IRD Magazine: Vol 1 Issue | July 2011

Excerpt from

"Understanding Reggae And Rastafari"

By T.” Boots” Harris

REGGAE DREAD BEAT AND DUB, Part 1

Dub poetry to the best of my knowledge originated in the 1970s at a time when Jamaica had its first glimpse of political tribalism. Violence reared its ugly head everywhere, fueled by the issuing of guns to criminals, political activists, druggists and even youths in their teens.

Reports by the print and electronic media told of guns found in

Imported refrigerators, washing machines, in barrels stocked with groceries in motor cycles, in containers and even in cans of paint sent to relatives.

Allegations in the streets pointed fingers at corrupt business men, politicians, drug dons and area dons, who issued the guns to their respective enforcers.

They in return used these guns to defend drug turf, extortion operations and even rented guns for robberies and assassinations.

Dub Poetry meaning the spoken word fused with bass –driven reggae rhythms, also emerged at a time when there was a new and militant outspokenness, especially within the Rastafarian fraternity, and among radical thinking Jamaicans.

They were not afraid to speak out against injustice, corruption in high and low places, and against politicians and their cronies, who milked the public coffers for every available dollar.   The Dub Poets spoke about the ever growing divide where both politicians and privileged public servants built corporate entities and palatial mansions, while their constituents lived in huts, on captured lands and in squalor.

The term Dub poetry was coined by Orlando Wong a poet who is known internationally as Oko Onura. Oku’s recitals at Jamaica’s “Tom Redcam Library” while incarcerated made headlines locally. He wrote about the burning issues of the day, he also inspired the youths to do something constructive with their lives.

He was among the first to point out to inner city youths to use “Reggae music” not the gun, as a vehicle out of the Ghetto and poverty. Oku grew up in “Dun Kirk” in East Kingston and inspired other Dun Kirk youths such as dancehall sensation Spraga Benz, and video grapher extraordinare Ras Kassa to revolutionize the business of music using reggae and dancehall.

Jamaica has over the years produced quite a number of Dub Poets, all of whom have impacted on people, Governments and institutions.

Their perceived mission is to bring about a new awareness, and a better understanding of people power. Over the years they have been responsible for a new mindset and attitude, especially in the case of the poor, who now demands results for issues raised, in their respective communities and towns.

Our most influential Dub Poets includes our beloved Ms. Lou, who single handedly have inspired and impacted on all, including Linton “Kwesi” Johnson a Jamaican based in London. L.K.J’s. race awareness campaigns confronted the perpetrators of racism, aimed at both the Jamaican, and immigrant communities through out England.

He inspired immigrants to become more involved politically, in their respective communities. As a result Jamaicans, Asians and Caribbean nationals were elected to City, Council and Mayoral positions, thus determining their communities destiny as elected public officials.

Linton “Kwesi” Johnson is recognized internationally as one of the outstanding Jamaican and Caribbean voices.

Mutabaruka is controversial, and brutally frank, Jean Binta Breeze lives her poems with every recital, while Cherry Natural paints vivid images of neglect . Malachi Smith a Jamaican based in South Florida, captures the mindset of his fellow Jamaicans, along with the tolerance and self control needed, to live away from home.

Yasus Afari represents a modern day Griot, who points out the consequences of being gullible, and the pitfalls in being ignorant.

At times our poets display their anger, and vent their anguish at atrocities through their own unique and effective style of Dub expression. There is at least one Dub Poet who have paid with his life, for expressing his gut feelings. Mikey Smith ”And Them A Roots” was stoned to death by political supporters and activists, in Stony Hill in the 1980s, a victim of ignorant political fanatics, and perpetrators of tribalism.

There is no doubt that our Dub Poets have played a crucial role in destroying and putting to rest the myth, that to be poor is to be voiceless.

By speaking out against the hypocritical two face policies of our administrators, and by enlightening the people about social, political and religious issues and scams. In so doing, they have carved a name for themselves as champions of the disenfranchised.

Our outspoken Dub Poets are now on the verge of ushering in a new sense of purpose and worth, especially among working class Jamaicans. As a result our Urban or “Inner City” residents, along with rural Jamaicans are now examining issues instead of personalities, facts instead of hear-says and one’s credibility instead of one’s charisma.

In an era where emotions and fanaticism is rapidly disappearing, people are   now demanding accountability and performance, from those they have elected to represent them in every aspect of public life.

This is a remarkable transition away from the “pork-barrel” mentality and expectations of the 1960s.