Pretty Wine by Latonya Style

Illustration of "Pretty Wine" by Robin Clare in Australia

Illustration of "Pretty Wine" done by Robin Clare in Australia. It is featured in his very interesting and educational magazine 'Rice & Peas' along with an exclusive interview with Latonya Style.

Khago -Pretty Wine (Official video)



How to Pretty Wine by Latonya Style



"Pretty Wine" - WORLDWIDE SUBMISSIONS



Link to purchase a copy of Rice & Peas magazine (shipped from Australia): http://www.etsy.com/listing/150131523/jamaican-zine-rice-peas-vol-3-the-dance?ref=shop_home_feat

Dancehall's Dancers Go Hungry

Passa Passa (photo: Ingrid Firmhofer)

Death of community dances levels income platform

Since the downturn in the number of popular street dances like Passa Passa in Tivoli Gardens and Dutty Fridayz in Fletcher's Land, several popular Jamaican dancers have disappeared from the entertainment radar.

The dancers claim the parties assisted with their ascension to stardom and provided financial stability for their families; without them, they have become redundant.

Passa Passa began in 2006 and sparked dances of similar nature like Dutty Fridayz, and increased the popularity of events like Hot Mondays and Early Mondays and the like. In fact, several rural parishes in Jamaica began hosting their own events.

Supported by mostly unemployed youths based in Kingston's inner cities, and promoted through raunchy DVDs, Passa Passa gradually became an international product, with episodes hosted in Cayman Islands, French Guyana, and Trinidad as well as Passa Passa Meets Dutty hosted in New York among others.

Each staging of the events promoted those who were its most frequent patrons, the dancers, who became, for a moment, celebrities.

Passa Passa and Dutty Fridayz DVDs were popular commodities for dancehall enthusiasts living overseas, as well as locals who simply wanted to learn exclusive dancehall dance moves from the original creators in an authentic dancehall environment. The parties were bold in every sense of the world. The fashion was loud, the music was loud and many of the dance moves were explicitly loud.

Passa Passa, in its original state, failed to survive the after effects of a May 10 incursion into Tivoli. Subsequent curfews and a refusal by police to allow for other events, in effect, killed the phenomenon. With the death of the popular street dances, dancers felt the pinch.

According to street dancer Bone Crusher, who made a name for himself during the Passa Passa/Dutty Fridayz series, his career has been rocky without the main platforms of exposure.

HARD TIMES

According to the dancer, coupled with an 'event crippling' Noise Abatement Act, dancers are forced to take their craft to club events. However, this platform is not effective enough to draw attention to their dance moves.

"Without Passa Passa and Dutty Fridayz it hard fi survive. Dancing mek from the street and without the street we are nothing. We used to get shows from overseas but dem nah book dancer again because dem don't know what we have to offer. Club parties are about modelling, a man in a corner with him Hennessey and if you try to dance dem seh 'oi dancer bwoy mine yu touch mi', everyday mi cry fi Passa Passa," he said.

His claim was supported by fellow dancer Over Mars. Credited as the creator of the 'Now You See Me, Now You Don't' dance move, Over Mars believes the media hype created by Passa Passa and Dutty Fridayz is unrivalled by contemporary parties.

According to the dancer, the CDs associated with the street parties presented dancers much in the same way reality stars find their way into the homes of people all over the world.

"Some people buy CDs from Passa Passa one straight to 10 and they capture the names and book us for events. Even less fortunate people like mentally challenged Madusa used to get clothes from overseas," he said.

Over Mars says in an attempt to learn Jamaican dance moves, Europeans have resorted to hosting workshops in Europe, however, because there is no Passa Passa and Dutty Fridayz DVD, people are not sure which faces to match with the new moves.

"They are selling our moves now because they can't see us anymore; the new crop of dancers are not even known by the public," he said.

Without the platform to expose their work, several dancers have resorted to other means of survival.

ALTERNATIVE INCOME

Street dancers Ding Dong, Chi Ching Ching and Over Mars have released songs like Summer Swing, Too Many Men and Now You See Me, Now You Don't respectively.

