"La 'poética relacional' jamaicano-canadiense: Poesía dub, ritmo musical y flujos de conciencia negra transnacional"

El artículo sitúa la poesía dub en el contexto de los sonidos itinerantes de la música y la poesía oral entre el Caribe, Canadá e Inglaterra. Enfocando la poesía dub desde una perspectiva hemisférica y transnacional y a través de la lente de la “poética de las relaciones” de Glissant, el artículo se...

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Autores:: Raussert, Wilfried

Tipo de recurso:: Article of journal

Fecha de publicación:: 2024

Institución:: Universidad de Cartagena

Repositorio:: Repositorio Universidad de Cartagena

Idioma:: eng

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network_name_str	Repositorio Universidad de Cartagena
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dc.title.spa.fl_str_mv	"La 'poética relacional' jamaicano-canadiense: Poesía dub, ritmo musical y flujos de conciencia negra transnacional"
dc.title.translated.eng.fl_str_mv	Jamaican-Canadian ‘Poetics of Relations’: Dub Poetry, Musical Rhythm, and Flows of Transnational Black Consciousness
title	"La 'poética relacional' jamaicano-canadiense: Poesía dub, ritmo musical y flujos de conciencia negra transnacional"
spellingShingle	"La 'poética relacional' jamaicano-canadiense: Poesía dub, ritmo musical y flujos de conciencia negra transnacional" dub poetry Black music Black Canada call-and-response transnational archive carnival Buenos Aires race Afro-Descendants women
title_short	"La 'poética relacional' jamaicano-canadiense: Poesía dub, ritmo musical y flujos de conciencia negra transnacional"
title_full	"La 'poética relacional' jamaicano-canadiense: Poesía dub, ritmo musical y flujos de conciencia negra transnacional"
title_fullStr	"La 'poética relacional' jamaicano-canadiense: Poesía dub, ritmo musical y flujos de conciencia negra transnacional"
title_full_unstemmed	"La 'poética relacional' jamaicano-canadiense: Poesía dub, ritmo musical y flujos de conciencia negra transnacional"
title_sort	"La 'poética relacional' jamaicano-canadiense: Poesía dub, ritmo musical y flujos de conciencia negra transnacional"
dc.creator.fl_str_mv	Raussert, Wilfried
dc.contributor.author.spa.fl_str_mv	Raussert, Wilfried
dc.subject.eng.fl_str_mv	dub poetry Black music Black Canada call-and-response transnational archive
topic	dub poetry Black music Black Canada call-and-response transnational archive carnival Buenos Aires race Afro-Descendants women
dc.subject.spa.fl_str_mv	carnival Buenos Aires race Afro-Descendants women
description	El artículo sitúa la poesía dub en el contexto de los sonidos itinerantes de la música y la poesía oral entre el Caribe, Canadá e Inglaterra. Enfocando la poesía dub desde una perspectiva hemisférica y transnacional y a través de la lente de la “poética de las relaciones” de Glissant, el artículo se centra en la poesía dub canadiense y la relaciona con los inicios jamaicanos y las extensiones diaspóricas en Gran Bretaña. Como muestra el artículo, la poesía dub desempeña un papel clave como archivo sonoro transnacional y transgenérico (Antwi) y como forma poética de anhelo de culminación, añadiendo así nuevas narrativas a un discurso más amplio de transnacionalismo negro que no está en absoluto limitado ni necesariamente vinculado al “panafricanismo u otros tipos de negritud”. Por el contrario, la poesía dub también responde a todo tipo de movimientos internacionales como el anticolonialismo, el socialismo y el feminismo para crear imaginarios e historiografías transnacionales de las culturas negras diaspóricas.
