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in Alternative Soundscape Paradigms from Kamau Brathwaite and the Mighty Sparrow
> Small Axe: A Caribbean Journal of Criticism
Published: 01 July 2021
Figure 5 Lyrics to “Simpson” (1959), by the Mighty Sparrow, from One Hundred and Twenty Calypsoes to Remember (Port of Spain: National Recording, c. 1963), 22; annotations by the author
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Journal Article
Small Axe (2024) 28 (3 (75)): 1–16.
Published: 01 November 2024
... and shared ur-grief, combining them with the idiosyncrasy and aesthetic self-reflexivity of lyric, ars poetica, and writerly technique. When the green goes, beloved, the secret is opened. The breath falls still, the life covenant is broken. Dress my mother’s cold body in a deep green gown. Catch a fire...
Journal Article
Small Axe (2021) 25 (2 (65)): 109–124.
Published: 01 July 2021
...Odette Casamayor-Cisneros; Antonio López This intersectional and epistemological study of Nancy Morejón’s 1982 Nación y mestizaje en Nicolás Guillén resolves the tension, which intrigued most of her critics, between her political commitment and sophisticated lyricism. The author examines Morejón’s...
Journal Article
Small Axe (2008) 12 (1): 1–15.
Published: 01 February 2008
... , and the selected lyrics of dancehall artistes such as Damian Marley and Super Cat, which are read in terms of Giorgio Agamben's concepts of homo sacer , the state of exception, and the biopolitical paradigm of the camp. Small Axe Incorporated 2008 Notes on the Age of Dis:
Reading Kingston through Agamben...
Journal Article
Small Axe (2011) 15 (2 (35)): 7–23.
Published: 01 July 2011
... of normative discourses in dancehall lyrics. I offer readings of male dance crews at street dances, a comedy interlude at a dancehall club night, and a dancehall video, each of which provides the opportunity to read “the queer” in dancehall culture. © 2011 by Small Axe, Inc. 2011 Out and Bad: Toward...
Journal Article
Small Axe (2016) 20 (1 (49)): 18–36.
Published: 01 March 2016
... and politicized rewritings. This essay proposes an “archaeological” approach to Haitian Creole popular music through the lyrics of several lost Haitian songs of the 1840s and 1850s, recently rediscovered in a Paris archive. While Haitian popular music is inherently engaged in a process of constant evolution...
FIGURES
Journal Article
Small Axe (2019) 23 (1 (58)): 17–34.
Published: 01 March 2019
... Stuckey, Slave Culture: Nationalist Theory and the Foundations of Black America (Oxford: Oxford University Press, 1987), 95. Philip also cites her 1991 Looking for Livingstone: An Odyssey of Silence (Stratford, ON: Mercury). 17 Barbara Johnson, “Anthropomorphism in Lyric and Law,” in Virginia...
FIGURES
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Journal Article
Small Axe (2006) 10 (3): 161–173.
Published: 01 October 2006
... the foreign in the decoding
of dancehall culture. I argue that while she appears to accept contradictory forms of meaning
within dancehall lyrics, at the same time she rejects the possibility of plural interpretations
occasioned by such semantic bifurcation. Secondly, I question Cooper’s assertion...
Journal Article
Small Axe (2006) 10 (3): 174–185.
Published: 01 October 2006
... the lifeworld embodied in for example the geography, performance,
and performers other than the DJ. Thus, even authors who explicitly try to step outside of
this reading, this text, fall into a kind of “music-mania” because the DJs, their lyrics, stage
performance, and politics, still form the basis...
Journal Article
Small Axe (2006) 10 (3): 193–204.
Published: 01 October 2006
... enterprise is quite quickly aborted. Stanley Niaah’s review essay focuses fleetingly on
a single chapter, “Slackness Personified: Representations of Female Sexuality in the Lyrics of
Bob Marley and Shabba Ranks,” and then mutates into a polemic having very little to do with
my own...
Journal Article
Small Axe (2006) 10 (3): 150–160.
Published: 01 October 2006
... and the
“Re-Cooperation” of Meaning
Mike Alleyne
The function of metaphor and role-play in Caribbean popular culture is not always fully understood
within and outside the indigenous context. Thus, the lyrics of Jamaica’s dancehall DJ’s, taken all too
literally, have increasingly come...
Journal Article
Small Axe (2003) 7 (1): 95–115.
Published: 01 March 2003
... lyrics. ( e furor launched an interna-
tional debate among cultural critics and common citizens about the competing “value”
systems of Jamaican culture and those of the global marketplace, most specifi cally the
record industry. When called upon to apologize for the lyrics in his song...
Journal Article
Small Axe (2024) 28 (3 (75)): 32–48.
Published: 01 November 2024
... controversial conversations on topics related to Black popular culture in the French Caribbean. In Lyrics and Chill , one of his web series, Specta and his cohosts discuss Bamby’s style of s’habiller sexy en body string (dressing sexy in a body string) and the representation of women in the media. He asks...
Journal Article
Small Axe (2016) 20 (1 (49)): 79–91.
Published: 01 March 2016
... (the racial economies and racial histories that underpin the production and distribution of black creative works), lyrical content (if the tune indeed has lyrics), and the waveforms that underpin and sonically frame song. 2 Black musical aesthetics not only emerge within and against long-standing antiblack...
Journal Article
Small Axe (2014) 18 (1 (43)): 138–148.
Published: 01 March 2014
...=8C8eKAKf5Cw ; a transcript of the French lyrics is available at www.mp3lyrics.org/n/ntm/quest-ce-quon-attend/ (translation mine). 10 Léon-Gontran Damas, “Sur une carte postale,” in Pigments/Névralgies (Paris: Présence Africaine, 1972), 77. All translations from Pigments/Névralgies are mine...
Journal Article
Small Axe (2010) 14 (2 (32)): 97–110.
Published: 01 July 2010
... such as “Beenie Man” “Buju
Banton” and “Ninja Man” for their homophobic lyrics. Their offensive behavior would present
an awkward moment in Jamaica’s international relations even as the abolition’s anniversary
was pending.2 Their eventual banning from British and American musical events would...
Journal Article
Small Axe (2024) 28 (2 (74)): 156–166.
Published: 01 July 2024
... a woman” means swaying one’s hips from side to side in a seductive fashion: the famous mi taw, mi ta mwen . The bawdy, tongue-in-cheek lyrics portray the makoumè as “déformé,” the refrain repeating “ou té ka fè kon si ou sé an fanm.” 25 Together they imply that the makoumè is different, strange...
Journal Article
Small Axe (2014) 18 (2 (44)): 191–201.
Published: 01 July 2014
...-scale analysis. A dread body is a voicing body, an echoic vessel, in several senses. The concept of dread is integral to Rastafarian thought and more generally to the musical and lyrical sensibility of reggae music. Thinking through sound recognizes the widely held view that reggae...
Journal Article
Small Axe (2024) 28 (2 (74)): 115–129.
Published: 01 July 2024
..., and precarity. Patería helps to frame the linguistic and cultural specificity of the queer Puerto Rican singer and performer Macha Colón’s lyrics and videos—for example, for her 2012 song “Jayá.” 22 Here, the state of jayaera (self-realization) serves as a vernacular, creolized variation of hallarse...
FIGURES
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Journal Article
Small Axe (2012) 16 (3 39): 22–38.
Published: 01 November 2012
... of Jericho into
their city. Port-au-Prince became the biblical city, and its destruction was the will of God. The
singers performed the role of a righteous and sanctified people, singing and chanting down
the walls of the city so that their God could possess it. The Creole lyrics went...
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