In IR, we have always engaged in our own project of FreeDub, where the art and music we produce is given free to the people, whether in person or through the Dubdem website (dubdem.com.br).
This project is part of a longer history of non-capitalist projects around the world. For instance, in San Francisco during the sixties, you had the Diggers movement that operated largely in the shadows with an anarchistic orientation. They created stores and bakeries where they gave goods and food free to the people.
It has been interesting for us to observe the reaction to FreeDub. Sometimes, there is a suspicion that a work of FreeDub will not be of very high quality and that it did not take much effort to produce it – otherwise, why would anyone give it away for free? In actuality, a project like the bookSearching For The Dub Sublimetook nine months of extensive preparation – brainstorming, writing, curation, proofreading and editing – to make certain every detail of this 284-page book with more than 99+ images was to our complete satisfaction. For some, the puzzlement for some continues when they research and find out that there is high critical acclaim for IR works given away through FreeDub.
On a spiritual basis, we concur with what Dr Bilal Ware says: “most things diminish when given away freely. Not so love, Not so knowledge. The more one gives,the more one is increased.”
The Dub Treasure Box is a new form of FreeDub formulated and implemented by When Vision Meets Dub Architecture, a new creative cell within IR. We printed out the entirety of Searching For The Dub Sublime in full colour, 11” x 17” pages. The pages were then assembled together as unbound, “loose-leaf” sheets and placed in a special Treasure Box designed by When Vision Meets Dub Architecture alongside Ras Kilomo and Ras Charles of IR :: Sankara Future Dub Resurgence.
On one side of the box is a poster designed by Dubzaine, which utilizes an ancient Sumerian cuneiform script, one that is estimated to be about 5,000 years old. Through research, IR learnt that the Sumerians (who lived in present-day Iraq) used “dub” as a word in their language; it meant “treasure.” We found the cuneiform symbol for the word “box” in order to visually complete the phrase “Treasure Box,” and it is this phrase that one sees on the side of the Dub Treasure Box edition of Searching for the Dub Sublime.
The Dub Treasure Box can be found within a vegetable and fruit market in Kampala, Uganda, where IR also has its mini Dub Museum. Folks visiting the market can read the book by taking out the individual pages where the larger page size of 11” x 17” not only makes the text easier to read, but also enhances the visual design and numerous images contained within the book. If certain pages carry a special resonance to a reader, they have the opportunity to print it out and stick it on a wall in their dwelling or any place they choose.
Continuing in the vein of transmitting the knowledge and WisDub to the public for free, IR has created with Dubzaine a special pdf of the chapters Sacrifice and Sacrifice Visuals from the book Searching For Dub Sublime. This pdf can be printed out in 11×17 format and pasted on walls in any location. As part of the IR FreeDub program, we are organizing the printouts of these chapters to be placed on walls in various parts of the world. Already, it is up on the walls of The Come One Come All Africa Future Soundz studio in Uganda. Anyone wishing to receive the pdf can write to IR at jahdub.ghost.stories[@)]gmail.com to receive a free PDF.
IR has been really pleased and proud of the way our new book has been embraced by Afrikan youth .
Dubzaine has designed a new Dubdem site which among other things features various IR books, IR free music downloads, Art and Posters.
This new Dubdem website at https://www.dubdem.com.br/ir60features special page designed by Dubzaine on new IR book and soundtrack album “IR 60 Indigenous And Black WisDub” Inside this 200 + page are words of WisDub from Assata Shakur, John Trudell, Prasonik, Douglas Cardinal , Dr Butch Bilal Ware and Jean “Binta” Breeze. On this page you can see excerpts from the pages and design of this book as well as recommendations for it from Akashic Records, Ramjac and Youssef J. Cárter, Phd.
