Postcolonial Criticism,Transnational Identifications and the Hegemonies of Dancehall's Academic and Popular Performativities

Despite the unprecedented freedoms that decolonization has brought for many Black¹ people – especially in specific regions of the African Diaspora – freedom and its fulfilment, adequate signs and contested meanings remain a preoccupation within Black cultural discourses and practices. At the same time, while political and cultural nationalisms have led to greater political and civil rights, racism has not been eradicated. Furthermore, the new postcolonial globalizations of capital, people and cultures have destabilized the collective identities that framed twentieth-century struggles for national sovereignty and equal citizenship, without necessarily erasing them. Instead, they remain, no longer securely anchored in their old homogenous appearances, but re-configured through the inner differences and contradictions of gender, sexuality, ethnicity and religion. This article addresses these internal differences and the ways in which they produce new contestations over race, the meaning of Black representation and postcolonial freedom, negotiations that are increasingly traced on the intimate contours of the body and the self, through practices of personal consumption, erotic hedonism and style as key performances of freedom. It achieves this through examining two localized moments in the transnational and diasporic circulation of Jamaican dancehall culture, understood as a privileged public space for the performance of Black identifications and personal freedom. It argues that the eroticized discourses of ethnicity, race and gender found in dancehall culture articulate the dominance of neo-liberal conceptions of freedom at the same time as they express, resist and comment on new cultural hegemonies not reducible to racism or the power of the West; that is how dancehall expresses the new problematizations of postcoloniality.