publishDate	2024
dc.date.accessioned.none.fl_str_mv	2024-06-04T09:19:56Z 2025-07-25T21:27:28Z
dc.date.available.none.fl_str_mv	2024-06-04T09:19:56Z 2025-07-25T21:27:28Z
dc.date.issued.none.fl_str_mv	2024-06-04
dc.type.spa.fl_str_mv	Artículo de revista
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dc.identifier.uri.none.fl_str_mv	https://hdl.handle.net/11227/19948
dc.identifier.doi.none.fl_str_mv	10.32997/pa-2024-4731
dc.identifier.eissn.none.fl_str_mv	2805-7090
dc.identifier.url.none.fl_str_mv	https://doi.org/10.32997/pa-2024-4731
url	https://hdl.handle.net/11227/19948 https://doi.org/10.32997/pa-2024-4731
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dc.relation.ispartofjournal.spa.fl_str_mv	Perspectivas Afro
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dc.relation.references.eng.fl_str_mv	Allen, Lillian. Revolutionary Tea Party. Toronto: Verse to Vinyl. Vinyl LP, 1986. ___. Conditions Critical. Redwood Records. Vinyl LP, 1988. ___. Women Do This Every Day. Toronto: Women’s Press, 1993a. ___. “Colors”. Family Folk Festival: A Multicultural Sing Along. CD.1993b. ___. Psychic Unrest. London: Insomniac Publications, 1999. ___. Toronto/pOetic gEsture: Anxiety. Toronto: Verse to Vinyl. Vinyl LP, 2012. Antwi, Phanuel. “Dub poetry as Black Atlantic Body-Archive”. Small Axe: A Caribbean Journal of Criticism Together’: Community Witness and Social Agency in Lillian Allen’s Dub Poetry.” Ariel 48 (2015): 65-83. Berry, James, ed. News for Babylon: The Chatto Book of West-Indian-British Poetry. London: Chatto & Windus, 1984. Bucknor, Michael. “Dub Poetry as a Postmodern Art Form: Self-conscious of Critical Reception.” The Routledge Companion to Anglophone Caribbean Literature. Michael Bucknor and Alison Donnell, eds. London: Routledge, 2011. 255-264. Carr, Brenda. “‘Come Mek Wi Work Together’: Community Witness and Social Agency in Lillian Allen’s Dub Poetry.” Ariel 29 (1998): 1-12. Cooper, Afua. Memories Have Tongue. Poetry by Afua Cooper. Toronto: Sister Vision Press, 1992. ___. Copper Woman and Other Poems. Toronto: Natural Heritage Books, 2006a. ___. The Hanging of Angelique. Canada: Harper Collins, 2006b. ___. Love and Revolution. Toronto: Soundmind, 2009. Cooper, Afua, and Wilfried Raussert. Black Matters. Halifax: Roseway Publishing, 2020. Cooper, Carolyn. Sound Clash: Jamaican Dancehall Culture at Large. New York: Palgrave Macmillan, 2004. ___. Noises in the Blood, Orality, Gender, and the ‘Vulgar’ Body of Jamaican Popular Culture. Durham: Duke University Press, 1993. D’Aguiar, Fred. “Introduction: Chanting Down Babylon.” Selected Poems. Linton Kwesi Johnson, ed. Dublin: Penguin Books, 2022. ix-xvii. Eisenlohr, Patrick. “Diaspora, Temporality, and Politics: Promises and Dangers of Rotational Time.” 2018. Accessed 3rd September 2023, https://www.researchgate.net/publication/329061489_Diaspora_temporality_and_politics_Promises_and_dangers_of_rotational_time Gilroy, Paul. The Black Atlantic. Cambridge, MA: Harvard University Press, 1993. Gingell, Susan. “Rooting and Routing Caribbean-Canadian Writing.” Journal of West Indian Literature 14/1/2 (Nov. 2005): 220-259. Glissant, Édouard. Poetics of Relation. Trans. Betsy Wing. Ann Arbor: University of Michigan Press, 1997. ___. Introduction to a Poetics of Diversity. Trans. By Celia Britton. Liverpool: Liverpool University Press, 2020. Habekost, Christian. Verbal Riddim: The Politics and