Here are their words:
“I have received this wonderful work. In what I have been able to view thus far, it is an imaginative and creative call toward anti colonial resistance, while also insistent on reminding activists that we are more than material, more than flesh. An argument I am making in the book I am working on that concerns Sufism amongst Black / African Muslims. Bravo.” Youssef J. Carter, Phd “Drawing parallels between Dub, Anarchism, freedom fighters, Rastafari, Native American, Ethiopian and indigenous people worldwide. These books are one of a kind / paradigm shifting.” Akashic Records “Wow just wow!! What an awesome book”. Ramjac The paperback version of book is available from here https://tinyurl.com/5n969hxj
The page also highlights the soundtrack for the book done by IR which features the following tracks which features artists such as UR ( Underground Resistance) Dhangsha and IR::Sankara Future Dub Resurgence.The album is available on Bandcamp here https://tinyurl.com/y4z9fjh2
This is the track listing for the album:
1 Krikati Empowerment Mix
Displacement (For The People Of West Papua)
Reflecting On Laos Dub While On Ho Chi Minh Trail
Silence Joins Earth And Sky (Witness The Insurgence)
Stand Together
Anarchist Africa
WisDub From Assatta Shakur
Displacement (English Accapela)
Displacement (Ethiopian Amharic Accapela) The dubdem site has free downloads of some of these tracks. Explore the site to find them!
As an additional bonus scroll down to the bottom of the page and you will see the book covers of other books by IR click on them and you see separate pages on each book and you can read Ethiopia Dub Journey book in its entirety for free on the site.
” When Vision Meets Dub Architecture” a new creative cell within IR ::Indigenous Resistance providing critical analysis and creativity was launched .
Collage design by Dubzaine from a concept by When Vision Meets Dub Architecture.
This is a double-sided release, consisting of an e-book and a soundtrack. Inside the 200+ pages e-book are words of WisDub from Assata Shakur, John Trudell, Douglas Cardinal, Dr. Butch Bilal Ware and the late Jean”Binta” Breeze. At the center of IR 60 is a dialogue on • the pre-colonial histories of anarchist Africa • the Black anarchists who fought in the Spanish Civil War against fascism • the legacies of Canute Frankson, Bhagat Singh, Pandurang Khankhoje, and other figures of outernationalist resistance • the confluence of political and spiritual dub in the visionary lives of Ho Chi Minh and Emir Abdelkadez
This is a video trailer IR made for the book which is set to the track ” Krikati Empowerment Mix ” featuring the Indigenous Krikati people and Underground Resistance (UR)
The majority of images in this video trailer are taken from the IR 60 Indigenous And Black WisDub e book.
This other new video is a visual re-magining of one of the tracks found on the soundtrack for the IR60 book.The video is entitled :
It is available on Bandcamp on the Indigenous Resistance page https6://tinyurl.com/y4z9fjh2 This clip was filmed with a phone at Senene ,Uganda by Timo and features two members of IR :: Sankara Future Dub Resurgence :Kabaka Labartin Klacity and Ras Charles. This is a raw unedited clip but IR loved the rawness and quiet militant dub vibe.And yes, that is a Jacques Derrida quote “We always return to water ” that that is on the Dubzaine designed t shirt worn by Kabaka. This quote by the Algerian born philospher was taken from an anti colonialism piece he wrote.
Kabaka Labartin Klacity . Photo taken by “Lake Naluubale “
There is another codified signpost as Kabaka last words in the video are ” The words of Bilal Ware break the Silence” The words in this video are a reflection of the process when Vision meets Dub Architecture .
The soundtrack album plus two versions of the e – book
These are the lyrics from one of the tracks on the IR60 soundtrack album . The track is entitled “AnarchistAfrica“
” sometimes its necessary to question the paradigms that have been implanted in our minds so we ask you to be pensive asp opposed to defensive
those who seek to reclaim our African glory
so often put centralised african kingdoms like kemet mali kush at the center of their story
name checking kings and queens to add to the sheen but Africa was more than those
anarchist examples more common than we suppose
in fact these centralised kingdoms were a minority instead we can look at the igbo
a federation of autonomous communities without kings queens chiefs
don’t shake your head in disbelief at one point 4 million peopleorganised into 2000 separate villages should the presence and existence of a Kingdom, empire, nation or state radiating immense material wealth
be the yardstick we use to contemplate our self worth for this time we spend on earth are we not detracting from those who did not choose to chase that particular vision of glory? Are we not detracting from African indigenous peoples
who chose instead to humbly respect and flow with the earth
acting as caregivers of this land on which we stand! Many will acknowledge on our African continent
we live within imposed colonial boundaries artificial state constructs
Geographic lines drawn by others
which interfere with people’s lives while simultaneously being a constant cause of strife most African peoples were stateless prior to colonialism.
this stateless presence often referred to as a sign of our so-called underdevelopment a barometer of lower intelligence
but what if it was a conscious rejection of
Kingdoms, empires, nations, states and other political forms of centralized hierarchy refusing to live a life of subjugation
insisting on African mutual aid
created by those unafraid of social living, communal living.
