![]() During my 19 fieldwork sessions I mapped the geography of two of these non-public realms-what I refer to jointly as creative interiors. 1953), as practiced in the non-public “preperformance” realm. This dissertation focuses on the creative processes, of two dub poets, Cherry Natural (b. Recently, scholars have called for a deeper exploration of the creative processes, the creative roots, associated with verbal, musical, and dramatic traditions. Dub poetry’s textual and performative components represent only two spheres in which poets’ creativity flourishes. Scholars have focused attention on the published texts and the public performances, the creative fruits, of the genre’s pioneering poets. Revisiting the concept of “I and I” consciousness in these registers (dub music, film, and “race”), I suggest that the interpenetration of European and Afro-diasporic cultures is central to an understanding of the broad influence of Caribbean culture in Europe, and to the power of narratives in multiracial contexts to inspire multi-voiced interpretations which cannot be contained by the intentions of artists.ĭub poetry, or reggae poetry, developed in the 1970s as a synthesis of oral, musical, and dramatic traditions practiced in Jamaica. The analysis is in three registers: 1) I place this song/video within the context of the spread of dub and techniques in Europe 2) The video shows a sophisticated understanding of the potential of cinematic visual narrative 3) Drawing on interviews with the director, and Dubblestandart founder Paul Zasky, I argue that “race” often over-determines our readings of visual culture. Utilizing a Sly & Robbie remix of the Dubblestandart song “Heavy Heavy Monster Dub,” Freund constructs a densely symbolic visual storyline about what appears to be double vision in the experience of an Afro-diasporic man in Austria. ABSTRACT: The influence of dub-a Jamaican innovation-and the social influence of people who carried this musical culture into Europe are examined through the lens of a music video directed by Michael Freund. It has not been published but the presentation was filmed by the University of the West Indies-Mona. This essay was presented at the Global Reggae Studies Conference in Kingston, Feb. This video which inspired this essay/presentation can be seen at: I consider Michael Freund's video to be a masterwork, and encourage you to see it before deciding whether to read my own analysis. ![]()
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