Female dancer Keiva has opened a clothing store, pointing out that dancing alone can no longer pay the bills, while fellow female dancer Latonya Style has opened a dance/aerobics school in Half-Way Tree.

However, several distressed dancers are still hoping that authorities will look their way and grant the elusive permission to host Dutty Fridayz and Passa Passa again.

"Wi want back Passa Passa the same venue, even if it haffi over a little bit earlier, but a wi work place dat," Bone Crusher told The Sunday Gleaner.

If Passa Passa and Dutty Fridayz were to make a return in their authentic forms, perhaps they would have had to be exempted from the Noise Abatement Act, because both events are known to go way past the legal turn off time which is currently 2 p.m.

Passa Passa was last hosted on August 1, 2012, in collaboration with the Jamaica Cultural Development Commission. Some dancers who were popular during the reign of both events include Black Blingaz, Shelly Belly, Dyma, Hyla, Mad Michelle, Timeless Dancers, Sample 6, Cadillac Dancers, Jermaine Squad, Marvin, Ding Dong, Stacey, Bone Crusher, Queen Latesha, Decka, Craigy Dread, Ice, Sadeke, Boysie Roses, John Hype, and Cosmic Dancers.

Curtis Campbell, Gleaner Writer
Source: http://jamaica-gleaner.com/gleaner/20130428/ent/ent4.html

Dancers to copyright moves

Disputes over the creation of dance moves have become a common occurrence in the dancehall.

It is undeniable that dancing and dancers have become just as popular as the dancehall songs and artistes. Two years ago the, Dutty Wine exploded around the world, putting a focus on the island's dancing and dancers.

Everyone seemed to be doing the dance - on Youtube, at stage shows and in music videos for American pop artistes.

During the recent Beijing Olympics, triple world-record holder Usain Bolt introduced to the world the Nuh Linga, the Nineties Rock and the Gully Creepa - again bringing Jamaican dance moves to the world stage.

Yet, while artistes and the music industry have begun to pay attention to royalty and licensing rights, the dancing arena has remained behind.

In a recent article published in The STAR, creator of the Gully Creepa, David Smith, more popularly known as Ice, told THE STAR that he had not received what was fairly due to him for his creation of the dance, even while Elephant Man has profited from the massive hit song.

Head twirling move

As with the Gully Creepa, the Dutty Wine was another dance that caused a dispute.

The Attitude Girls from Montego Bay claimed to be the creators of the hugely popular dance, while Kingston's Mad Michelle also claimed rights to the head twirling move. The Dutty Wine was even featured in Beyoncé's music video Ring The Alarm.

When THE STAR made checks, it was discovered that according to copyright laws, dancers can protect and gain money from creating dance moves. Copyrighting covers areas such as literary, artistic, musical, and dramatic works, architectural designs, maps, technical drawings, photographs, computer programmes, choreography and advertisements.

It is the right of the owner of the intellectual property to copyright his or her creation.

The copyrighted owner of a dance would have an exclusive right to exploit his or her creative work and has the authority to prevent others from using the work without his or her permission.

Step-by-step description

Anika Radcliffe of the Intellectual Property Services Centre explained to THE STAR that forms were made available at its offices for dancers to copyright their moves. The dancer would be required to pay a small fee, complete the forms and give either a detailed step-by-step description of the dance or provide a CD of the dance. After this is done, the dancer would then receive a licence showing that he/she is the owner of the dance and the name of the dance.

However, Radcliffe claims she could only recall one dancer coming to the office to licence a dance. She said that dancer did not complete the process, however.

When THE STAR contacted the Jamaica Intellectual Property Office (JIPO), it explained that there is an even simpler way for a dancer to claim intellectual property rights which does not involve paying any money.

According to the representative from the JIPO, a dancer can use the 'poor man's copyrights' where he/she simply writes a letter containing a full description of the dance, or tape the dance, declare themselves as the creator of the dance and date the letter. The letter would then be sent back to them through registered mail, and they would keep it unopened.

