Dub Poetry
Poetry written to carry the weight and cadence of reggae, often spoken in Jamaican language over dub or imagined riddim. In Britain it became a fierce Black political art; in Jamaica and elsewhere it developed on its own paths too.
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Dub poetry emerged in the 1970s around writers who treated the spoken voice as rhythm, music and political testimony. Linton Kwesi Johnson, a Jamaican-born London poet, became its most internationally recognized figure, recording work with Dennis Bovell that spoke directly about racism, policing, migration and Black British life. The term does not mean “lyrics without singing.” The poem is composed to live in performance, with reggae pulse embedded in language even when no band is playing. Oku Onuora in Jamaica, Michael Smith and later Jean “Binta” Breeze expanded the field, while Johnson’s work made the British branch especially visible.
Where the history is argued
- Writers and scholars differ over who first used or defined the term “dub poetry.” Treat the 1970s as an emergence period rather than assigning one inventor.
How they stand with the others
Took rootDub poetry has Jamaican and British histories; it should not be reduced to one London poet even though LKJ is central to its international recognition.
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Last checked 1 September 2026