AS a regular fixture in the dancehall, I can proudly say that my little island is perhaps the most envied when it comes to dance and dance creation. I’m not saying that new dances aren’t being created elsewhere in the world, but certainly not on a nightly basis.

Dancehall awareness can attribute its success mainly due to the extensive coverage given to it via bootleg DVDs sold overseas, cable television and our music; the word gets around a lot faster than for example, a dance created in a small village in Dublin, Ireland.

In recent times, Jamaican youth have been considering dancing as a career ‘option’ to make a better life for themselves and their families. This might bring a smile to your lips, but to these men and women it is no joke. You want see them competing for the attention of the videolight in the hope that they’ll be spotted overseas and become the next Bogle, Ding Dong or Chi Ching Ching.

Every year we get the statistics about visitors to our island, but I’m not sure the census takers are aware that a few visitors, albeit small numbers, but still a factor, trek to this island just to experience the thrills of the dancehall in spite of the doom and damnation forecasts by some tourist advisories that they should not leave the safety of their hotels. Not to be confused with the followers of live reggae or dancehall performers on stage, although they can be one in the same, these visitors come just to learn the dances.

The top five current dance moves running the place right now, (and this may change by the time you are reading this article), are the Now You See Me now you Don’t created by Ova Mars; Rifical created by M.O.B; Bad People created by Xpressionz; Tema Wine created by Kartoon and Swagg created by King David.

I’ve used the word ‘created’ in a very loose manner, in that as a people with African ancestry many of these so called new dances can be seen on footage of our foreparents as they beat drums and celebrated with Gerreh, Kumina, Bruckings or Tambo. Every generation thereafter has just taken pieces; changed a hand or foot movement; gave it a catchy name and staked ownership to it as their creation.

That is why I respect, rate and admire the late Ralston Milton “Rex” Nettleford. He was a dancer. As Bogle would say “Everybody can dance, but a nuh everybody a dancer”. He was a true master that Professor Nettleford. The man danced with his entire body, even him face used to contort when him a dance. To the best of my limited knowledge, he didn’t try to pattern or steal any of our ancestors moves and call it his own, or bruck fight in the dancehall because a man a ‘pirate’ him style. Instead he researched our heritage and put it on display for all of us to come and enjoy and be a part of the rich tapestry makes us such wonderful, vibrant rhythmic people.

Some of our young ‘inventors’ could use a glimpse into the life’s work of this once great man. Is a drama to stand up and watch them a do them so-called dance. Truth be told, some of these dances can only be done in a group with other like-minded idiots or you would look rather silly doing it by yourself. Thank God for people like Orville Hall of Xpressionz fame who is aware that our generation needs to know and understand where the dance is coming from and how it got here. Just like Professor Nettleford did, he has established a dance studio to teach interested persons all forms of dance including our modern ever-changing current dancehall creations. Call him if you want to enroll.

I personally don’t subscribe to any of these ‘new’ dances. I just let my big African hips juggle to the beat. Me spoil up everybody dance, after all my great, great, great grandfather did help to create it too. Laugh if you want, but watch when the dance I’ve created named Mi Can’t Bother takes the streets. Look out for it on a cable channel near you. Have a great weekend and be kind to each other. When you dance, do it like nobody’s watching. Bless. elvachatalot@yahoo.com or follow on Twitter @ElvaJamaica.