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. Dub poetry, or reggae poetry, developed in the 1970s as a synthesis of oral, musical, and dramatic traditions practiced in Jamaica.
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