Dub Reality
Indigenous Resistance

Sonic interventions & Indigenous Resistance Radio Broadcast now available on Soundcloud


militant IR session ft SANKARA FUTURE DUB RESURGENCE, DHANGSHA, MAPU & APACHITA. Broadcast 18.07.20 on Raskattas Radio Show.

West Papua Liberation intro.


Black Panther Breakfast Club & Anarchism intro.


Zoonotic meaning intro.




Intro for Afro Colombians, Indigenous people on the frontlines. Mariela Franco remembrance.



Intro: Dhangsha & Dj Soundar aiding in breaking musical convention.



Ras Issacs: flute, djembe, Nyabinghi drums

Kabaka: vox

Ras Kilomo: vox

Esaete: vox

Ras Charles: recording

Jozef Spin: translation


Mapu: vox, Aztec drums, shakers,

Apachita: vox.

Nico: trucata

Prasonik : wordsmith interventions at 4 am


Dub Code II: N21 demo and vox recording


Dhangsha: electronics

Ramjac: mastering


DJ Soundar: sequencing


Dubdem: Artwork

Brasilian Sistren In The Shadows: Brazilian translation and vocal coaching

Indonesia :Nina vox

LISTEN HERE on soundcloud


Dhangsha wrote some dub reflections on the Radio broadcast that we wanted to share with you:

Sonic Interventions & Indigenous Resistance

“IR Sonic Interventions” was first broadcast on 18th July 2020, on Raskattas Radio, based in Sofia, Bulgaria. It featured Sankara Future Dub Resurgence, Dhangsha and Dub Sisters Mapu, Apachita and Esaete. For those who listened in, it was like an exhilarating live gig – raw in sound and text with punk attitude, but disciplined like a Peoples’ Army on manoeuvres – everyone jumping in to take the baton then passing it on – everyone looking out for everyone else.

This is what happens when sonic experimentation and co-operation moves music and text beyond current convention. The political commentary and degree of analysis demonstrated a depth that is missing from present day dub, but not at the expense of dance propulsion. Bob Marley and his contemporaries created a framework of militant poetry with which to uplift the spirits of oppressed people. But over forty years on, it is not enough to merely REPRODUCE that template.

As Sankara FDR say: “this is no photocopy dub.” Aside from spoken testimonies, the session was comprised of field recordings, acoustic rhythms and melodies and uncompromising programmed sequences. It was assembled using a variety of techniques: post-punk cut & paste, dub mixology and live electronic improvisation. This was in fact an ‘alternative news broadcast,’ unashamedly betraying a robust anti-colonial perspective. It was on THAT level.

For all the Sisters & Brothers out there with open hearts and minds and ready to engage:


For all those out there who would hinder our ability to breathe – you have revealed yourselves:


listen to this great interview with Dhangsha

its deep dub

“If you cant be true to yourself how can you be true to anyone else”Dhangsha

talking about being the importance of playing what you believe in  and being true to your musical calling .

The interview  was conducted by TL Mazumdar is called “Divine Destruction with Dr Das” on apple podcast

click on the link below to hear the podcast

For those seeking a deeper context  of the work of Sankara Future Dub Resurgence

we are reproducing here an article written by Prasad Bidaye Phd

that was published in the magazine ” Africa Is A Country ”

African Political Techno: Reverb from Detroit to the Dub Museum

Yes I seek to inspire

Yes I move with guile,

Underground Resistance my style

These lyrics are from the African futuristic track “Wire Cutter” by Sankara Future Dub Resurgence (SFDR), a group of musicians from Uganda, East Africa who have been inspired by the philosophy of the Burkina Faso revolutionary, Thomas Sankara.

With their love of dub and experimental music, they decided to create a futuristic style of music that draws equally on ancient African knowledge.

The video for ”Wire Cutter” video was filmed in Kampala, Uganda. It’s a live recording, but it’s also more than that. ”Wire Cutter” is a piece that calls viewers to look closely and notice the images layered throughout the performance space. It’s also important to take note of the space – the one and only Dub Museum.

For example, when the lyrics mentioned above are heard in the video, the camera zooms in on images of Detroit techno artists Underground Resistance (UR). The shot ends with a close-up of Cornelius Harris, a key member of the group. At another point in the track, where the lyrics state “We only fear fear itself, we only fear the collapse of the imagination”, an image of UR’s founder, Mad Mike, is foregrounded.


Images of other experimental musicians and socially conscious visionaries are featured in this video, such as Laraaji, Turiya Alice Coltrane, Cedric “Im” Brooks, and Audre Lorde. They coexist alongside photographs of ancestral shrines in Uganda as well as Zar spiritual trance ceremonies in Ethiopia. Lastly, there is a special wall devoted to the West Papua liberation struggle.

The sonic anchor of “Wire Cutter” is as much about sound as it is about dub poetry and powerful visuals. Driving this narrative is an assemblage of minimalistic electronic noise and non-metric rhythms generated by Dhangsha. In between these sounds, one hears deliberate moments of deep meditative silence, raw and at times distorted African dub poetry vocals, and djembe-driven, percussive grooves created by SFDR.

