The ongoing discourse surrounding the origins and ownership of the term “Afro dancehall” has prompted Ghanaian afro-dancehall artist, Stonebwoy, to clarify his stance. He acknowledges Samini as the reigning “African dancehall king,” a title earned through accolades such as being the first Ghanaian recipient of the prestigious MOBO awards. This recognition, according to Stonebwoy, solidifies Samini’s pioneering role in establishing dancehall music within the African context. However, Stonebwoy asserts that he coined the term “Afro dancehall” to encapsulate the specific fusion of African rhythms and traditional dancehall elements, thereby distinguishing it as a unique subgenre.
Stonebwoy emphasizes that his claim pertains specifically to the nomenclature, not the origin of the musical style itself. He acknowledges the pre-existence of the fusion, recognizing that musical innovation often involves reinterpretation and adaptation. His contribution, he argues, lies in providing a distinct label – “Afro dancehall” – to categorize this specific blend, thus bringing further definition and recognition to a pre-existing musical style. He compares his role to that of a niche innovator, someone who refines and adds a unique layer to an existing form, rather than claiming to have invented it entirely. This clarification aims to differentiate between the origins of the musical style and the creation of its specific label.
This clarification comes in the wake of Billboard’s classification of Moliy’s hit song “Shake It to the Max” as “Afro dancehall.” Stonebwoy celebrated this recognition as validation of his contribution in establishing the term within mainstream music discourse. He sees this as a significant step towards the broader acceptance and understanding of Afro dancehall as a distinct genre, a movement he believes he catalyzed by providing the defining label.
To further illustrate his point, Stonebwoy draws an analogy to the broader music landscape. He acknowledges that genres like reggae and dancehall predate their fusion with African rhythms, yet the resulting blend creates something novel. Similarly, Afrobeat itself is a fusion of various musical influences. Stonebwoy’s argument hinges on the understanding that while musical styles evolve and borrow from each other, specific terminologies are necessary to categorize and distinguish these evolutions. He positions “Afro dancehall” as one such necessary term, a label that accurately reflects the unique fusion it represents.
The debate highlights the complex interplay between musical innovation, terminology, and recognition. While Samini’s contributions as a pioneer of dancehall in Africa are undisputed, Stonebwoy seeks to clarify his own role in defining and popularizing a specific subgenre. He argues that the creation of the term “Afro dancehall” serves a critical function in categorizing and promoting this particular fusion, thereby contributing to its recognition on platforms like Billboard.
In essence, Stonebwoy’s intervention in the discussion seeks to delineate two distinct aspects: the pioneering of dancehall music in Africa, attributed to artists like Samini, and the specific labeling and promotion of the Afro dancehall subgenre, which he claims as his contribution. This distinction, he believes, is crucial for a nuanced understanding of the genre’s evolution and the contributions of various artists in shaping its identity. The Billboard recognition of “Shake It to the Max” serves as a case in point, highlighting the growing acceptance and understanding of “Afro dancehall” as a distinct and recognizable musical category.
