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reggae

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Journal Article
Small Axe (2017) 21 (1 (52)): 1–16.
Published: 01 March 2017
...Kezia Page This essay explores the roots of the reggae revival in Jamaica. It considers what it means that the revival is not singularly located in music and sound but that revivalists imagine an artistic community and aesthetic that includes a number of other art forms as well. Through a close...
Journal Article
Small Axe (2020) 24 (3 (63)): 97–127.
Published: 01 November 2020
...Tao Leigh Goffe; Deborah A. Thomas This essay examines the political economy of Caribbean cultural capital and the formation of reggae in Jamaica in the 1950s. Through study of the Afro-Asian intimacies and tensions embedded in the sound of preindependence Jamaica, the essay traces the birth of the...
Journal Article
Small Axe (2014) 18 (2 (44)): 173–179.
Published: 01 July 2014
...Tavia Nyong'o This essay reviews two recent publications in the area of black music and sound studies—Julian Henriques's Sonic Bodies: Reggae Sound Systems, Performance Techniques, and Ways of Knowing (2011) and Alexander G. Weheliye's Phonographies: Grooves in Sonic Afro-Modernity (2005)—taking...
Journal Article
Small Axe (2007) 11 (2): 66–87.
Published: 01 June 2007
...Ama Few Jamaican visual artists have been able to capture the quintessence of Jamaican identity in the way that Ras Daniel Heartman did, exposing powerful images of Rastafari that are unequalled in any genre. While reggae music provided a soundtrack to the conscious struggle for self-determination...
Journal Article
Small Axe (2019) 23 (1 (58)): 134–149.
Published: 01 March 2019
... a charged, explicit, and heightened sense of racial identity among young black Britons. This essay seeks to reflect on the influence of Jamaican 1970s on the creation of a second diaspora. In so doing, it utilizes examples of British reggae music, a photograph by Vanley Burke, and the poetry of...
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 that...
Journal Article
Small Axe (2019) 23 (3 (60)): 34–49.
Published: 01 November 2019
...Jason Frydman This essay decodes how Marlon James’s A Brief History of Seven Killings uses the history of Jamaican music, culminating in the conflict between roots reggae and dancehall, to chart the Cold War’s temporality, futurity, and ideological conflicts over time, temporality, and futurity. A...
Journal Article
Small Axe (2018) 22 (1 (55)): 181–190.
Published: 01 March 2018
... the generous and generative prodding of Wayne Marshall and Tsitsi Ella Jaji, allows the author to further explicate its roots in response to traditional notions of “roots” and emergent discourses of black futurity. Afrofuturism creolization technopoetics Glissant roots reggae revival...
Journal Article
Small Axe (2002) 6 (1): 91–111.
Published: 01 March 2002
... James), in Rough Guide to Reggae ub submerges the reggae rhythm and lyric into abstraction, creating a nonverbal site for the learning and consolidation of “dread” awareness. : e “dub organizer” con- structs aesthetic space through a process of removal, alteration, and layering, where...
Journal Article
Small Axe (2006) 10 (1): 59–73.
Published: 01 February 2006
... interacted with the popular languages of St. Lucia and Barbados following the spread of “the word” to those islands. Included in that paper is a discussion of the debt owed to reggae music for the spread of the philosophy and language of Rastafari, mentioning the more charismatic reggae exponents...
Journal Article
Small Axe (2006) 10 (3): 174–185.
Published: 01 October 2006
... influenced by dancehall such as kwaito, reggaeton, makossa, samba reggae, and Afro beat, among others. The risk is that readers could slip into a kind of Dawesian reading: “Cooper is never exhaustive . . . the metaphor of forerunner who clears the ground for more lasting cultivation suits Cooper’s work...
Journal Article
Small Axe (2006) 10 (3): 150–160.
Published: 01 October 2006
... reggae in Key Concepts in Popular Music as “the collective term for a number of successive forms of Jamaican popular music, including ska and rocksteady.”1 Remarkably, three interconnected but distinct phases of Jamaican popular music are conflated contrary to historical actuality, producing...
Journal Article
Small Axe (2001) 5 (2): 183–185.
Published: 01 September 2001
... mento in creative ways to produce ska. Distinct characteristics of reggae and dancehall emerged in this period, including the sound system (amplifi ers and speakers), the selec- tor (disc jockey) and the clash (competitive musical performance). One of Stolzoff ’s most interesting...
Journal Article
Small Axe (2014) 18 (2 (44)): 191–201.
Published: 01 July 2014
... is what I explore in what follows, through the specific setting and particular culture of the reggae dancehall session. Dread bodies are the subjects of resistance, rebellion, revolution, revolt, and maroonage. The figures of dread include Paul Bogle, Django, Mandingo, and Toussaint Louverture, as...
Journal Article
Small Axe (2008) 12 (1): 1–15.
Published: 01 February 2008
..., shottas, and reggae and dancehall in films such as The Harder They Come, Dancehall Queen, and Third World Cop, the visceral punch and gritty real- ism of myriad reggae and dancehall lyrics, and the visual assault of Dawn Scott’s installation, “A Cultural Object” (1985...
Journal Article
Small Axe (2015) 19 (3 (48)): 65–83.
Published: 01 November 2015
... as it is shaped by its own transatlantic routes of transmission, as when American R&B traveled to Jamaica and was reborn as Ska, which in turn gave rise to rock steady, reggae, dancehall.” 12 And, I would add, dub poetry. Situating dub poetry in this complex traffic of meanings that has long...
Journal Article
Small Axe (2003) 7 (1): 46–71.
Published: 01 March 2003
... world,” which necessitated that the fi lm be “shot piecemeal, in fi ts and starts, with months intervening between shoots as additional funds were scraped together Lloyd Bradley’s book Bass Culture: When Reggae Was King (2000), however, quotes singer and actor Jimmy Cliff ’s references to a...
Journal Article
Small Axe (2006) 10 (3): 111–124.
Published: 01 October 2006
... of Muffet Inna All a Wi received while on tour in Canada in 1987 illustrates the challenges Sistren faced when performing for non-Jamaican audiences. Muffet inna All a Wi is a reggae musical that weaves together the stories of several differ- ent women called Muffet who struggle to survive in...
Journal Article
Small Axe (2006) 10 (3): 193–204.
Published: 01 October 2006
... Cultures: Reggae to Rap and Back” (chapter Eight), her status as “moonlighting in foreign territory” where the genre is concerned. In this statement, she at least acknowledges a critical humility evidently lacking in opponents to the worlds of dancehall (158). small axe 21 • October 2006...
Journal Article
Small Axe (2001) 5 (2): 41–59.
Published: 01 September 2001
... reggae concert in Manhattan, the hassles of installing a washer and dryer in Kingston, or biking along Havana’s Malecón. - at the experience of entering a Brooklyn subway suggests the lowering into the earth of South African diamond miners (p. 64), or that Brixton’s shabbiness...