Screen Shot 2019-10-14 at 9.22.47 PM

When the djembe rises to the surface, it reveals acoustic drum patterns that are actually hand -to-skin translations of Dhangsha’s digital rhythms.

This is more than simply a moment of “fusion”. It signals the completion of a musical cycle.

When enslaved Africans were forcibly transported to the Americas, they brought their music with them. During the course of almost five hundred years, this music continued to change in response to the reality of violent oppression and social survival. For future generations, this music symbolized – and continues to symbolize – resistance, creativity, and the triumph of the human spirit.

The evolution of techno from within Detroit’s African-American community is an overlooked chapter in that story of resistance, but in “Wire Cutter”, a critical exchange takes place as this music returns to the African continent and is reunited with a group of African youth who naturally embrace their African ancestral traditions, while looking clearly to the future with an outernational vision.

Aniruddha Das, the creative force behind Dhangsha, explains this cycle further:

“The flow of the same energy between Detroit and Uganda [gets] filtered by the diaspora currently based in Europe, [transforming] pain and searching and yearning into positive vibrations and frequencies and texts of resistance… Another  SFDR track, “Two Thousand Seasons Dub”, really shows how Detroit vibes – specifically UR – are  echoing now in Uganda to create an African political techno. It is also lyrically influenced by the anti-colonialism tome by Ayi Kwei Armah.

The first time I watched “Wire Cutter” and “Perfect Black Light” (also by SFDR), it felt like a work of science fiction, especially because of the setting. When you look at the settings of the videos, you see a community of people at the outer limits. They’re not connected to any scene because they are their own scene, and unlike the club scenes that most of us frequent, this is a scene that people actually live in. It’s not self-conscious. You can’t be self-conscious when you’re trying to get on with the daily routines of everyday life.

The sci-fi sense also comes from the fact that these are African people in settings that are neither metropolitan or rural. Again, they’re at the outer limits where no one – that is, no tourists – are likely to go. And here they are using technology, experimenting with it, having fun, being creative, and it’s obviously for themselves – not for some festival-size crowd or even for the internet. But like I said: outer limits + technology = creativity. And that’s Afro-futurism.

Re wild

Re define

Re design

Thoughts from a Black anarchist mind

From Perfect Black Light”

(Sankofa Future Dub Resurgence)

The world of the Dub Museum, as captured in these two videos, is far removed from the downtown nightclubs, EDM festivals, and other places we usually associate with underground and experimental electronic music. These videos take you deep into the Kireka neighbourhoodin Kampala, the location where the SFDR music was recorded. This is a neighbourhood that has its food market, corner shops, plots where people plant food, a school for the children. A simple place of day-to-day living – of struggle and survival – in this African city.

The manner in which the Dub Museum was created totally independently and autonomously without the support of NGOs or political parties certainly makes it flow with the ideals of Thomas Sankara and beyond.

Filmmaker Eyi Safi in the liner notes to a Sankara Future Dub Resurgence album describes a typical day at the Dub Museum:

“In one corner of the yard people were sitting around a fire that was going, listening to the music that was playing and chatting among themselves. Coming from the speakers one heard the Sankara Future Dub Resurgence track, then a roots reggae track by Gregory Isaacs was put on and this was followed by a heavy instrumental dub track by Augustus Pablo and then experimental beatless noise track from the Dhangsha cassette “Future Tense,” and throughout the evening this musical cycle would be repeated. Different musical styles from roots to experimental noise music played as a soundtrack to daily living as people prepared and cooked food, laughed, chatted and most importantly enjoyed music. Throughout the afternoon and night, various Dhangsha tracks were played…”

During the rehearsals for the filming of the SFDR video, a member of Indigenous Resistance witnessed a beautiful scene in the Dub Museum yard:

An eight-year-old girl, whose mother makes and sells banana pancakes in the space adjoining the yard, was watching rehearsals. People said that she came to rehearsals every day because she just loved the music. The mix for “Perfect Black Light” was put on the sound system speakers that were set up in the yard. Out of the corner of our eye, we saw the little girl start dancing in perfect timing to this experimental music track! Whereas it might be possible that many adults would have difficulty and hesitancy on how to dance to this track, she had no such problem! She found her groove in the music and she was dancing, raptured in own journey with the track!

Not only had the music returned back to the African continent, but it was now passed to the next generation. Or as the Ugandan musicians say in the track “Perfect Black Light”:

In perfect black light

We see the dub seedlings grow

Apachita generation ❨the next generation❩

Jah know

The album by Sankara Future Dub Resurgence is available here on Bandcamp



A few weeks back IR crew member  Colombian dj ana*analog also presented a set of music on Raskattas radio show


. Here is set which is entitled ” Caleta Dub”

No Responses to “Sonic interventions & Indigenous Resistance Radio Broadcast now available on Soundcloud”

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: