Versions, Dubs and Riddims: Dub and the Transient Dynamics of Jamaican Music
Dub emerged in Jamaica in the early 1970s, and, for a decade, it became a prolific and intensely innovative dimension of Jamaican popular music. Yet, during the mid-1980s, while dub flourished at the international level, influencing popular music in general, the genre of dub declined in popularity in Jamaica. How could this musical innovation, so evidently associated with Jamaica, expand and develop internationally while at the same time decline in Jamaica itself? In this paper, I explore the modalities and evolution of Jamaican music production and consumption. Through a description of the Jamaican music industry context, with reference to individual artists’ paths and a summary of Jamaican dub production, I show that even as the Jamaican music milieu was highly favorable to the emergence of dub, dub proliferated as a genre only by developing ties to a diaspora of international audiences and practitioners.
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-Noncommercial-Share Alike License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g. post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal. Such derivate works or subsequent publications must happen no less than one calendar year after the initial publication date in Dancecult.
- Authors are permitted and encouraged to post their work online (e.g. in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).