Two ways eurasianization can manifest in Kmtyw communities in this era of bakra madnis/crakkkafication or, in more klassical terms, isft:

• Pathologizing of certain ceremonial rituals or social practices as “vulgar”
• Outright dismissal of culture in general as vulgar.

The difference between these two is not of type, but of the degree in which di bakra mindset a sik dem. I will present two examples, one for each, ina Jamieka (Kmtyw community of Jamaica). The constructive value of this exercise is provide intellectual clarity on assessing bakrafication/crakkka/aam interference in our music and reasonings bout our music.

Hill and Gully Riddim Debate

There was a Dancehall riddim recently released The “Hill and Gully Riddim” which is a throwback to classical song “Hill and Gully Rider” in Mento, the oldest classical Jamiekan recorded music genre. A number of major Dancehall artists have performed songs for this riddim, including elder artists and current artists, in the genre.

Jamaican cultural commentator Fae Ellington criticized the artists who performed the sexually explicit lyrics over the riddim. She argues that sexually explicitly lyrics desacralize the Ol time culture and makes it, of course, inappropriate fi di pikni dem.

This is very typical chrisinsanity approach to Dancehall which I have addressed in different capacities in my own writing and presentations. For context, Jamieka is at the bottom in the Black World chrisinsanity victimization standings, from a statistical standpoint, as Jamiekan people have been subjected to the most chrisinsanity indoctrination factories (churches) per captia in the world – serious ting.

For a contemporary Black World comparison, Karnival Kingdom held a Soca Karnival in Accra and the catholic group in Ghana vex over it. The Ghana catholic response to Soca Karnival is similar to how chrisinsanity officials and, also, a certain generation and ideological group of Jamiekan behave when it comes to Dancehall. The root yurugu virus or cultural a.i.d.s, if you will, in both scenarios is the purity complex, esp the dichotomization of mundane vs sacred, and its pathologization of sex as sinful via christianization.

For Aunty Fae is not someone who pathologizes Kmtyw culture in Jamieka in general, but what she deems as constructive or destructive within Jamiekan Kolcha comes from a chrisinsanity perspective. Folk culture is seen as something ‘pure’ (despite the presence of sexually explicity songs), while the explicitness of Dancehall bedroom chune, referred commonly as ‘slack(ness)’, is grounded in the affirmation of women’s fertility in Kmtyw cultural expression which comes in both explicit and subtle forms. It is, however, the explicit forms that are pathologized as “vulgar” in chrisinsanity and, as such, Dancehall is deemed as ‘slack’ due to the deep deep indoctrination of chrisinsanity. Dancehall, particularly the bedroom focused songs, are simply reflect general Kmtyw intuition.

In my view, some songs on the Hill and Gully Rider riddim lean towards a kinda harem mentality that is sometimes an issue with certain artists in such situations I agree with Aunty Fae, but my reasoning differs. I would, however, also add that materialist value of bakra culture via Jamiekan expression is another problem. Both these problems reflects the lack of institutional and, in turn, ideological power over our musical expression in the Black World in general, so there is a popular social level culture that is wishy-washy, rather than a Kmytw nationalist program.

That said, most of the sexually explicit tracks on the Hill and Gully are just in line with general Kmtyw aesthetics that affirm and celebrate co-creative function of sex which is evident looking at songs/poetry from Classical Kemet and various regions of Kemet [1]. Dancehall scholar Donna Hope points out that so-called “slack” songs are part of Classical Jamiekan music. In fact, Ɔbenfo Dennis Howard, Institute of Caribbean Studies at UWI Mona (Kingston Campus), speaking at the Caribbean Studies Conference 2026, noted that resistance to colonial notions of respectability informed Mento sex songs, such as “Night Food” and “Money is King”, which we can see to a significant extent in Dancehall [2]. Thus, contrary to Fae’s criticism, Dancehall is very much aligned with the aesthetic principle of Mento.

Jamaican dance specialist Christina Gonzalez in a reel discussion about wining “Kmtyw pelvic dance” is very clear that chrisinsanity causes Kmtyw to misunderstand and/or pathologize wining and, moreover, she explains that the dance is connected to celebration, fertility, and community [3]. Gonzalez observation is critical because wining is central in Dancehall as is the emphasis on procreation in Dancehall music.

There is a clear relationship between the pathologization of “slackness” to Dancehall as a parallel to the general pathologization of Jamiekan Language as “vulgar”. Observe the next case example.

Jamieka Taak ina Parliament

Jamieka has a cage government building referred to as parliament hous which is residue of brutish bakra system. In a discussion about cultural promotion strategies, MP Nekeisha Burchell had started her opening speech in Jamiekan only to be interrupted by the house speaker and warned to not speak “patwa” or else she would stop the MP from speaking. The ridiculousness of this has many levels that are immediately apparent, but I will emphasize one thing. When there are passionate disputes in parliament, it is not uncommon to hear the Jamiekan language spoken by officials. However, there is incredibly intense resistance when it comes to taking the language seriously on an intellectual level. Obviously, due to the governmental form of bakrafikation, the Jamiekan language is not institutionalized and even worse it is seen as “broken english” in spite of the decades upon decades of research to the contrary.

I had mentioned, in another AbibitumiTV post that when it came to translating the chrisinsanity text in Jamiekan, the more ideologically strict victims of chrisinsanity argued that the Jameikan language was too “vulgar” to translate the text, while supports of the translation project objected to using indigenous terms, e.g. uman we no tek man “virgin”, on the basis of inappropriateness (which in reality reflects the contrast between the Kmtyw worldview and expression and that of aAmw). What is the connection here – you might ask. Much in the way the bible is seen as ‘pure’ and ‘untainted’ (and whatever forms of delusion), the parliament is framed as a place of purity like a church. The presence of the Jamiekan language, the Kmtyw aesthetic expression, is seen by the negro overseers as corrupting presence which makes sense given that it is a cultural interference system for misgovernance.

The connection

The parallel between both situations is that we see two ways in which chrisinsanity influences/distorts our understanding of our aesthetic principle(s) and expression(s). The Hill n Gully Ridder Ridim, though consistent with the sexual themes of Klassical Jamiekan music, is pathologized as bringing “vulgarity” to a pure traditional sophisticated mento beat which represents Jamiekan culture (as if Mento itself hasn’t influenced Dancehall). This is not unlike the hostility towards the nation-language by the Jamiekan government. Keep in mind that Dancehall, much like Mento and much more than roots reggae, is rooted in Jamiekan aesthetic intuition and expression that is frowned upon due to our indoctrination into chrisinsanity.

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Footnotes

[1] See my compare n contrast essay on Buju and Beenie Man ideology. One example of fertility music on the Hilly n Gully Riddim is “Sharon” by Mr. Vegas which is very direct.

[2] Presentation: “Mento: Roots of Resistance, Protest, and Identity in Jamaican Music” (June 2^nd of gregorian year 2026).

[3] Click here for Dr. Gonzalez’s Reel
<https://abibitumitv.com/watch/wining-misunderstood_FjOaN8Bi2dEl4EG.html />