Peoples likeThe Shona of Zimbabwe, the Mano of Ivory Coast,the Kusaasi of Ghana,those of the highlands of Madgascar and other African peoples with anti-authoritarian philosophies of living together
yes indeed time to reshape the historical algorithm
do your on research
reach your own conclusion
and always be ready to shatter any illusions as we challenge the framework
we ask you to be pensive as opposed to being defensive sometimes its necessary to question they paradigms that have been implanted in our minds”
1 Franz Fanon,2 Artwork by Ras Hartman,3 Assstta Shakur
Now available on Bandcamp !The new album by IR:Sankara Future Dub Resurgence entitled
Rising Up For The Dub World Within .You can get the album on the Bandcamp page for Indigenous Resistance
The album cover is designed by Dubzaine.
This is the tracklisting:
1 anarchist africa 2 colombia n21 3 standing rock future dub 4 women hold up half the sky ( track labelled as Sky) 5 when Visions fall from Sky 6 fire 7 our cultivation 8 iwa pele 9 endgames live african funk 10 two thousand season dub
11 east wadada flute
12 When Silence Rises from Earth: 4’33” * An African Ceremony for an Anti-colonial Future (More Than Cage Imagined Mix)
Bonus tracks
13 Revolution Dub
14 Anarchist Africas
15 Black panther party Free breakfast program
16 zoonotic
album cover designs by Dubzaine
Bonus artwork 7 posters by Dubzaine for those who purchase the entire album on Bandcamp
Since the words for the musical track “Anarchist Africa” by IR:Sankara Future Dub Resurgence are so important we are presenting them on this post.The track “Anarchist Africa“can be found here on BANDCAMP .It is found on an Ep that features the collective collaborative efforts of IR::Sankara Future Dub Resurgence in Uganda, Dhangsha, Herman”Soy Sos ” Pearl, The Professor Of Dub and others in the Shadows.
The following are the lyrics for the track Anarchist Africa
“Sometimes its necessary to question. the paradigms that have been implanted in our minds so we ask you to be pensive as opposed to defensive those who seek to reclaim our African glory so often put centralised african kingdoms like kemet mali kush at the center of their story name checking kings and queens to add to the sheen
but Africa was more than those anarchist examples more common than we suppose
A Dubzaine design
in fact these centralised kingdoms were a minority
instead we can look at the igbo a federation of autonomous communities without kings queens chiefs don’t shake your head in disbelief
at one point 4 million people organised into 2000 separate villages
should the presence and existence of a Kingdom, empire, nation or state radiating immense material wealth be the yardstick we use to contemplate our self worth for this time we spend on earth
are we not detracting from those who did not choose to chase that particular vision of glory?
Are we not detracting from African indigenous peoples who chose instead to humbly respect and flow with the earth acting as caregivers of this land on which we stand!
Many will acknowledge on our African continent we live within imposed colonial boundaries artificial state constructs Geographic lines drawn by others which interfere with people’s lives while simultaneously being a constant cause of strife
Dubzaine design
most African peoples were stateless prior to colonialism. this stateless presence often referred to as a sign of our so-called underdevelopment a barometer of lower intelligence but what if it was a conscious rejection of Kingdoms, empires, nations, states, And other political forms of centralized hierarchy
refusing to live a life of subjugation insisting on African mutual aid created by those unafraid of social living, communal living.
Peoples like The Shona of Zimbabwe, the Mano of Ivory Coast, the Kusaasi of Ghana, those of the highlands of Madgascar and other African peoples with anti-authoritarian philosophies of living together
yes indeed time to reshape the historical algorithm do your on research reach your own conclusion and always be ready to shatter any illusions
as we challenge the framework we ask you to be pensive as opposed to being defensive
sometimes its necessary to question the paradigms that have been implanted in our minds
Anarchist Africa:When Visions Fall From Sky. A new IR::Sankara Future Dub Resurgence Release
Based in Uganda, the musicians IR::Sankara Future Dub Resurgence like to describe their music as “Future Dub.” They take elements of noise, non-metric riddims, experimental electronics, dub reggae and dub poetry, and djembe and nyabinghi drumming together to create the unexpected.
The opening lyrics to “Anarchist Africa” set up the critical, yet self-reflective, mindset of this mini-album.You can get
Sometimes it’s necessary to question
the paradigms that have been implanted in our minds.
