Ding Dong
Legend of Dance
Why They Matter
Ding Dong matters because he treats dance creation, music production, crew organization and public circulation as interdependent work. His career makes visible how a dancehall step can be authored locally, named through a song, embodied by a crew and transmitted internationally. His strongest…
Known For
Watch
Fling Yuh Shoulda
Ding Dong Ravers
Primary audiovisual record of the song-and-step method and Ravers ensemble presentation
Dweet [Genna Bounce] / Flairy ft. Bravo
Ding Dong Ravers
Documents collaboration with Bravo Ravers and the coupling of named steps to recordings
BOUNCE
Ding Dong Ravers
Shows the later continuation of movement-first video authorship
Bad Man Forward — Ding Dong
Foundational example of a named dance cue becoming a recording; confirm clean edit and movement attribution before use
Biography
Kemar Christopher Dwaine Ottey, known professionally as Ding Dong, is a Jamaican dancer, dance creator, crew leader, recording artist and songwriter who reshaped how dancers and their authorship function within dancehall culture. Born in Kingston in 1980 and raised in Nannyville, east Kingston, Ottey grew up immersed in dance and football before committing to movement as his primary work. In the early 2000s he participated in Kingston's street-dance ecosystem, including the Flatbush crew, before founding Ravers Clavers in 2003—a group that became both a performing unit and a collective workshop where dancers generated, refined and circulated steps.
Ottey's breakthrough as a recording artist came through Bad Man Forward / Bad Man Pull Up, released in the 2005–06 period. This record established his durable creative method: a song provides a repeatable verbal cue, while dancers supply a concise physical phrase that can travel through sessions, videos and social participation. He subsequently linked releases including Fling, Flairy, Dweet (Genna Bounce) and Bounce to movement vocabularies, each title anchoring a specific step for circulation and social uptake.
Beyond his releases, Ottey worked to change the economic and symbolic position of the dancer within dancehall. In a 2014 interview he spoke directly about the limited earnings available to dancers even when their ideas drive dancehall visibility. A 2024 Jamaica Gleaner profile described his influence as extending to community building, fashion, corporate partnerships and advocacy around dancers' rights. His work demonstrates how dance creation, music production, crew organization and public circulation operate as interdependent systems rather than separate domains.
In 2025 Ottey released his debut studio album, From Ding Dong to World Ding, nearly two decades after his first hit. The album formalized the arc from community dancer and crew leader to recording artist with an international-facing catalogue, while continuing to foreground dance in titles, videos and performance.
Career Highlights
Joined the Flatbush dance crew during his early development in Kingston's street-dance scene. Reggaeville biography
Founded Ravers Clavers in Nannyville, establishing the crew that became his principal dance platform. Reggae Vibes
Broke through with Bad Man Forward / Bad Man Pull Up, linking a recorded dancehall single to a named movement. VP Records YouTube release
Publicly discussed dancers' visibility, working conditions and the relationship between dance and recording income in the Jamaica Observer. Jamaica Observer
Released Fling, whose official video centered the Ravers' movement vocabulary. official video
Released Dweet (Genna Bounce) with Bravo Ravers, extending his song-and-step model. official video
Appeared with Ravers Clavers in a BBC Radio 1Xtra Jamaica segment teaching dancehall movement. BBC 1Xtra search record
Released Bounce, another movement-led official video from the Ding Dong Ravers channel. official video
Profiled by the Jamaica Gleaner for influence spanning dance, community building, fashion and advocacy for dancers. Jamaica Gleaner
Released the 13-track debut album From Ding Dong to World Ding on 2 May. Apple Music
Legacy & Impact
Ding Dong matters because he treats dance creation, music production and crew organization as interdependent work. His career makes visible how a dancehall step can be authored locally, named through a song, embodied by a crew and transmitted internationally. His strongest legacy is sustained leadership in a movement-centered creative ecology and persistent advocacy for recognizing dancers as makers—demonstrating that a choreographic idea's reach depends on the visibility and economic recognition of the people who embody and teach it.
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