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Dancehall music originated in the late 70s in Jamaica, as a result of varying political and socio-economic factors.^{[citation needed]} Its antecedent; reggae music, was influenced heavily by the ideologies of the Rastafari and was further goaded by the socialist movements of the era. Many became embittered by the movements and the harsh economic realities they brought the island to bear. It was during this time that neo-liberalist axioms and avariciousness began factoring into the lives of many Jamaicans, which subsequently spawned this ostentatious new form of entertainment. Autos & Vehicles Comedy Education Entertainment  Film & Animation

Typically, dance halls are found in more urbanized areas of Jamaica, i.e., Kingston, but can also be seen in more rural locations. Furthermore, the term ‘dancehall’ alludes not only to a musical genre or venue, but on a grander scheme, it suggests the institution of an entire culture in which music, dance, community and politics collide.

As an evolution of first reggae, then rocksteady, dancehall draws upon its roots with regard to its stylistic rudiments. However, that, some say, is where the similarities end. The subject matters of dancehall music tend towards profanity, misogyny, violence and homophobia – a stark contrast from the songs of acceptance and social progression sung by reggae spearheads. Its caustic libretti, which are referred to in the region as “slack lyrics”, have been rigorously criticized - most notably by artists and followers of archetypal reggae music, and by members of the Gay, Lesbian, Bisexual, and Transgendered community (GLBT).

Such a drastic change in the popular music of the region generated an equally radical transformation in fashion trends, specifically those of its female faction. In lieu of traditional, modest “rootsy” styles, as dictated by Rastafari-inspired gender roles; women began donning flashy, revealing – sometimes x-rated outfits. This transformation is said to coincide with the influx of slack lyrics within dancehall, which objectified women as apparatuses of pleasure. These women would team up with others to form “modeling possess”, or “dancehall model” groups, and informally compete with their rivals.

This newfound materialism and conspicuity was not, however, exclusive to women or manner of dress. Appearance at dance halls was exceedingly important to acceptance by peers and encompassed everything from clothing and jewelry, to the types of vehicles driven, to the sizes of each respective gang or “crew”, and was equally important to both sexes.