Aesthetics of African-Caribbean Dub Poetry. Amsterdam, Atlanta: Rodopi, 1993. Hall, Stuart. “Whose Heritage? Un-settling ‘The Heritage,’ Re-imagining the Post-Nation.” Third Text 49 (2000): 3-13. Hoyt, Satch. Afro-Sonic Mapping: Tracing Aural Histories via Sonic Transmigrations. Berlin: Archive Books, 2022. Johnson, Linton Kwesi. Selected Poems. Dublin: Penguin Books, 2022. Kelley, Robin D. G., and Tiffany Ruby Patterson. “Unfinished Migrations: Reflections on the African Diaspora and the Making of the Modern World.” African Studies Review 43/1 (2000): 11-45. Knopf, Kerstin. “‘Oh Canada’: Reflections of Multiculturalism in the Poetry of Canadian Women Dub Artists.” Views of Canadian Cultures III/2 (2005): 78-111. Mitchell, Keith B. “A Still Burning Fire: Afua Cooper’s Triptych of Resistance.” Beyond the Canebrakes Caribbean Women Writers in Canada. Emily A. Williams, ed. Trenton: Africa World Press, 2008. 37-56. Morrison, Toni. “Un¬speak¬able Things Unspoken: The Afro-American Presence in American Literature.” The Tanner Lectures On Human Values. The University of Michigan, 1988. Accessed 25th September 2023, https://tannerlectures.utah.edu/_resources/documents/a-to-z/m/morrison90.pdf Onuora, Oku. Echo. Paris: Tribune Africaine, 1985. Partridge, Christopher. Dub in Babylon: Understanding the Evolution and Significance of Dub Reggae in Jamaica and Britain from King Tubb to Post-Punk. Sheffield: Equinot Publishing, 2010. Philipps, Helmut. Dub Konferenz. 50 Jahre Dub aus Jamaica. Köln: Strzelecki Books, 2023. Raussert, Wilfried, and Reinhard Isensee, eds. Transcultural Visions of Identities in Images and Texts: Transatlantic American Studies. Heidelberg: Winter, 2008. Raussert, Wilfried. “We – the audience with me – are ‘breaking bread together’”: Black Canadian Dub Poets’ Call-and-Response.” Fiar 14/2 (Nov. 2021): 39-50. ___. and Matti Steinitz. “Introduction: Black Power in Hemispheric Perspective.” Black Power in Hemispheric Perspective: Movements and Cultures of Resistance in the Black Americas. Wilfried Raussert and Matti Steinitz, eds. Trier: WVT, New Orleans: UNO, 2022. 1-31. Ricoeur, Paul. Memory, History, Forgetting. Chicago: The University of Chicago Press, 2004. Roberts, Krista L. “Lillian Allen.” The Canadian Encyclopedia (Jan. 2010): 7. Tomlinson, Lisa. The African-Jamaican Aesthetic: Cultural Retention and Transformation Across Borders. Leiden: Brill, 2017. ___. “Dancehall Culture and Elements of Black Power.” Black Power in Hemispheric Perspective: Movements and Cultures of Resistance in the Black Americas. Wilfried Raussert and Matti Steinitz, eds. Trier, WVT, New Orleans: UNO Press, 2022. 261-275. Thomas, Nigel H. Why We Write: Conversations with African Canadian Poets. Toronto: Mawenzi House, 2006. Thomson, Ian.The Dead Yard: Tales of Modern Jamaica. London: Faber & Faber, 2009. Said, Edward. “Reflections on Exile.” Altogether Elsewhere: Writers on Exile. Marc Robinson, ed. Boston: Faber & Faber, 1994. 137-149. Wells, Tim. “‘What a Devilment a Englan’! Dub Poets and Ranters.” Narratives from Beyond the UK Reggae Bassline. William Henry and Matt Worley, eds. London: Palgrave, 2021. 85-100. Williams, Emily A. “Afua Cooper: An Evolving Dub Poet with a Historical Foundation: An Interview with Emily A. Williams.” The Other Woman: Women of Color in Contemporary Canadian Literature. Makeda Silvera, ed. Toronto: Sister Vision, 1995. 317-328.