So we ask you to be pensive
as opposed to defensive.
Lyrically, these tracks aim to challenge our political and cultural concepts, especially of the African subcontinent and its colonial as well as pre-colonial histories.
Those who seek to reclaim our African glory
so often put
centralised African kingdoms
like Kemet, Mali, Kush
at the center of their story
name-checking kings and queens
to add to the sheen
But Africa was more than those anarchist examples,
more common than we suppose.
In fact,
these centralised kingdoms were a minority
Design by Dubzaine
“Anarchist Africa” also addresses the history of indigenous people in Africa and how their lives and contributions have been evaluated.
Are we not detracting from African indigenous peoples
who chose instead to humbly respect and flow with the earth
acting as caregivers of this land
on which we stand?
Africa’s anarchist and anti-authoritarian traditions are presented on this track to give a radically different perspective of the continent’s political story.
The track “When Visions Fall From Sky” pays homage to African ancestral practices, emphasizing the mystical experience while challenging the grand narratives and stereotypes that have been made (and used against) African peoples throughout modern history. It utilises bass-heavy voices of dub poetry and jagged, dub-inflected percussion. Together, these elements have the piercing effect of presenting what Sankara Future Dub Resurgence describe as “Our African story” (as opposed to his story):
18th century literacy rates in West Africa
in places like Senegal
were two to three times higher
than any place in Europe at the same time
BOOM!
Plantation records in America
were often kept by enslaved African Muslims
using African languages written in Arabic script
because the slave owners could not read or write
BOOM!
In 1770, before the French and American revolutions,
There was a revolution in Futa Toro, West Africa
That not only abolished slavery, but kingsa
BOOM!
They can’t take the book from you
If you are the book.
The “BOOM” behind each message represents the power of remembering African knowledge-traditions in light of racist, historical erasure. As photographer and musician Aniruddha Das notes, “seldom is there ANY depiction of African people with books or reading.”
This EP was created physically and virtually with the collaborative forces of IR::Sankara Future Dub Resurgence, Herman “Soy Sos “Pearl, Dhangsha, the Professor Of Dub and others in the Shadows.
Lastly, this EP is incomplete without director Joshua Black Alibet’s film visualization of the track “When Visions Fall From Sky.” Filmed on the beautiful Ugandan island of Senene, it uses the natural lighting of the early morning sunrise to create luminous, soft textures. It draws on the subtleties of the colour spectrum in ways that evoke Daughters Of The Dust (1991), a landmark work of African-American cinema in which director Julie Dash handled lighting in ways that caressed its Black protagonists in a beautifully affirming manner. You can watch Alibet’s film here on Vimeo.
militant IR session ft SANKARA FUTURE DUB RESURGENCE, DHANGSHA, MAPU & APACHITA. Broadcast 18.07.20 on Raskattas Radio Show.
West Papua Liberation intro.
1 TWO THOUSAND SEASONS DUB
Black Panther Breakfast Club & Anarchism intro.
2. PERFECT BLACK LIGHT
Zoonotic meaning intro.
3. STANDING ROCK FUTURE DUB
4. WOMEN HOLD UP HALF THE SKY
5. FIRE
Intro for Afro Colombians, Indigenous people on the frontlines. Mariela Franco remembrance.
6. COLOMBIA N21
7. DREAMS ARE DUB REALITY
Intro: Dhangsha & Dj Soundar aiding in breaking musical convention.
8 IWA PELE
DUB MUSEUM, KAMPALA, UGANDA
Ras Issacs: flute, djembe, Nyabinghi drums
Kabaka: vox
Ras Kilomo: vox
Esaete: vox
Ras Charles: recording
Jozef Spin: translation
TURTLE ISLAND / CHILE
Mapu: vox, Aztec drums, shakers,
Apachita: vox.
Nico: trucata
Prasonik : wordsmith interventions at 4 am
COLOMBIA
Dub Code II: N21 demo and vox recording
UK
Dhangsha: electronics
Ramjac: mastering
FRANCE
DJ Soundar: sequencing
BRAZIL
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:
WE SEE YOU NOW.
For all those out there who would hinder our ability to breathe – you have revealed yourselves:
WE SEE YOU NOW.
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
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 memberof 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.
