "Oh, You Black Bottom!" Appropriation, Authenticity, and Opportunity in the Jazz DanceTeaching of 1920s New York Author(s: Dance Research Journal, Vol. 38, No. 1/2 (Summer - Winter, 2006), pp. 19-42 Published by: Congress on Research in Dance
Sjövall, Johanna (2013) ”Dance to Buss: An ethnographic study of Dancehall Dancing in Jamaica”, Department of Social Anthropology. Stockholm University.
Stanley, Niaah, S (2004) Making space: Kingston's Dancehall culture and its philosophy of ‘boundarylessness’ , African Identities, 2:2, 117-132, DOI: 10.1080/1472584042000310847
Stanley-Niaah, Sonjah (2004). Kingston‟s Dancehall: A Story of Space and Celebration. Space and Culture 7:1, pp. 102-118.
Vetenskapsrådet (2011). God forskningssed. Elektronisk resurs, Stockholm, Vetenskapsrådet.
Zethrin, N-O. (2015) Mellan masskonsumtion och folkrörelse. Idrottens kommersialisering under mellankrigstiden. www.oru.se/publikationer-avhandlingar. Örebro university.
Walkosz, Jolls m.fl. (2008) ”Global/ local: Media Literacy for the Global Village”. International Media Literacy Research Forum. London
6.3 BILAGOR
6.3.1 BILAGA 1: INTERVJUGUIDE
Pt: 1 – INTRODUCTION
1. Can you tell me a bit about yourself and who you are?
2. Whats your relationship to dancehall (background story)?
3. When, how and why did you get into dancehall?
Pt: 2 – GLOBALIZATION
4. How has globalization affected dancehall? Positive/negative
5. What differences or/and similarities can we find between dancehall in Jamaica and in the rest of the world?
6. What role has internet and social media played in the development of dancehall - the culture /the dance? Positive/negative
7. What future development due to the globalization do you expect, or wish to see, in the future?
Pt: 3 – PROFESSIONALIZATION
8. How has professionalization affected dancehall and whats your opinion on making dancehall dancing a career or professional organisation? Positive/negative
9. What do you think someone pursuing a career in dancehall should consider?
10. Is dancehall fit to organize and formalize into professional activities or education?
11. What do you think about dancehall as a vehicle for commercial interests?
12. Imagine the situation - I get offered to work as a choreographer for an either a commercial or an artist in Sweden. The music has influenses from dancehallmusic and I want to use
dancehall dancing in my choreography. How can I approach the situation?
13. Can someone ”own” or have copyright on a step?
14. What development due to the professionalization do you expect, or wish to see, in the future?
Pt: 4 – AUTHENTICITY
15. What is ”authentic” dancehall to you?
16. Can the dancer/teacher be authentic and at the same time, be original and bring something new to the table?
17. What meaning do you feel the culture has to the dance?
18. In your opinion, is there a lot of conflicts in the dancehallspace regarding autenticity?
19. What makes someone an good dancehall dancer? Do you think authenticity matters?
20. Are there any difference between dancers born on/ outside of Jamaica?
Pt: 5 – CULTURAL APPROPRIATION
21. Have you noticed any appropriation of dancehall so far?
22. How can we work against an unwanted, appropriating behaviour?
23. What should someone who has dancehall as a career consider – as not to appropriate?
Pt: 6 – WRAPPING UP
24. How do you think dancehall will develop in the near future? Globally/On Jamaica?
25. What progress do you wish to see in the future?
26. Did I forget to mention anything or is there something you would like to add?