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| | LiP | Feature | Firespitter |
 | | The case that I want to make here is not only for Jayne Cortez as a dub poet because of her concern for what she calls “the poetic use of music,” but for dub poetry as a fully diasporic idiom. |
 | | As Cortez has said of her friend, Leon Damas, who she called “the Red Pepper Poet”; with a “bullroarer tongue,” one could likewise say of her: “Damas was like his poems: quick, precise, sharp, ironic, intense, humorous, confrontational, nonconforming, on the edge, not for commercial use, and not for sale. |
 | | However, as Cortez knows, because of her empathy with the Negritude poets, when dub poetry is constituted only of the African diasporic experience as seen through an Anglophone lens, whether Caribbean, North American or English, it neglects the diversity of its patrimony. |
| www.lipmagazine.org /articles/featsakolsky_jaynecortez.htm (1923 words) |
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