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spelling	Raussert, Wilfried2024-06-04T09:19:56Z2025-07-25T21:27:28Z2024-06-04T09:19:56Z2025-07-25T21:27:28Z2024-06-04https://hdl.handle.net/11227/1994810.32997/pa-2024-47312805-7090https://doi.org/10.32997/pa-2024-4731El artículo sitúa la poesía dub en el contexto de los sonidos itinerantes de la música y la poesía oral entre el Caribe, Canadá e Inglaterra. Enfocando la poesía dub desde una perspectiva hemisférica y transnacional y a través de la lente de la “poética de las relaciones” de Glissant, el artículo se centra en la poesía dub canadiense y la relaciona con los inicios jamaicanos y las extensiones diaspóricas en Gran Bretaña. Como muestra el artículo, la poesía dub desempeña un papel clave como archivo sonoro transnacional y transgenérico (Antwi) y como forma poética de anhelo de culminación, añadiendo así nuevas narrativas a un discurso más amplio de transnacionalismo negro que no está en absoluto limitado ni necesariamente vinculado al “panafricanismo u otros tipos de negritud”. Por el contrario, la poesía dub también responde a todo tipo de movimientos internacionales como el anticolonialismo, el socialismo y el feminismo para crear imaginarios e historiografías transnacionales de las culturas negras diaspóricas.The article places dub poetry in the context of traveling sounds of music and oral poetry between the Caribbean, Canada, and England. Looking at dub poetry from a hemispheric and transnational perspective and through the lens of Glissant’s ‘poetics of Relations,’ the article puts focus on Canadian dub poetry and relates it to Jamaican beginnings and diasporic extensions in Britain. As the article shows, dub poetry plays a key role as transnational and transgeneric sound archive (Antwi) and as poetic form of yearning for completion, thus adding new narratives to a larger discourse of Black transnationalism that is by no means limited or necessarily linked to “pan-Africanism or other kinds of Black-isms”. Instead, dub poetry also responds to all kinds of international movements such as anti-colonialism, socialism and feminism to create transnational imaginaries and historiographies of diasporic Black cultures.application/pdftext/htmlengUniversidad de CartagenaPerspectivas Afrohttps://revistas.unicartagena.edu.co/index.php/PersAfro/article/download/4731/3669https://revistas.unicartagena.edu.co/index.php/PersAfro/article/download/4731/368929322743Allen, Lillian. Revolutionary Tea Party. Toronto: Verse to Vinyl. Vinyl LP, 1986.___. Conditions Critical. Redwood Records. Vinyl LP, 1988.___. Women Do This Every Day. Toronto: Women’s Press, 1993a.___. “Colors”. Family Folk Festival: A Multicultural Sing Along. CD.1993b.___. Psychic Unrest. London: Insomniac Publications, 1999.___. Toronto/pOetic gEsture: Anxiety. Toronto: Verse to Vinyl. Vinyl LP, 2012.Antwi, Phanuel. “Dub poetry as Black Atlantic Body-Archive”. Small Axe: A Caribbean Journal of Criticism Together’: Community Witness and Social Agency in Lillian Allen’s Dub Poetry.” Ariel 48 (2015): 65-83.Berry, James, ed. News for Babylon: The Chatto Book of West-Indian-British Poetry. London: Chatto & Windus, 1984.Bucknor, Michael. “Dub Poetry as a Postmodern Art Form: Self-conscious of Critical Reception.” The Routledge Companion to Anglophone Caribbean Literature. Michael Bucknor and Alison Donnell, eds. London: Routledge, 2011. 