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dc.contributor.authorWall, Nen_US
dc.contributor.editorAntwi, Pen_US
dc.contributor.editorBucknor, Men_US
dc.date.accessioned2022-02-02T15:39:13Z
dc.date.available2021-10-30en_US
dc.date.issued2021-12-20en_US
dc.identifier.issn0258-8501en_US
dc.identifier.urihttps://qmro.qmul.ac.uk/xmlui/handle/123456789/76580
dc.description.abstractThis article engages in depth with the poetics of Jamaican Canadian dub poet, playwright and performer d’bi young anitafrika. Focusing primarily on anitafrika’s one-woman play blood.claat, it argues that her aesthetic is both powerfully unique and distinctively Canadian, negotiating her twin heritages as daughter of a celebrated Canadian dub poet and inheritor of a broader dub tradition through its meditations on black women’s bodies, motherhood, matrilineality, resistance and voice.en_US
dc.format.extent106 - 130 (24)en_US
dc.languageEnglishen_US
dc.publisherUniversity of the West Indiesen_US
dc.relation.ispartofJournal of West Indian Literatureen_US
dc.subjectDub poetryen_US
dc.subjectdub performanceen_US
dc.subjectd’bi.young anitafrikaen_US
dc.subjectblood.claaten_US
dc.subjectbiomyth monodramaen_US
dc.subjectNanny Maroonen_US
dc.subjectLouise Bennetten_US
dc.subjectmatrilinealen_US
dc.subjectmotherhooden_US
dc.subjectCanadaen_US
dc.subjectJamaicaen_US
dc.subjectNation languageen_US
dc.subjectCreoleen_US
dc.titleCatching Bullets with Her Ass: Matrilineality and the Canadian Dub Poetry Tradition in the Work of d’bi.young anitafrikaen_US
dc.typeArticle
pubs.issue1en_US
pubs.notesNot knownen_US
pubs.publication-statusPublisheden_US
pubs.volume30en_US
dcterms.dateAccepted2021-10-30en_US


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