IR60 Indigenous And Black WisDub :A Soundbook And Soundtrack For Critical And Cultural Resistance

Indigenous
and Black
WisDub
Ebilotoh and Dubzaine
A Soundbook
and Soundtrack
for Critical
and Creative
Resistance
#60

AFREEKAN DUB BIOGRAPHIES#2
IR60
Indigenous
and Black
WisDub
A Soundbook
and Soundtrack
for Critical
and Creative
Resistance
By Ebilotoh
and Dubzaine

The cover of the book shows
the famed resistance leader
Pîhtokahanapiwiyin,
also known as Poundmaker,
an Indigenous warrior from
Turtle Island. He had long
dreadlocks and great
spiritual power.
Textual engineering:
Prasonik
Proofreading:
JAHTEECHA
Graphic Design:
Dubzaine
This is an autonomous production created by
IR :: Indigenous Resistance • Atuadub • TFTT
Contact IR at: jahdub.ghost.stories@gmail.com
Check out IR blog at dubreality.wordpress.com
Fb: IR::Indigenous Resistance
For the next generation dub youth: Apachita, Dehcho,
Luana, Hulk, Soumil, Blen, Amenti, Aluna, Hannah,
Amen, Illa Kye and others in the shadows.
AFREEKAN DUB
BIOGRAPHIES#2
PUBLISHED BY TFTT-IR • ATUA DUB • 2021 • 978-1-927801-21-5
TORONTO • SÃO PAULO • BOGOTÁ • MEXICO CITY • KAMPALA

^
pîhtokahanapiwiyin

Table of Contents:
THE MIXING
BOARD
We take this opportunity
to salute Leonard Peltier,
Mumia Abu Jamal and
all political prisoners
as well as the good folk
of D.C.C.N and Sosolakam
where this book was written.

07
10
15
24
28
33
35
42
46
67
73
104
109
114
142

6 7
‘

7
Track 1
Bass

D
reams - the experience and the interpretation - have
paramount importance in many cultures, especially in
the artistic traditions of Indigenous Peoples. As a result,
dreams also carry great significance for the work of IR.
Years ago, we visited a sacred valley in Zimbabwe, a place known
for its ancient monuments. We spent the night there, sleeping in a
circular structure. That night, in a dream, we saw very clearly the
cover and various pages of a book on Native philosophy.
Two years later, we visited Jeannette Armstrong in the
Okanagan Valley and she wanted to show us a project she had just
completed. She took out a book titled The Native Creative Process.
It was a collaboration between herself and Douglas Cardinal with
photographs by Greg Younging. The book was a discussion of
Indigenous philosophy, released by the Indigenous-owned and
operated press, Theytus Books.
When we looked at the book, we were astounded. It was exactly
the same as the book we saw in the dream we had in Zimbabwe. We
came to understand the philosophy of The Native Creative Process
as a cyclical process: dreaming about the book, encountering a
physical copy of the book, and remembering the dream to connect
the inner vision with the outer reality.
This set of experiences taught us the importance of making this
philosophy more widely available so that it can enrich people’s lives.

10
Track 2
Drums

“
T
he fluid combination of drum and bass is crucial to
creating the rhythm that drives many a reggae and dub track. In the
dub tracks we create, sometimes we will focus on one drum
rimshot, isolate it in the mix and throw a lot of echo and reverb on it.
At other moments, you will hear a drum rimshot followed by
total silence. In the dub tracks we create, sometimes we will focus
on one drum rimshot, isolate it in the mix and throw a lot of echo
and reverb on it.
Like many Indigenous cultures, dub music values the quiet
moments. Moments of silence. As our friend George from the
Solomon Islands commented to us:
What is not said in Melanesian
communities is often more
important than what is said.
“
We thought this was a very dub comment.
Someone once remarked after listening to a piece of dub music
that the track felt incomplete, something was missing.
However, realizing that they were accustomed to listening to
music that followed more conventional forms, we suggested they
go back, listen to the tracks again and try to really listen for all the
subtleties in between the moments of silences. A couple of days
later, they returned very animated, pointing out all the new things
they were able to pick out.
This book is meant to be like tracks of dub music, where the
words of wisdub echo like drums, the blank spaces are quiet
moments of reverb, and repeated reading (like repeated
listening) opens new frequencies.

