In other poems, Philp's technique subtly switches from rewriting poems to disseminating echoes from other poems in his own poetry.

Philp's method here recalls the concept of intertextuality as well as GГ©rard Genette's theory of transtextuality. This concept could at times be applied literally to Philp's poetry as some of his poems are rewritings of well-known pieces. This concept is used in various ways by the poet to rewrite and comment on some important poems which are part of the canon of Caribbean literature.

On the other hand, his poetry seems to contain some features of the reggae aesthetics identified by Dawes in his theoretical writings.ДҐReggae makes its presence felt in Philp's poetry through the concept of 'versioning'. Like the poems of Mervyn Morris, Tony Mc Neill, and Dennis Scott, three Jamaican poets who were featured in Dawes' anthology, Philp's poetry cannot be referred to as 'dub poetry' in the sense of reggae-driven poetry or poetry based on performance or on reggae rhythms. His most recent collection, Dub Wise, came out in 2010. His first four collections of poetry ( Exodus and Other Poems, 1990 Florida Bound, 1995 Hurricane Center, 1998 and Xango Music, 2001) signalled the arrival of a major new poetic talent walking in the footsteps of Derek Walcott, Mervyn Morris, Dennis Scott and Kamau Brathwaite among others. This aesthetics was based on 'the emergence of Jamaican Nation Language as the language of artistic expression' (Dawes 1999, 97), the use of 'Rasta talk' (98) and a 'focus on history and on race' derived from the influence of Rastafarianism (99).Д¤Geoffrey Philp was one of the poets included in Dawes' anthology of reggae poetry, and his poems seem to constitute a creative engagement with reggae music and with its culture. 1 It did so in the language of the people, using an aesthetics the working classes could easily and readily identify with because it was derived from reggae music. Dawes laid the emphasis on reggae's appeal to his own generation growing up in the 1970s and finding it hard to relate to the work of writers associated with the 'nationalist period' (the 1930s and 1940s) and claimed that reggae constituted for this younger generation an alternative to literature and the arts since Jamaican popular music dealt with certain burning issues back then. 1 During the 1930s a wave of riots and strikes swept through the English-speaking Caribbean, which le (.)ДЈIn his book entitled Natural Mysticism: Towards a New Reggae Aesthetic, Dawes identified a new aesthetics which has underpinned the work of numerous Caribbean authors since the 1960s and which has drawn heavily on Jamaican popular music.He made the point that dub poetry had somewhat limited the scope of what writers could do with reggae music and seemed to find dub poetry too limiting as an art form. He insisted that the poetry contained in his anthology had been 'shaped and given character by reggae music' (22), but was very different from traditional dub poetry, a 'poetic expression that relies primarily on performance and more often than not on a band playing behind the words' (22). Sometimes these poems do not look anything like a reggae song, but at their core and in their attitudes they represent a dialogue with reggae (Dawes 1998, 22).ДўIn the introduction, Dawes established a distinction between dub poetry and reggae poetry, and insisted that reggae poetry was not poetry based on reggae rhythms or poetry that necessitated a reggae accompaniment to make its point.

But AndrГ©вЂ™s newest release and first riddim juggling is likely to change all that, with contributions fromВ .1In his poetry anthology entitled Wheel and Come Again: An Anthology of Reggae Poetry, Kwame Dawes gathered a number of poems which were based onДЄ reggae aesthetic-an aesthetic that one can discern in the dub poetry of Linton Kwesi Johnson and in the sonnets of Geoffrey Philp. Swedish producer, AndrГ© Roots, has largely flown under the radar despite working with artists like Ras Muhamad, Norris Man, and Million Stylez. PedikoДЎ3.Дќean Fraser, AndrГ© Roots & Soundbank Music - Change Riddim (Instrumental) Featured artists Queen Ifrica / Pressure Busspipe / Sizzla / Ikaya / Anthony B / Luciano / Turbulence / Niyorah / Jah Vinci / Million Stylez / Lutan Fyah / Dean Fraser / Agent Sasco Review Pressure Busspipe - Who Feels It Knows feat.

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