Sound, Rhythm, and Power:
Legends of Dub Poetry
Ally Brennan
Rhetoric of Reggae
December, 2009
Dubin dubin
dubin
dubin
de people
dem a dub in de street
dubin dubin
dubin
dubin
even
passon a use disyah beat
an de bitterness inna wi mout
de musik
bring it out
de
frustration wi feel
only de
dub can heal
an wi smile
fi a wile
- ÒDub PoemÓ, Mutabaruka
In the
1970Õs when reggae was really gaining musical ground, artists were adding
instrumental sides to their records (also known as the dub side) and deejays
started talking over the beats. This was also referred to as toasting or
chatting. The style was made famous by deejays like U-Roy, I-Roy, King Stittt,
and Big Youth along with many others. This started a new trend in what was
being written in both the musical realm as well as the literary one. Poets were
also producing and performing new styles of work based on the sounds of dub
music. Their poetry, Òlike dub music, was subversive, revolutionary and
anti-establishment (Cooper, 2).Ó Poet Oku Onuora was the first to coin this
poetry as Òdub poetryÓ. He said
the term referred to Òa poem that has a built-it reggae rhythm, hence, when the
poem is read without and reggae rhythm ÔbackingÕ so to speak, one can
distinctly hear the reggae rhythm coming out of the poem (Doumerc, Dub
Poetry).Ó It began as mainly
protest, or rebel, poetry, carrying over many of the same messages as
traditional reggae music. The
sounds in the poems, as much as the actual words themselves, were meant to
portray the life of the poor, the forgotten, the struggle endured by so
many. Linton Kwesi JohnsonÕs poem ÒReggae
SoundsÓ is just one powerful example of this:
ÒShock, black double down-beat bouncinÕ
Rock-wise tumble down sound music
Foot drop, find drum blood story
Bass history is a-movinÕ is a-hurtinÕ black story
(Hughes, 62).Ó
Reminiscent
of Africa, Jamaica has always been a place of oral traditions. Words have
extreme power and influence, and spoken word even more so. ÒBoth literate and illiterate Jamaicans
are inclined to regard spoken word as something of real substance and real
power (Hughes, 48.)Ó Proof of this
can be found all over the history of Jamaica from religion to social conflict
to music and literature. The Bible even, speaks to the power of words: Òand God
said, let there be light. And there was light.Ó From the chanting down of
Babylon to the arts of folk healing, words have been known to hold divine power
for man (and woman). Jamaicans
have a certain gift of Òusing rhythmic and linguistic subversion to fight the
forces of oppression (Hughes, 75)Ó and of doing so in very unique and
successful ways. This is seen even
in everyday communication. Creole and the regional languages which evolved from
it, sometimes called dread talk, have rhythmic and linguistic characteristics
which almost sound like music in themselves. In his famous work, History of a Voice, Kamau Brathwaite, an
important Caribbean poet, called Creole the Nation Language. He argues that it Ò
displays musical rhythms, such as calypso and reggae, unlike the dominant
iambic rhythms in much English poetry (Unknown, Dub Poetry A History of the
Voice).Ó Some poets are in it
to the extent that they refuse to use English, referring to it as the Òlanguage
of the downpressor, forced upon them in captivity (Cooper, 6).Ó Louise Bennett,
a forerunner of dub poetry, was one of the first to use Creole as a literary
language. She caught a lot of slack for it, but she stood her ground and won
the battle, paving the way for artists to speak and perform in the Nation Language
all over the world (Cooper, 3).
