Some authors have suggested that this duality, the presentation of "queerness," in dance style and dress, and the violent homophobia, in dancehall spaces can be explained by the ritualistic "doing away with "homosexuality."' Scholar Nadia Ellis suggests that when songs with homophobic lyrics are played, the environment of dancehall spaces can become serious and individuals can use the opportunity to reinstate their allegiance to heteronormativity. These songs thus act to “consecrate” the spaces as straight and masculine. In the safety this ritualized hetero-normativity creates, the space may be opened to more free expression and participants can then more openly engage with styles and dancing that might have been seen as queer. Ellis writes: “The songs are played; no one is ‘gay’; everyone can turn a blind eye.”