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 howDetroit 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 AyiKwei 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
IR has just launched a new album “IR54 If Thomas Sankara &Fela Kuti Were Here They Would Say FREE WEST PAPUA” a free album in support of the liberation movement for a free West Papua” it is available for FREE download from the dubdem website here http://www.dubdem.com.br/ir54
The album cover art is by Dubzaine and shows Kabaka Klacity Labartin and Ras Charles from Sankara Future Dub Resurgence alongside Apachita a 13 year old indigenous girl of Aymara and Dine ancestry after she had just finished
clandestine night time postering in support of a Free West Papua.
One of the tracks on the album is ” Dispacement ” by Ukweli feat Indigenous Resistance & Carlo Ertola.Toronto writer and culturalcritic Prasad Bidaye has this to say about the track:
“I’m really proud of this track by my brother Ukweli and Indigenous Resistance .Imagine a house record that’s beautifully lush and cosmic, but it also addresses the current genocide of indigenous peoples in West Papua at the hands of the Indonesian government. The spoken word goes deeper though and addresses the West Papuan people themselves through the wisdom of myths, metaphors, and medicine. To top it off, this message is accompanied by a sweet vocal sung in Ethiopian Amharic with touches of dub. #Outernationalism
There are a lot of house records that invoke Africa, but it’s more often than not in a romanticized way. There are very few that invoke indigenous struggles and traditions – 3 Generations Walking is the only one that comes to mind.
But “Displacement” is probably the FIRST that goes beyond invocation and actually intends to speak to the indigenous people outside of North America, let alone in West Papua. I’m pretty sure that this is historically unprecedented,”
Another track on the album is “Two Thousand Seasons Dub” by Sankara Future Resurgence & Dhangsha.This is the lyric video for the track:
The complete album features Dhangsha, Ukweli aka Curtis Smith, Carlo Ertola, Adrian Sherwood, Sun J, King Raab , Sankara Future Dub Resurgence. With tracks mastered by Ramjac, Ron Murphy & Dhangsha.
The album cover designed by Dubdem features Esaete and one the guardians of Odwa Kabaka Mukasa Kingdom in Uganda.
Track 1 Wire Cutter (Live Mix)
This track was a completely live improvised performance as Ras Isaac, Ras Charles and Kabaka labartin Klacity flowed alongside an electronic composition created by Dhangsha.
Guided by the Guardian of the Way & Ancestral spirits they create a live dub mix which not only celebrates music but fully joyously and fearlessly embraces moments of silence. As IR states in one of its art poster “In Silence We Prepare.”Moments of silence are often hallmarks of IR recordings.
Watch the video for this track here at https://vimeo.com/365382167/
Usually in the video some of these moments of silence are marked by images taken by IR of some special spiritual places and ceremonies. For example, the living tree in Eritrea that has a small church with a statue of a Black Mary inside the tree trunk as well as images from traditional Oromo spiritual ceremony taken near Ambo in Ethiopia where IR witnessed women go into trance during zar ceremonies. The moments of silence are alsomarked by the appearance of visuals showing fearless musicians like Dr Das, Detroit techno renegades like Underground Resistance (UR ) and eclectic experimental composer Laraaji.
Joshua BLACK Alibet and Ramjac later added some magic audio
These are the lyrics
As we contemplate
That which is outside
Time and space
This dhangsha track is what we use
To meditate
They attempt to wrap us in barb wire
Confine us
Define us
Stigmatize us
We use our wire cutter
To escape
So we can alter the mindscape
We only fear
the collapse of the imagination
Stagnation
A lack of indignation
At human rights violations
We will never respect borders
They aren’t of our making
Yes I conspire
Yes I seek to inspire
Yes I move with guile
Underground resistance
My style
We only fear
Fear itself
We only fear a collapse of the imagination
We use the wire cutter to reveal
There is life that comes from truth
There is life that comes from truth
The video for “Perfect Black Light” is far removed from downtown nightclubs, EDM festivals, and other the places we usually associate with underground and experimental electronic music. Instead, it takes you deep into the kireka neighbourhood in Kampala and the location where the 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 – struggle and survival – in this African city.
During the rehearsals for the filming of the video IR witnessed a beautiful scene in the yard .In the middle of a conversation with Kabaka about sacred ancestral places around Lake Nalubaale IR caught something out of the corner of our eyes.
An eight year old girl whose mother makes and sells banana pancakes in the space adjoining the yard was watching rehearsals. People told that she came to rehearsals every day she just loved the music.The mix for Perfect Black Light was put on the sound system speakers that was 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 !