The
performance of a piece, as much as the words and the sounds, has a lot to do
with how it is understood. A lot of poets speak to music or at least a beat but
many others prefer to rely on the beat that is found in the sounds and words
themselves. These artists will perform a capella or what they call ÒitalÓ
(Cooper, 4). Kamau Brathwaite said
Òthe noise and the sounds that the maker makes are responded to by the audience
and are returned to him. Hence we have the creation of a continuum where the
meaning truly resides (Hughes, 153).Ó Author of Soon Come, Hugh Hughes says Òthe aesthetic appeal of an argument
guarantees its validityÉa truth presented dully is hardly a truth at all (153).Ó
It is hard to say exactly who the first official dub
poet was. The genre was definitely started by the DJs who spoke freely over the
beats from the dub side but once it caught on, Linton Kwesi Johnson was the
first to release an album in the genre, Dread,
Beat anÕ Blood released in 1977 (Mikl-em). Born in rural Jamaica in 1952, he moved to Brixton, London
with his mother when he was 11. During this time, there was an increasing
amount of West Indian immigrants coming into the area and the white populations
of Brixton were not happy about it (Kilpatrick). Here, Johnson learned first
hand about the pain and rage of racism and this contributed a lot to his work
and his popularity. In the 1960Õs, he became very active in the Black Panther
movement and the fight against racism. It was then that he discovered black
literature and more importantly, poetry. He organized a poetry workshop within
The Panthers (Forbes, 2). He connected with a lot of people who felt the pain
in his words and found refuge in his rhythms. During the beginning of his career he was looked down upon
for his use of patios, or Nation Language, and now heÕs #22 of the top 100
Black Britons of all time and one of the most respected men in dub poetry
(Kilpatrick).
Like
Johnson, Jean ÒBintaÓ Breeze was also born and raised for a while in Jamaica
and then moved to Britain as well and became the leading lady of a
male-dominated poetry scene. She was born in rural Jamaica in and then moved to
Kingston to study at the Jamaican School of Drama with such other poets as Michael
Smith and Oku Onuora and Mutabaruka. She began working with Muta and getting
her voice on the air in Jamaica. Linton Kwesi Johnson, over in England, heard
what she had to say and, wanting to introduce her to his scene, invited her to
come record with him; hence the move to England in 1985 (JS). Breeze is a big
advocate for the performance of a piece rather than just reading it, which
comes from her love of theater. In an interview she shares, ÒI mean, acting is
one of my first loves. And I think I write so many dramatic monologues because
I am searching for lines that ask me to use all of the acting skills I
possess...I actually hear voices. When I start writing, I actually hear them
speaking (JS).Ó
Canada
is another hot spot for Jamaican dub poets and the dub poetry movement. Lillian
Allen was one of the leaders of the Canadian dub movement. Born in Jamaica in
1951 she moved to New York in 1969 to study at the City University of New York
and made her way to Canada (Henry). Settling in Toronto, she made a big splash
and with the release of the album Revolutionary
Tea Party, more specifically itÕs opening piece ÒI Fight BackÓ in 1983, she
was able to make a significant difference in the battle against the stereotype
of black women as immigrant workers in Canada (Hodges, 47). Afua Cooper is
another female star of the Canadian dub poetry scene. Allen and Cooper are the
artistic and creative directors of the Dub Poets Collective out of Toronto.
Back
in Jamaica, artists like Oku Onuora, Michael (Mikey) Smith, Mutabaruka, and
Benjamin Zephaniah were creating the waves on which the others would ride, off
the island, to new places, bringing with them the rhythms of dub and the spoken
word. Oku Onuora, originally Orlando
Wong, is sometimes referred to as the father of Jamaican dub poetry. As
mentioned before, it was he who gave the genre its official name. He eventually
expanded his earlier definition to include Òany type of music-influenced poetry
(Doumerc, Dub Poetry).Ó In 1970, he was arrested in his attempt to rob a
post office in order to fund a community education project. From jail, his
poetry flourished and grabbed the attention of many big names in the writing
world. So many people petitioned for his release that, after serving 7 years,
he received the Jamaican equivalent of a presidential pardon. Upon regaining
his freedom, he married and changed his name. In 1979 he released his first
album Reflections in Red.
Michael
ÒMikeyÓ Smith is another top dog in the dub poetry world. Born in Kingston in
1954, he started writing poems as a teenager in the late 1960Õs. He was later
selected to attend the Jamaican School of Drama and graduated from there in
1980 with a Diploma in Theater Arts.
His first album had been released in 1978, entitled Word, which featured his already famous works ÒMy Cyaan Believe ItÓ
and ÒRootsÓ. He traveled back and forth from Jamaica to London, performing and
recording. His performance was really what made SmithÕs poetry stand out.
