ABSTRACT
So far, we have looked at the origins of dub, as a production technique emerging from studio engineers in the late 1960s. While originating in Black Atlantic technology, dub practice has resonance with antiquity – African religious retentions in Jamaican Revivalism. As part of Jamaican working-class leisure, dub was politicised first by studio engineers and musicians, and later gained a sustained political focus in the 1970s and beyond in Britain under the auspices of Rastafari and political urban poetry. I have explored dub as a social theory but not made clear its theological utility. To this end, in this chapter I will explore what it means to ‘dub’ as a hermeneutical paradigm. Before getting into dub hermeneutics, it is important to reflect, in brief, on the nature of this appropriation of dancehall culture.