In another corner of the yard people were sitting around a fire that going listening to the music that was playing and chatting among themselves.
After the Sankara Future Dub Resurgence track a roots reggae track by Gregory Isaac’s was put on and this was followed by a heavy instrumental dub track by Augustus Pablo and then a experimental beatless noise track from the Dhangsa 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.
At this vimeo link https://vimeo.com/365383330
You can an watch the video for this track which was filmed at the Dub Museum in Kampala Uganda where this track was recorded.
The video which was directed by Sozi Joesph, cinematography by Patrick Twine and edited by Joshua BLACK Alibet.You will be able to see the humble garage and yard in the Kireki neighbourhood where The musicians from Uganda Ras Isaac,Ras Charles and Kabaka Labartin Klacity recorded vocals and percussion to the fearless electronic noise composition by Dhangsha.
Apachita who is of indigenous Mapuche/Dene ancestry recorded her vocals in Turtle Island and relayed them to Uganda where they were integrated into the mix.
This is the same Apachita that is referred to in the track “Two Thousand Seasons Dub ” when Kabaka at the end of the track says
“Apachita, We See You Now with the dub warrior spirit, Keep it alive Apachita, you are the youngest warrior globally, we recognize your presence down here in Africa, much love and respect, Big up Apachita generation, future dub generation”
[Apachita the young indigenous warrior of Dene/Mapuche ancestry in center of picture with Kabaka on left and Ras Charles on right .She was 11 years old at time of this picture and had just finished doing clandestine night time postering in support of the liberation struggle of the indigenous people of West Papua.]
Here are the lyrics for the track
Lyrics
Normally when the people want to do a blessing for someone they say
Imagine them covered in white light
But I reflect
But what about black light
A perfect black light
Cuz black is positive and beautiful
With perfect black light
I bless the child so she might do right
In perfect black light
I raise the fist
Defiant silhouette in the night
In perfect black light
I easily find the pathway
To do right
In perfect black light
I see the dub seedlings grow
Apachita generation
Jah know
In the perfect black light
I put on headphones
To listen to black noise
Emphasise the bass
Dhangsha
Epitomes my taste
Re Wild
Re Define
Re Design
Thoughts from a Black anarchist mind
In a perfect black light
Revolution
My ultimate delight
creation is the way
That’s what I say
Deep Underground Beauty
Revealed in a perfect black light
Track 3 Two Thousand Seasons Dub
As the intro to this track states
“This is future dub for the liberation of the people of West Papua
This is coming to you live from in front of Lake Lake Nalubaale in Uganda .The music is by Dhangsha with dub inspiration from the book” Two Thousand Seasons” by Ayi Kwei Armah . This track is in memory of the indigenous writer ,photographer and publisher Greg Young ing who not only fought against colonialism but always encouraged people to think on future dub while staying connected to ancestral knowledge”
This is a musical lyrical meditation on colonialism past and present which is why the track starts and finishes with reference to the struggle of the indigenous people of West Papua to liberate themselves from modern day Indonesian colonialism .
The poem starts off talking about how colonialists started the practice of using” Black “to describe something evil and then how life got hard and difficult for the original people’s of the land.
The next paragraph talks about those original peoples who collaborated with the colonialists and who in the process gave up their minds and critical thinking but in exchange colonialists let them live.
Maafa is a term referring to the African holocaust when millions of Africans were killed during the slave trade .
We are making the point that in many ways colonialism still exists.
Chagos islands are British colony up to these present times
and just recently in February 2019 the United Nations declared that Britain was colonising the country illegally and must give it up.
Indigenous discolation is a reference to the various indigenous people forced off their land to make way for so called “modernisation projects ”
Then there is a commentary on modern day life where people are turned into zombies trying to rush and fit into the system; a system geared only to destruction.
Then we address the issue of land for African and indigenous people how we had our own land .
Land that was rightfully ours .
Land we didn’t get from trickery, violence or deceit .
But now the irony is some Africans have turned into migrants
risking their lives to cross scorching deserts
some ending up in slave markets in Libya being sold as slaves and then if they manage to escape that drowning at sea trying to cross from Africa to Europe.
So then we say well we always have had our land and we do have our land .A place where we were always welcomed where we could rejuvenate ourselves and be whole.
So then in this modern age we ask where are the people content with the simplicity of their lives .Where are those who are content with silience.
Living their life unhurried by the present.