Linton Kwesi Johnson says he was, Òthe quintessential performance poet, gifted
with an unrivalled talent for mesmerizing his audience (Morris).Ó With a desire to put his works to paper,
he turned to renowned poet and critic Mervyn Morris. Smith had a hard time
doing this one his own Òbecause of inconsistent spelling and punctuation, and
because the line breaks were often at odds with the rhythms as Mikey performed
them (Morris).Ó He and Morris came up with a way to work together and began
tape-recording SmithÕs poems and Morris listened to Òthe tape while examining
the manuscript, [and] would suggest a representation on the page. Then Mikey
would look carefully at what was suggested, and would make decisions (Morris).Ó
Mikey was killed before the collection could be published but Morris was asked
to edit the poems and he tried to hold true to what he believed Smith had
wanted from the book. Unlike performers like Johnson and Mutabaruka, who often
rejected the title of dub poet, thinking it constricting and not wanting to be
labeled; Mikey embraced his title and was proud to be a dub poet.
Mutabaruka
is also a name that permeates the dub poetry scene. He was born Allen Hope in
Kingston, Jamaica in 1952. He got his secondary education in electronics and
worked for the Jamaica Telephone Company. It was during this time that he began
to explore Rastafarianism. It was also around this time when Black Awareness
was really becoming big in Jamaica. Muta jumped right in. ÒMuta saw himself as
a young revolutionary (Unknown, Biography).Ó The further he looked into
Rastafarianism, the more he saw how radical its teachings were and the more
invested he became. His poetry was published more and more throughout Jamaica
and eventually the world. He also has a weekly late night talk show on the
radio, The Cutting Edge, which helped make him a national icon and with the
help of the Internet, an international icon as well. It was through Mutabaruka
that I first learned of my interest in dub poetry. I saw a video of him
performing his famous work ÒDis PoemÓ and I was hooked. ÒDis PoemÓ is such a strong example of
the power of words and the rhythm that comes naturally through the sounds. The words are living things. They are
weapons of nonviolence. No external beat is needed, for it is firmly grounded
and very distinct in the reading of the poem, especially coming from the poet
himself. Dis poem is why I love
dub poetry:
ÒÉdis poem shall say
nothin new
dis poem shall speak of
time
time unlimited
time undefined
dis poem shall call namesÉ
Édis poem is revoltin
against
first world, second
world, third
world
division
manmade decision
dis poem is like all the
restÉ
Édis poem is
knives...bombs...guns...
blazing for freedom
yes dis poem is a drum
ashanti, mau mau, ibo
Yoruba, niahbingi
warriors
uhuru...uhuru
namibia uhuru
uhuru, soweto, uhuru
afrika!
dis poem will not change
things
dis poem needs to be
changed
dis poem is the rebirth of a people
arising...awaking...overstanding
...dis poem speak
is speakin...has spoken
dis poem shall continue
even when poets have
stoped writingÉ
Éonly time will tell
dis poem is still not
written
dis poem has no poet
dis poem is just a part
of the story his-story...her-story...our-story
the story still untoldÉ
Édis poem cannot be tamed,
cannot be blamed
the story is still not
told about dis poem
dis poem is old, newÉ
Édis poem is watchin u
tryin' to make sense
from dis poem
dis poem is messin up
your brains
makin u want to stop
listenin to dis poem
but you shall not stop
listenin to dis poem
u need to know what will be said
next in dis
poem
dis
poem shall disappoint u because...
dis
poem is to be continue
in
your mind...
in your mind...
in your mind...
(Unknown, Biography)Ó
Now, my turn:
Dis poem is a journey.
A story.
It is clear but confuses the mind.
Dis poem makes me question myself.
Dis poem makes me question everything.
Dis poem assures me.
Denies me.
Dis poem is why I love dub poetry.
Mervyn
Morris would probably tear apart my poem, especially if seen placed at the end
of Dis Poem. Morris is a professor of creative writing at the University of the
West Indies. He was one of few strictly literary poets who embraced the newer generation
of dub poets and their unique work. He tutored and worked with many of the
famous poets described above and was revered by all of them as a great man, a
great poet, and a great instructor. Quoted in a recent article from the Jamaica
Observer, dub poet Nabbi Natural, said this of him in a poem: ÒYou continue to
be more than a shining beaconÉThrough time redefining space creating life
beyond modern memories as ancient as son (sun) continues to be sun (son). An
illuminating force to countless generations Mervyn Morris you remain my guiding
light (Jackson).Ó The article is about the recent praise he received from the
Poetry Society of Jamaica Òfor giving dub poetry certitude (Jackson).Ó This was
in response to his statement that Òdub poetry enriched his scholarshipÓ which
the article equivocated to Òa classical virtuoso lauding dancehall music for
its artistry (Jackson).Ó In October of this year, Morris was awarded the
JamaicaÕs third highest honor, the Order of Merit, for his work in Jamaican
literature.
