Echoes from the Dub Diaspora

Dub is a term that resonates in multiple aspects of electronic dance music culture. In the crates of DJs, the search terms of online record shops, and echoing throughout scholarly and cultural genealogies, dub signifies a signature style of spatialized rhythm and sound that derives from the studio practices pioneered by Jamaican dance sound systems since the late 1960s, in which versions—“dubs”—were crafted from instrumentals of reggae recordings. Eventually, the techniques of this type of remix, both disruptive and echoic, became an end in itself. This special issue of Dancecult responds to the need to better understand the multiple practices that can be said to articulate the dub diaspora. Likewise, this issue’s scholars represent a diverse set of research practices that reveal different questions as to what the dub diaspora means as a conceptual and critical research concept

Inna Jamaican Stylee

Volume ! propose dans ce numéro un dossier consacré à l’étude des musiques jamaïcaines. Les neuf textes qui le composent, accompagnés de douze recensions d’ouvrages majeurs et récents, offrent une description et une analyse des principaux traits caractéristiques de ces musiques, à travers leurs usages – des riddims aux sound systems – et leurs discours – de la culture au slackness. Cet état des lieux du champ réunit les plus grands spécialistes et nous plonge dans les principaux débats associés à ces musiques. This special issue of Volume! is dedicated to Jamaican music. Its nine texts, along with a dozen reviews of major recent books, offer a description and an analysis of the main features of these musics, through their uses – from riddims to sound sytems – and discourses – from culture to slackness. Gathering works from leading scholars in the field, this survey sheds new light on the main debates that stem from Jamaican popular music