The last two paragraphs are about the direction we can take
Connecting past and future , the importance of reprocity ..Giving not just taking And having a purpose of life and the importance of the revolt when necessary as we describe it
“The beautiful music of revolt”
We give deep dub thanks to Nina the Indonesian sistren for the translation of “Free West Papua ” that was recorded for the track, the Ethiopian sistren Her△n for the dub she contributed towards this creation and to the author Ayi Kwei Armah who wrote a classic book “Two Thousand Seasons”.You can purchase the book here from the author’s own publishing house :http://stores.bbkwan.com/two-thousand-seasons
Lyrics For Thousand Seasons Dub
Intro
❝This is future dub for the liberation of the people of West Papua
This is coming to you live from in front of Lake Lake Nalubaale in Uganda .The music is by Dhangsha with dub inspiration from the book” Two Thousand Seasons.”This track is in memory of the indigenous writer ,,photographer and publisher Greg Young ing who not only fought against colonialism but always encouraged people to think on future dub while staying connected to ancestral knowledge”
Two Thousand Seasons Dub
Our very colour the colonialists turned into the name for evil
From this poison there was no rapid wake up
Those who killed their own mind were spared their body
A people deaf to purpose are lost
From maafa to present day Chagos islands
We know the poison still continues
We see you now
Those with
Fidelity to those who spit on you
Dirty with the ash of the oppressors context
A people deaf to purpose are lost
Hurrying on the rush to destruction

Where are the guardians of the way
Where are the people content with the simplicity of their lives
Where are the people at ease with silience
This land is ours
This has always been our land
Where we began
With its sweet waters of welcome
Here we continue to flow from
And it is here we return to
Foundation restoration
Joining earth and sky again
❨ Swahili translation)

Where are the guadians of the way
Where are the people content with the simplicity of their lives
Where are the people at ease with silience
❨Swahili translation❩
A people sure of the past
Unhurried by the present
A future where the unadorned present is cherished
The way is creation
Avoiding the temptation to just become takers
Healers and those who see the future with dub imagination
Are
Called to link memory with prophecy
Called to pass on the truth of our origins
Called on to transmit dub visions of purpose
The way is creation
The beautiful music of revolt
❨ Swahili translation ❩
Apachita, We See You Now with the dub warrior spirit, Keep it alive Apachita, you are the youngest warrior globally, we recognize your presence down here in Africa, much love and respect, Big up Apachita generation, future dub generation.
Last words in track is Nina saying in Indonesian Bahasa
“Free West Papua”
❝TWO THOUSAND SEASONS DUB ❞TRANSLATION BY Josef SPIN.
English And Full Swahili lyrics
Intro
❝This is future dub for the liberation of the people of West Papua
This is coming to you live from in front of Lake Lake Nalubaale in Uganda .The music is by Dhangsha with dub inspiration from the book” Two Thousand Seasons.”This track is in memory of the indigenous writer ,,photographer and publisher Greg Young ing who not only fought against colonialism but always encouraged people to think on future dub while staying connected to ancestral knowledge”
Our very color the colonialists turned into the name for evil
Rangi yetu asili beberu aliigeuza ikawa jina la uovu
Those who killed their own mind were spared their body
Walioangamiza fikira zao walibakishiwa miili yao
A people deaf to purpose are lost, from Maafa to present day Chagos Islands, we know the poison still continues
Viziwi wa lengo ni wapotovu, kutoka Maafa hadi Kisiwa cha Chagos, twajua sumu bado yaendelea
We see you now, those with fidelity to those who spit on you. Dirty with the ash of oppressors context
Twawaona walio na uuminifu kwa wanao tutemea mate. Walichafuka na jivu la muktadha wa myanyasaji.
A people deaf to purpose are lost, hurrying on the rush to destruction
Viziwi wa lengo ni wapotovu, kwenye mbio za uharibifu
Where are the guardians of the way. Where are the people at ease with silence
Wapi walinzi wa njia,
where are the people at ease with the simplicity of their lives
wapi walioridhika na kimya
This has always been our land, where we began with it’s sweet waters of welcome. Here we continue to flow from and it is here we return to foundation restoration, joining earth and sky again
Hii ardhi ni yetu, daima hii ardhi imekua yetu, tulipotangulia na maji matamu ya kukaribisha. Hapa twazidi kutirilika na tumerejea kwenye misingi ya kurudisha upya, kuunganisha ulimwengu na ubingu tena
A people sure of the past, unhurried by the present, a future where the unadorned present is cherished
Waliohakikisha yalio na, wasio na haraka na sasa
Healers and those who see future with dub imagination are called to pass the truth of our origin, called on to link memory with prophesy
the way is creation, avoiding the temptation to just become takers’ ‘Njia ni uumbaji, kuepuka jaribu la kuwa wachukuzi,’)
Waponyaji (Healers…) na wanaoona yajayo na mawazo ya dub, wanaitwa* ili kufunza ukweli wa asili zetu, wanaitwa* kupasha mawazo na kusudi ya dub
The way is creation
Njia ni uumbaji.