Although
dub poetry was constructed primarily on the rhetorical and rhythmic base of
reggae music, it has since been influenced by almost every genre of music and
folklore and even nursery rhymes. Many aspects of African Caribbean oral
traditions such as proverbs, riddles, hymns, and folk tales can be found
throughout works of dub poetry. It has also been influenced a lot by jazz,
R&B, calypso, various African drumming styles, as well as rap and many
afro-Latino rhythms. This keeps the genre of dub poetry open-ended, flexible,
and accessible to all. This is also why many poets rebel against the label of
dub poet. They feel it restricts them to a reggae beat when really, there are
many rhythms and directions they want to go with their work. This has caused a slight shift in the
writings of some poets, who beg to liberate dub poetry from the Òstraightjacket
of reggae rhythms (Doumerc, Dub Poetry).Ó IÕm not sure how much I like
the idea of calling reggae rhythms anything that includes the idea of a straightjacket.
The rhythms make me feel anything but restrained. After a while though, working
with the same rhythms must have been kind of annoying for many writers. So they
came up with a new sub-genre called Òmeta dubÓ. Jean ÒBintaÓ Breeze wrote a
short poem entitled ÒDubbed OutÓ describing her feelings:
I
search
for words
moving
in their music
not
broken
by
the
beat
(Doumerc, Dub Poetry).Ó
Muta also wrote a poem criticizing the genre that he
himself, along with many others, created. This shows how dub has grown and
changed through time and how its own creators and artists are able to look at
their own work with a new critical eye.
Revolutionary poets
Ôave become entertainers
Babbling out angry words
About
Ghetto youtÕ
Bein shot down
Guns and bombs
Yes
Revolutionary words being
Digested with bubble gums
Popcorn anÕ
Ice cream in tall inter conti nental
Buildins
In this piece he touches on the idea of dub poetry Òselling
outÓ and the messages not being real anymore. Artists are just entertaining now
instead of rebelling. The Millersville Maruader describes ÒRevolutionary PoetsÓ
by Mutabaruka to be Òa commentary on the conventional and predictable nature of
much of the dub poetry of the 1970ÕsÉanother prime example of Ômeta dub poetryÕ
(Doumerc, Dub Poetry).Ó
I have always had an interest in poetry and for a
little while in high school I fell in love with Slam poetry. It is a lot like
dub poetry in that it has a strong rhythm that comes through the poems, with no
need for musical accompaniment. It gets its name because it is usually
performed in competitions known as slams. Poetry slams are intense, with strong
voices and stronger messages. They are inspiring, moving, and electrifying.
They provide for me the same feeling that I got when I first heard MutaÕs ÒDis
PoemÓ. Hence, my interest in researching dub poetry. There is a lot to be learned from dub poetry and a lot to
take away. Just like the poems themselves, it can be studied in just about any
context, be it history, literature, music, performance, rebellion. I really love how artists were able to
show the world the power of the spoken word and really make a difference using
words as weapons. The sounds and how they fit together are like a good
painting. YouÕre not really sure how the colors got there or in what order but
put them all together and youÕve got a strong image and a clear message. The
words themselves need no definition, like colors. The combination of sound and
rhythm and how the work is delivered to the audience reveals a truer meaning. I
find myself getting lost in the reading of these poems in the same manner that
I get lost in reggae music. It is an ultimate escape for me. Often, I donÕt
even listen to the words, even though they can be important. ItÕs all about the
rhythms for me. I feel them in every part of my body and they take over. I can
let go and be carried away from all my thoughts and problems and stresses;
carried away on the waves of the Caribbean to the sandy shores of a beautiful
island which I have never actually visited. ThatÕs pretty freakinÕ amazing if
you ask me.
Òan wi smile, fi a wileÓ
Bibliography
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Afua. Utterances and Incantations. Toronto, Canada:
Sister Vision, 1999. Print.
Doumerc, Eric. Dub Poetry: From the
Straighjacket of Reggae Rhythms to Performance Poetry.
Millersville
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<http://marauder.millersville.edu/~resound/vol3iss2/dubpoetry/>.
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<
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