ABSTRACT
The next two chapters represent a shift in focus to music theory and dub as a genre. In the previous chapter, I established that both church hall and dancehall cultures represent historically specific forms of resistance. The church hall produced a counter-ideology, which promotes self-respect, pride, family values and hard work as the best way of contesting prevailing regimes of domination. In contrast, the modes of resistance in dancehall cultures were more explicit. Counterhegemonic socio-political ideologies were articulated, sustained and transmitted through DJ lyricism and other cultural motifs. In sound system culture a space is always made to challenge economic exploitation, critique the notion of so called ‘British fair play’ and celebrate Black pride through a retelling of Black history.