Muziki mtamu wa uasi
Apachita, We See You Now with the dub warrior spirit, Keep it alive Apachita, you are the youngest warrior globally, we recognize your presence down here in Africa, much love and respect, Big up Apachita generation, future dub generation.
Last words in track is Nina saying in Indonesian Bahasa
“Free West Papua”
NOTES
*wanaitwa, means “are called”. Kabaka says *walioitwa, meaning “were called”
Track credits
Uganda musicians
Ras Isaacs:percussion
Ras Charles:dj
Vocals :Kabaka labartin Klacity
Guest vocals : Nina from Indonesia
Fearless Electronic noise soundtrack by Dhangsha
Mixed by Dhangsha
Mastered by Ramjac
Track 4. Revolution Dub
This is the primarily instrumental version of the track Perfect Black Light .This is a musical meeting of the fearless electronic noise compositions of Dhangsha meeting the ancestral knowledge and dub of the Ugandan musicians known as Sankara Future Dub Resurgence.
We urge folks to check out the Dhangsha cassette “Future Tense ”
Available here dhangsha.bandcamp.com/album/future-tense
Apachita who is of indigenous Mapuche/Dene ancestry recorded her vocals in Turtle Island and relayed them to Uganda where they were integrated into the mix.Dhangsha emphasises her vocal exhorting Revolution with heavy reverb fitting to the dub roots of this track .This is the same Apachita that is referred to in the track “Two Thousand Seasons Dub ” when Kabaka at the end of the track says
“Apachita, We See You Now with the dub warrior spirit, Keep it alive Apachita, you are the youngest warrior globally, we recognize your presence down here in Africa, much love and respect, Big up Apachita generation, future dub generation.”
Mixed by Dhangsha
Mastered by Ramjac
Guest vocals by Apachita
Percussion by Ras Isaac
Uganda sound engineering by Ras Isaac and Ras Charles
Una hermana Dub de Eritrea, Mimi Ketelya, nos envió este inspirador comentario acerca del nuevo diseño de IR” “Mientras ella hablaba, él escuchaba en silencio” Su comentario provocó una conversación Dub y pensamientos, así que queremos compartirlo con ustedes ❝Selam, la imagen que publicó hoy me hizo sonreír tan gratamente que tuve que compartirlo. Es tan tan empoderante y simple. Me hizo repensar y corregirme para que mi energía esté limpia y pueda generar confianza cuando hablo. Me recordó mi responsabilidad como mujer también. Doy profundas gracias”❞.
El diseño en realidad surgió porque un miembro masculino de IR que se mueve en las sombras nos envió esta frase. Esto es lo que él escribió: ❝Yo estaba con estas hermanas Dub cuando una de ellas corrió a donde su otra hermana, las dos estaban compartiendo un montón de historias muy interesantes, así que me quedé callado y escuché. Después de un tiempo una de las mujeres se disculpó conmigo y me dijo: “Lo siento, estamos hablando demasiado”. Entonces le dije: “No tienes nada que disculparte, lo que estás hablando es muy Dub y estoy aprendiendo mucho”. Cuando nos íbamos, la misma mujer me dijo: “Gracias, he aprendido mucho de su silencio”❞
De Dr Das: ❛gracias por este mensaje y la historia detrás de la nueva frase de IR “Mientras ella hablaba…” Increíble! Escuchar, en esta sociedad, particularmente en este mundo patriarcal, es tan menospreciado, es considerado como una actividad ‘pasiva’, o incluso un acto de debilidad. En realidad, es empoderar tanto a la persona que es escuchada, como al oyente❜
Desde Tapedave ❝Hombres, silencio cuando las mujeres hablan. Podrían aprender algo❞
Gracias a Dub in The Shadows por la traducción
Dub Reality 