255-264.Carr, Brenda. “‘Come Mek Wi Work Together’: Community Witness and Social Agency in Lillian Allen’s Dub Poetry.” Ariel 29 (1998): 1-12.Cooper, Afua. Memories Have Tongue. Poetry by Afua Cooper. Toronto: Sister Vision Press, 1992.___. Copper Woman and Other Poems. Toronto: Natural Heritage Books, 2006a.___. The Hanging of Angelique. Canada: Harper Collins, 2006b.___. Love and Revolution. Toronto: Soundmind, 2009.Cooper, Afua, and Wilfried Raussert. Black Matters. Halifax: Roseway Publishing, 2020.Cooper, Carolyn. Sound Clash: Jamaican Dancehall Culture at Large. New York: Palgrave Macmillan, 2004.___. Noises in the Blood, Orality, Gender, and the ‘Vulgar’ Body of Jamaican Popular Culture. Durham: Duke University Press, 1993.D’Aguiar, Fred. “Introduction: Chanting Down Babylon.” Selected Poems. Linton Kwesi Johnson, ed. Dublin: Penguin Books, 2022. ix-xvii.Eisenlohr, Patrick. “Diaspora, Temporality, and Politics: Promises and Dangers of Rotational Time.” 2018. Accessed 3rd September 2023, https://www.researchgate.net/publication/329061489_Diaspora_temporality_and_politics_Promises_and_dangers_of_rotational_timeGilroy, Paul. The Black Atlantic. Cambridge, MA: Harvard University Press, 1993.Gingell, Susan. “Rooting and Routing Caribbean-Canadian Writing.” Journal of West Indian Literature 14/1/2 (Nov. 2005): 220-259.Glissant, Édouard. Poetics of Relation. Trans. Betsy Wing. Ann Arbor: University of Michigan Press, 1997.___. Introduction to a Poetics of Diversity. Trans. By Celia Britton. Liverpool: Liverpool University Press, 2020.Habekost, Christian. Verbal Riddim: The Politics and Aesthetics of African-Caribbean Dub Poetry. Amsterdam, Atlanta: Rodopi, 1993.Hall, Stuart. “Whose Heritage? Un-settling ‘The Heritage,’ Re-imagining the Post-Nation.” Third Text 49 (2000): 3-13.Hoyt, Satch. Afro-Sonic Mapping: Tracing Aural Histories via Sonic Transmigrations. Berlin: Archive Books, 2022.Johnson, Linton Kwesi. Selected Poems. Dublin: Penguin Books, 2022.Kelley, Robin D. G., and Tiffany Ruby Patterson. “Unfinished Migrations: Reflections on the African Diaspora and the Making of the Modern World.” African Studies Review 43/1 (2000): 11-45.Knopf, Kerstin. “‘Oh Canada’: Reflections of Multiculturalism in the Poetry of Canadian Women Dub Artists.” Views of Canadian Cultures III/2 (2005): 78-111.Mitchell, Keith B. “A Still Burning Fire: Afua Cooper’s Triptych of Resistance.” Beyond the Canebrakes Caribbean Women Writers in Canada. Emily A. Williams, ed. Trenton: Africa World Press, 2008. 37-56.Morrison, Toni. “Un¬speak¬able Things Unspoken: The Afro-American Presence in American Literature.” The Tanner Lectures On Human Values. The University of Michigan, 1988. Accessed 25th September 2023, https://tannerlectures.utah.edu/_resources/documents/a-to-z/m/morrison90.pdfOnuora, Oku. Echo. Paris: Tribune Africaine, 1985.Partridge, Christopher. Dub in Babylon: Understanding the Evolution and Significance of Dub Reggae in Jamaica and Britain from King Tubb to Post-Punk. Sheffield: Equinot Publishing, 2010.Philipps, Helmut. Dub Konferenz. 