At the heart of dancehall culture lies a distinctive creative practice—the use of riddims (musical foundations) onto which different performers layer their own lyrics and vocal parts. This approach makes music deeply interactive and collective: a work is not perceived as something finished or belonging to a single author. Instead, the creative process continues through subsequent artists, producers, or DJs who take an existing riddim and create a new version based on it. This logic of iterativity and open borrowing starkly contrasts with the traditional Western copyright model, built on the idea of an individual, fixed, and 'finished' work protected from copying. In dancehall culture, reuse and reworking of musical material is not a violation but a norm and even the foundation of the genre. Such a contradiction raises questions about how applicable existing intellectual property laws are to musical traditions built on collective creativity and continuous development of works. Cultures like dancehall demonstrate an alternative model of music creation, where value lies not in the uniqueness and inviolability of the original, but in the ability of a work to live on through reinterpretation by other authors. This phenomenon prompts researchers and legal scholars to consider the need to reconsider approaches to copyright in the music industry, particularly regarding genres historically based on practices of sampling, remixing, and collective authorship.