According to the JIPO, when copyrights are done as the dancers are considered the 'authors' of the dance. If someone, locally or Internationally, decided to use the dance for profit, they could be sued if the dance is protected through copyrighting.

However, JIPO pointed out that there were few cases of dancers claiming their rights locally, but there are many cases of dancers on the International scene doing so.

The JIPO representative said, "I think its important, that's how you profit from your work. You can sell the use of your work."

GOOD FEEDBACK

However, creators of the most popular local moves were not practising copyrighting of their dances.

Taz, from Timeless Dancers, who created the popular 'To di Worl' slang and dance, the 'Powercut' dance and others, said that he has been thinking about copyrighting.

"When mi did deh in New York recently mi did a talk bout it ... but it nah really mek no sense, yuh just haffi kno seh a yuh create di dance. When mi did just start dance, mi did investigate it but nobaddy neva gimme a good feedback," Taz said.

According to Taz, some of his dances have been used in major videos. He says the Powercut was featured in Elephant Man and Wyclef's Five O video.

Taz says he does not make money from the dances themselves but has to work hard to get the Timeless name popular so that the dancers will be booked for shows. "Di artistes dem have it easier, but we haffi go out every night and dance," he said.

Overmars, from the Ravers Clavers crew, who created dances like the Nuh Linga, Raging Bull, and Paper Bag says he is also thinking of utilising copyright laws, especially after the worldwide popularity of the Nuh Linga following the Olympics.

"I haven't copyrighted my dances, but I was going to when I check it out to copyright ... People would have to ask permission and di people dem put my dance out there. At the same time, people tekking di dance and doing it and we not getting nothing," Overmars said.


Krista Henry, Staff Reporter
Source: http://jamaica-star.com/thestar/20080919/ent/ent1.html

Dancers Want To Copyright Their Moves

JIPO not ready to facilitate them just yet

Street dancing has long been an informal profession taken on by inner-city youth. Using the dancehall stage as their training and promotional ground as well as performance platform, several dancers have managed to cement themselves as international celebrities in their own right.

However, videos from street dances which brought many dancers to fame, are back to haunt them, this, as foreigners have now begun to capture dancehall choreography, rebrand and redistribute them as theirs.

WORLD DANCE

Since 2011, several Europe-based dance videos have been uploaded on social networks, displaying foreign dancers using Jamaican dance moves on tours and hosting dance workshops. Interestingly, the originators of the various dances are not credited, nor is the dance move regarded as dancehall.

With a decline in local street dances and a significant reduction in the capacity for local dancers to market themselves internationally, they can hold their peace no longer.

Street dancers are, therefore, demanding that the existing local music copyright societies protect their intellectual property from the exploitation of the international community.

According to Maria Hitchins, dancer/choreographer, Jamaican street dancers are hungry for the spotlight. However, they should be mindful that the avenues which they choose to promote themselves are not always reliable in protecting their intellectual property.

THE NEXT BOGLE

"They have this yearn to be the next Bogle and they are not seeing the repercussions and the flaws with the Internet. A lot of people have access to it, and you upload something this minute and somebody from Russia takes the entire routine in less than seconds. They, in turn, perform it, video and repost it on YouTube as their own. That's how brave they are," Hitchins said.

The choreographer says dancers must make every attempt to copyright their dances because it could be a financial generator if the right channels are used. She also believes Europeans are better able to benefit from dancehall because European governments are more supportive of culture.

"They have more access to money than us, plus the majority of our local dancers are semi-literate, we don't really have business ideas, professionalism is lacking, and we don't have assistance from government to get work permits. European countries are geared towards culture, so they pay attention to their people. Right now, we as Jamaicans are being told that they don't need us to teach dancehall because they are teaching themselves from YouTube," she said.

The Sunday Gleaner contacted The Jamaica Intellectual Property Office (JIPO) for comment, and according to attorney-at-law Marissa Longsworth, who also operates as the manager of copyrights and related rights director, street dancers do have the right to copyright their choreography, however, JIPO is yet to fully facilitate that arm of the copyright act.

She says when JIPO has successfully amended the copyright registration system, then choreography will be included in that which is able to be registered.

