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Journal Article
Small Axe (2006) 10 (3): 54–69.
Published: 01 October 2006
...Ashley Dawson Small Axe Incorporated 2006 Linton Kwesi Johnson’s Dub Poetry and the Political Aesthetics of Carnival in Britain Ashley Dawson British dub poet Linton Kwesi Johnson (LKJ) moved to Britain from Jamaica on the cusp of adolescence in 1963. He arrived...
Journal Article
Small Axe (2015) 19 (3 (48)): 65–83.
Published: 01 November 2015
...Phanuel Antwi Rereading dub poetry under the pressures of and with the resources of black feminist and queer theory, and treating the practice of dub poetry as a production of a sound archive, one that embodies and aurally animates the intimacies of the black Atlantic, this essay highlights...
Journal Article
Small Axe (2018) 22 (1 (55)): 181–190.
Published: 01 March 2018
Journal Article
Small Axe (2002) 6 (1): 91–111.
Published: 01 March 2002
...Philip Maysles Small Axe Incorporated 2002 Dubbing The Nation Philip Maysles It often seems to the outsider that there is an organic connection between the kind of beat, the kind of movement which is made to it, and the silent inner rebellion and frenzy which possess anyone...
Journal Article
Small Axe (2018) 22 (1 (55)): 172–180.
Published: 01 March 2018
... the case that the power of an audible, creole technopoetics, as best embodied by dub reggae, can remake our very conception of the human. In addition to dub, the author brings minstrelsy, blues, jazz, and the like into his broader discussion of black engagements with sound technologies, arguing...
Journal Article
Small Axe (2007) 11 (2): 177–183.
Published: 01 June 2007
Journal Article
Small Axe (2014) 18 (2 (44)): 72–79.
Published: 01 July 2014
... in ways that simultaneously illuminate the past and the future. What broadly defines the nineteenth century is the forward motion and ultimate success of what Jean Casimir famously dubbed the “counterplantation” system. Though resisted by successive Haitian regimes and circumscribed and sapped...
Journal Article
Small Axe (2012) 16 (3 39): 177–187.
Published: 01 November 2012
Journal Article
Small Axe (2020) 24 (3 (63)): 195–205.
Published: 01 November 2020
...Peter James Hudson Held at Montreal’s McGill University from 11 to 14 October 1968, the “Congress of Black Writers: Toward the Second Emancipation—the Dynamics of Black Liberation” was dubbed the largest Black Power conference ever held outside the United States. In Moving Against the System...
Journal Article
Small Axe (2003) 7 (2): 23–38.
Published: 01 September 2003
... might transform the public sphere.⁸ I will divide my schematic exploration of the foregoing ideas into two sections: the ssmallmall fi rst will study alternative directions for carnival studies. By way of a discussion of dub aaxexe poetry, the second part will address...
Journal Article
Small Axe (2002) 6 (2): 49–71.
Published: 01 September 2002
... of reggae, dancehall, Ras- tafarianism, and dub poetry. Rather, it was informed by nostalgia for older folk forms such as mento music and limbo dancing. . ese forms predate independence in 1962; limbo dancing is a style most commonly associated with slave culture and in Jamaica is largely restricted...
Journal Article
Small Axe (2017) 21 (1 (52)): 1–16.
Published: 01 March 2017
... the shift from reggae “rub a dub” to dancehall as the move from one turntable to two turntables and from a live DJ to “juggling,” that is, absent the live DJ. 14 Mikie Bennett argues that the advent of the drum machine had a startling and rapid impact on the tempo of the music, hurtling reggae...
FIGURES
Journal Article
Small Axe (2002) 6 (1): v–vii.
Published: 01 March 2002
... of the ordinary Caribbean person. From there we move to dub music. Here, dub is vvii examined as an aural representation of the ways in which the Jamaican subaltern male negotiates identity and belonging. Following this we have an exegesis of a Derek Wal- cott poem that takes the nation as one of its...
Journal Article
Small Axe (2001) 5 (2): 183–185.
Published: 01 September 2001
... [that] remains central to innovations in dancehall culture in the 1990s” (p. 91). < is led to the development of the “cut-n-mix” technique, as “selectors” were brought to the studios to reproduce their dancehall performances, and “dub” tracks began to dominate the music. < e...
Journal Article
Small Axe (2019) 23 (3 (60)): 34–49.
Published: 01 November 2019
... structure of global/local power relations and skeptical at best toward the “redemption time” conjured in the 1960s and 1970s, James’s novel directs readers’ attention to the way dancehall temporality embraces instead what Amiri Baraka, writing in 1966, dubbed the “changing same” of black music, a concept...
Journal Article
Small Axe (2006) 10 (3): 19–36.
Published: 01 October 2006
... assimilation of her own parents, the narrator admits: My parents, stylish and cool, keeping in step with the fashion of those far-off times in cosmopolitan Trinidad, once dubbed nothing less than “the Paris of the West Indies.” . . . Their glamour they got from the movies of the day; their noble...
Journal Article
Small Axe (2019) 23 (1 (58)): 134–149.
Published: 01 March 2019
... Caribbean migration reggae music cultural politics Jamaica Rastafari 1970s sufferation dub poetry consciousness identity While this essay is a contribution to a fascinating and timely conversation about Jamaica and the 1970s, I take the view that a decade is not just a ten-year period...
FIGURES
Journal Article
Small Axe (2014) 18 (2 (44)): 173–179.
Published: 01 July 2014
... effort to overcoming. If the bass frequencies of dub music are to be heard as in some incorrigible sense “masculine,” as Henriques argues, it does not therefore follow that those lower frequencies cannot be or are not claimed by, within, and for the feminine. Wright, for example, develops a powerful...
Journal Article
Small Axe (2014) 18 (2 (44)): 191–201.
Published: 01 July 2014
... or more than male—the dancehall session is for the enjoyment of the pleasurable intensities of sounding. This materiality and spatiality of sound also resonates with the nature of the music played on the sound systems. 32 The dub—another doubling, another echo—produced in the two- and four-track...
Journal Article
Small Axe (2006) 10 (3): 150–160.
Published: 01 October 2006
..., but striking back with the earthquake force of amplified sound system drum and bass, and the revolutionary textually deconstructive and reconstructive power of dub. There is also a sense in Cooper’s writing that the publication of such a cohesive work forthrightly challenging external...