50 Jahre Dub aus Jamaica. Köln: Strzelecki Books, 2023.Raussert, Wilfried, and Reinhard Isensee, eds. Transcultural Visions of Identities in Images and Texts: Transatlantic American Studies. Heidelberg: Winter, 2008.Raussert, Wilfried. “We – the audience with me – are ‘breaking bread together’”: Black Canadian Dub Poets’ Call-and-Response.” Fiar 14/2 (Nov. 2021): 39-50.___. and Matti Steinitz. “Introduction: Black Power in Hemispheric Perspective.” Black Power in Hemispheric Perspective: Movements and Cultures of Resistance in the Black Americas. Wilfried Raussert and Matti Steinitz, eds. Trier: WVT, New Orleans: UNO, 2022. 1-31.Ricoeur, Paul. Memory, History, Forgetting. Chicago: The University of Chicago Press, 2004.Roberts, Krista L. “Lillian Allen.” The Canadian Encyclopedia (Jan. 2010): 7.Tomlinson, Lisa. The African-Jamaican Aesthetic: Cultural Retention and Transformation Across Borders. Leiden: Brill, 2017.___. “Dancehall Culture and Elements of Black Power.” Black Power in Hemispheric Perspective: Movements and Cultures of Resistance in the Black Americas. Wilfried Raussert and Matti Steinitz, eds. Trier, WVT, New Orleans: UNO Press, 2022. 261-275.Thomas, Nigel H. Why We Write: Conversations with African Canadian Poets. Toronto: Mawenzi House, 2006.Thomson, Ian.The Dead Yard: Tales of Modern Jamaica. London: Faber & Faber, 2009.Said, Edward. “Reflections on Exile.” Altogether Elsewhere: Writers on Exile. Marc Robinson, ed. Boston: Faber & Faber, 1994. 137-149.Wells, Tim. “‘What a Devilment a Englan’! Dub Poets and Ranters.” Narratives from Beyond the UK Reggae Bassline. William Henry and Matt Worley, eds. London: Palgrave, 2021. 85-100.Williams, Emily A. “Afua Cooper: An Evolving Dub Poet with a Historical Foundation: An Interview with Emily A. Williams.” The Other Woman: Women of Color in Contemporary Canadian Literature. Makeda Silvera, ed. Toronto: Sister Vision, 1995. 317-328.https://creativecommons.org/licenses/by-nc-nd/4.0http://purl.org/coar/access_right/c_abf2info:eu-repo/semantics/openAccessEsta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-SinDerivadas 4.0.https://revistas.unicartagena.edu.co/index.php/PersAfro/article/view/4731dub poetryBlack musicBlack Canadacall-and-responsetransnational archivecarnivalBuenos AiresraceAfro-Descendantswomen"La 'poética relacional' jamaicano-canadiense: Poesía dub, ritmo musical y flujos de conciencia negra transnacional"Jamaican-Canadian ‘Poetics of Relations’: Dub Poetry, Musical Rhythm, and Flows of Transnational Black ConsciousnessArtículo de revistainfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/version/c_970fb48d4fbd8a85http://purl.org/coar/resource_type/c_6501http://purl.org/coar/resource_type/c_2df8fbb1Textinfo:eu-repo/semantics/articleJournal articlePublicationOREORE.xmltext/xml2607https://repositorio.unicartagena.edu.co/bitstreams/7147bca2-e0bc-498c-a2a1-ef2293bacb8f/downloadf96288dda973276516c6fe58421f2223MD5111227/19948oai:repositorio.unicartagena.edu.co:11227/199482025-07-25 16:27:28.487https://creativecommons.org/licenses/by-nc-nd/4.0metadata.onlyhttps://repositorio.unicartagena.edu.coBiblioteca Digital Universidad de Cartagenabdigital@metabiblioteca.com

&quot;La &#039;poética relacional&#039; jamaicano-canadiense: Poesía dub, ritmo musical y flujos de conciencia negra transnacional&quot;

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"La 'poética relacional' jamaicano-canadiense: Poesía dub, ritmo musical y flujos de conciencia negra transnacional"