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Dub poetry has been a vehicle for political and social commentary, [7] with none of the braggadocio often associated with the dancehall. The odd love-song or elegy appears, but dub poetry is predominantly concerned with politics and social justice, commonly voiced through a commentary on current events (thus sharing these elements with dancehall and "conscious" or "roots" reggae music).
He began writing poetry in 1971, [5] and became the first inmate to be allowed to perform with a reggae band in 1974 when Cedric Brooks' band The Light of Saba performed in the prison. [1] After the performance, however, Wong's poetry was declared "subversive" and his writing was confiscated from his cell. [ 1 ]
Jean "Binta" Breeze MBE (11 March 1956 – 4 August 2021) [1] [2] was a Jamaican dub poet and storyteller, acknowledged as the first woman to write and perform dub poetry. [3] She worked also as a theatre director, choreographer, actor, and teacher.
After meeting Oku Onuora in Cuba in 1978, she began working in dub poetry. [2] She released her first recording, Dub Poet: The Poetry of Lillian Allen, in 1983. [citation needed] Allen won the Juno Award for Best Reggae/Calypso Album for Revolutionary Tea Party in 1986 and Conditions Critical in 1988. [3]
Young's early poetry, including their first dub poem entitled "once dere was a mxn" written in 1988, followed the foundational aesthetic of dub poetry's form, style, and content. [7] In 2013, Young was one of the headline names for the 2013 Human Rights Concert in Harare , Zimbabwe .
Clifton Joseph is a Canadian dub poet. [1] He is most noted for his 1989 album Oral/Trans/Missions, from which the song "Chuckie Prophesy" was a shortlisted Juno Award finalist for Best Reggae Recording at the Juno Awards of 1990. [2] A native of Antigua, Joseph moved to Canada with his family in the 1970s. [3]
The terms dub, dubs, or dubbing commonly refer to: Accolade (also known as dubbing), a central act in rite of passage ceremonies conferring knighthood Dub music , a subgenre of reggae music
The nonsense "rub-a-dub-dub" develops a phonetic association of social disapprobation, analogous to "tsk-tsk", albeit of a more lascivious variety. The nursery rhyme is a form of teaching such associations in folklore : for individuals raised with such social codes, the phrase "rub-a-dub-dub" alone could stand in for gossip or innuendo without ...