ORIGINAL PLUS DUB anthology (May 1, 2019)
editors: Richard Skinner & Paul Hawkins
Ghazal Mosadeq, Christian Patracchini, Liz Zumin, Richard Skinner, Iris Colomb, Roy McFarlane, Clive Birnie, Helen Ivory, DS Marriott, Louis Chude-Sokei, Lies van Gasse, Lauren Mason, Larry Bartley, David Turner, Luc Fierens, Helen White, Stephen Emmerson, Lucy Harvest Clarke, Sally-Shakti Willow, Declan Ryan, Lizzy Turner, Victoria Brown, Nadia de Vires, Richard Brammer, Marcus Slease, Miggy Angel, Patrick Davidson Roberts, Karissa Lang, Steve Ryan, Paul Hawkins, Owen Vince, Dolly Dollycore, Lewis Todd, Rishi Dastidar, Fran Lock, Katie Griffiths, Stephen Mooney, Neil Sparkes & Astrid Alben.
"Back in the spring of 2018 I was invited to contribute a collaborative poetry experiment to the forthcoming anthology, Original Plus Dub (Hesterglock Press, 2019) edited by Paul Hawkins and Richard Skinner. The premise: to work with a collaborator (Dolly Dollycore), each producing an ‘original’ (text/poem/artwork, etc.) then swap works and ‘remix’ each other’s original piece. We were given some background on the nature of ‘dub’, and the rest was up to us.
What struck me most in the definition of ‘dub’ – a music genre that predominantly remixes original recordings into new sounds – was (unsurprisingly for a poet) a tangential etymological connection. ‘Dub’ is connected to the word ‘duppy’ . . . "
Sally-Shakti Willow wrote about her Dub-Ritual Poetry collaboration with Dolly Dollycore on her website - read it in full here
We're looking for a fusing of forms / disciplines / practice(s), using the expansive aesthetics & influences of DUB as a starting point to create a visual remix version, D-I-Y dub style. Experiments are encouraged. So is protest & dissent. Contributors choose a collaborator, the pair share a poem with each other and each then produce a dub version of their collaborators original.
We're anticipating a sense of echo, a splicing-up of words, phrases, repeating lines, new meanings; something more intensified, or lighter, clearer, denser; new words, messy notes, handwriting, scrawls. D-i-Y. There's no right or wrong. We encourage contributors to use any objects they want: sand, brackets, different fonts, colours, images, collage, paint, ink, bits of old dub vinyl/cassettes etc, materials from the garden, glue, masking tape, liquids, body fluids, the kitchen-sink, found materials etc
To get further into the spirit, have a read about the history of DUB, its influence(s) across all musics, listen to dub versions & excursions; compare, contrast, get lost, get found again, be bold, revolutionary, fluid, intense, be broken, rhythmical, leaky, spilt,
definitely be political, challenging, brutal
Publication date: May 1st 2019
Launch date: June 20th 2019
cover artwork: Optika Art
"Let me humbly begin with the history of the Universe. Western science has provided us with a myth of origins in the "Big Bang" theory, which locates the beginning of all things in a primal explosion from which the stars, moons, planets, universes and even humanity are birthed. Because Western science's obsession with cause and effect has focused on the process of contraction and expansion in the universe (mirroring its colonial and neo/post-colonial conceits), it is the role of another kind of science to interrogate the metaphor in the term "big bang." Indeed, the fact that “science” in the Jamaican vernacular is synonym for “bush magic” or the occult, allows me to ground these metaphysics in the folklore of the Caribbean. The accompanying fact that one of the great dub producers of the 1970s was called Scientist (Overton Brown) and that the great tech-gnostic innovator Lee “Scratch” Perry surrounded himself with occult mythology and paraphernalia can be no accident."
Read the rest of SATAN´S ECHO CHAMBER: REGGAE, TECHNOLOGY AND THE DIASPORA PROCESS, a recent article by contributor Louis Chude-Sokei at the Popular Enquiry here