"Once they are on the registration system they will be issued a certificate of ownership, and it can be used in the court to prove ownership or can be challenged. It can account for the distribution of royalties or can be assigned or transferred to others for work or for a price by the owner. Choreography is the bastard child of copyright in Jamaica, it does exist but remains unknown to many," she said.

The manager says she hopes by the end of 2013, JIPO will be able to actively accommodate choreography under the copyright laws. However, until then, she advises street dancers to use the Poor Man's Copyright method.

With this method, dancers can shoot a video of themselves doing the choreography, place the DVD in an envelope and post it to him or herself. In this case, the registered stamp will serve as proof of ownership.

She also highlighted that dancers can opt to sign up with international collecting agencies that are already accommodating choreography under their copyright roster.

However, Hitchins feels Jamaica has, for too long, been straggling behind other countries in terms of copyright laws. She also said it might be expensive to join international collecting agencies.

Among other things, Hitchins blasted Edna Manley College of the Visual and Performing Arts for not teaching dancehall as an accredited course. She also believes the Jamaica Cultural Development Commission or the Government should consider certification of local dancers as a move to make them legally eligible to teach dancing lessons globally.

Curtis Campbell, Gleaner Writer
Source: http://jamaica-gleaner.com/gleaner/20130512/ent/ent4.html

UPTOWN MONDAYS (Kingston Jamaica) APRIL 2013

Cheer Fi Di Girls Dem by Rifical Team Dancers (RTD)

Routine includes:
[RTD - Cheer Fi Di Girls Dem]
[Fresh Kidz - Splice,Dig It Up]
[Fire Rave - Pop It]
[Colo Squad - Easy Skank]
[Young Ravers - Croc]

Dancers: RTD (Rifical Team Dancerz) - Sri-Lanka,Nicky Trice,TG,Singing Natural
Title: Cheer Fi Di Girls Dem
Riddim: Readaa - Cheer Riddim
Label: RTD Production
Produce: RTD,Sawasap (Japan RTD) & Readaa

RTD (Rifical Team Dancerz) is a dance crew hailing from Kingston Jamaica.

[Official Website] http://rificalteamdancers.webs.com
[Official Facebook Page] https://www.facebook.com/rificalteam

Old Man Saw by Rifical Team (Dance Skool)

Sri-Lanka and The Rifical team demonstrate their 2013 hot Dancehall Step called "OLD MAN SAW"

1. Old Man Saw Routine to "Peanut Shell"
2. Instructions how to do the Old Man Saw
3. Recap of other Rifical Team Steps: "Rifical" + "So Spiritual"
4. Shout out to DanceJa, Latonya Style and Elite Team

MUSIC BY: Vybz Kartel - "Peanut Shell" (Mi nuh fraid) Steppa Riddim
Location: Central Plaza (DanceJa Skool Parking Lot)
Video by DanceJA (embedded from http://youtu.be/jKmndLKrOMQ )

GRIND (Dancehall art video made in Finland)

Dancehall Queen Style is a Jamaican dance fashion which became popular in the 1990s through music videos and The Grind show on MTV. The video is a playful take on the dancehall culture with its provocative costumes, suggestive poses, roles and blatant sexuality.

Originally GRIND was made for Art gallery/-museum KIASMA (Helsinki, Finland) and exhibition "Thank you for the music" 2012.

Idea and script: Jenni Hiltunen (vimeo.com/jennihiltunen)
Direct and edit: Miikka Lommi (vimeo.oom/miikkalommi or kennelhelsinki.com)
DOP: Jan Granström / Styling: Kirsi Nisonen/Henna Koskinen
Make-up & hair: Piia Hiltunen / Lights: Paavo Lehtonen/Jan Granström
Coloring: Pasi Mäkelä/James Post / Music: Ville Riippa
Dancers: House of Queens

"UNCLE Vodoo" show by ENOUGH

"UNCLE Vodoo" show by ENOUGH at Tommy Lee Sparta concert
Stockholm, Sweden April 2013
Concept and choreographies by ENOUGH www.enoughproductions.com