Introduction

I grew up in Jamaica, where there is pervasive homophobia in the popular expressive dancehall performance and society. I felt pressed to research sexuality in performance after the controversy over Buju Banton's song “Boom Bye Bye” (1992), advocating violence against gays. Other DJs and entertainers produced gay-bashing songs as part of their repertoire against gays and lesbians to the dizzying frenzy of the audiences' cheers. I was also struck by the tragic, untimely death in 2004 of Brian Williamson, a well-known gay rights activist and founder of J-FLAG (Jamaica Forum for Lesbians, All-sexuals and Gays). The numerous unsolved stabbing murders of rumored or even perceived closeted or open gays and lesbians have left the most disturbing impressions on me over the years. Williamson's murder in 2004 ignited debates about human rights violations in Jamaica by the British gay rights group OutRage, and by the U.S. gay rights groups GLAAD (Gay and Lesbian Alliance against Defamation) and GMAD (Gay Men of African Descent). The issue has gained an unmistakable momentum in this decade, and is center stage in all facets of Caribbean life.

Homophobia in Jamaican society is shrouded in religious fervor, shamefully supported by churches and religious organizations. People, including nonreligious people, claim that homosexuality is against their religion, thereby justifying collective homophobia and perpetuating emotional and physical violence against sexual minorities.