Track 3
John Trudell
John Trudell was a Santee Dakota poet and
Chairperson of the American Indian Movement.
He was described by the F.B.I. as being one of
the most dangerous men in America solely
because of the power of his oratory.
15

L
eaders know
you can't trust one
who follows
Followers know
not to trust
one who leads
It's like control
It's a mistake
to try and be in control
Influence
influence
the best you can
Use your mind as
clearly as possible
to influence what
is happening

Now why would I want to save democracy?
Just plain and simple realities
Why would I want to save what is essentially
a Nazi outfit and Nazi operation?
To my people
democracy did what the Nazis did to the Jews.
This is no name calling
This is the reality
so why would I
as an Indigenous person
a Tribal person
want to save democracy
make it
better
Now if you were Black,
democracy told me that I was property
and when they got off that, they just continued
to treat me as if I was property
and imply to me that I am inferior
So if I am Black
why am I concerned about saving democracy?
If I am woman
democracy is based on the principle
that I have no say

They say
whoever has the most money
has the most power.
That's not true.
Whoever makes the most money basically is
greedy
They say
whoever controls the political vote system
that’s power.
No - that's not power.
That's exploitation and deceit.
But if we believe
that these things are power
then obviously we don't know ourselves
and we don't trust ourselves enough
to know that we are connected to the real power source
which is life and earth.

We live in a political society
where they have all the power
by their definition of power,
but they fear people who go out
and speak the truth.
That's why they spy on political organizations.
That's why they spy on themselves.
They say we are paranoid.
I am paranoid
Because I don't trust them.
They have never given me one instance
when they could be trusted.
They are afraid we are going to use our minds
use our minds to seek clarity.

Motive intention behavior:
these things must be in sync.
Our motives must be in sync
with our intentions
Our motives must be in sync
with our behavior.

Isolation
kindling separated from the spark
We have been deliberately programmed
with the wrong conception of what
the value of worth is really about.
You have to understand
the intensity of the attack
the respectability and legitimacy of the attack.
From the time most of us were children,
television was there to tell us
other children would like us better
if we bought these things.
And we have not escaped it.
Now they say
buy these kinds of cars
this kind of deodorant
this kind of underwear.
It's advertising for the human,
but it's also an assault against our spiritual
integrity
That we will be better
the more we consume.
It's like junk:
it creates a need.

Be aware
your minds are being drugged.
It's the material junkies.
It's the hope and promise
that things will get better.
But generally in most minds,
“things will get better” relates
to material rewards.
We worked your jobs
still we are poor.
We die in your wars
and you make more wars.
We obeyed your laws
still we are not safe.
We gave you a chance
and still you don't trust us.
We wanted to get along
still we are wanted.
We heard what you said
still you are talking.
We drank from your well
still we are thirsty.

Track 4
Jean Binta Breeze
Born in Jamaica, with Indigenous
Taino ancestry, Breeze is a visionary
and acclaimed writer, dub poet,
and theatrical performer.
24

O
n any land that makes up this planet called Earth,
there were people that were put there by the Creator and who by
the very fact that they were the first people of the land share an
understanding of that land, how to tread on that land, how to live
on that land without destroying it. How to love that land as
something given to one to take care of. So I think that whoever we
are, where we come from, when we are on somebody's land, we
want to make contact in an extremely humble way with the Native
people that the Creator has blessed with knowledge of that land.
Part of our problem is that often
when we go onto other people's
land we walk with such arrogance.
Sometimes we bring with us a mentality that says because we
have certain things, we have more power, and we misinterpret
the humility of the people who know and love that land.

Track 5
Douglas Cardinal
A Métis pipe carrier and renowned
architect, Douglas Cardinal was
responsible for the design of the
Canadian Museum Of History
located in Hull, Canada.
28

S
o it’s almost like a barometer: the more upset they are
getting, the more you must be doing something right, the more
you must be achieving something. People think that when they
achieve things that everybody is going to come and applaud
them. They don't realize that when you are achieving things,
that's when everybody is really upset. Because you are shaking
up their lives, you are making them think, you are making them
uncomfortable with what is known. So if you expect any rewards
in that way for changing things, you aren't going to get it. No one
appreciates you changing anything. There's too much invested in
the status quo. You have to be a warrior in that sense of realizing
that you will get all sorts of adversities.
Well, I think the whole way of looking at women is wrong. We
don't look at women as people with minds, as people that have a
great deal to contribute. Women as partners. Our society looks at
women more or less as objects, sex objects, as mothers, as
nurturers. It's changing quite a bit now. There are more doors
open to them, but still there is a great deal of sexism. Men feel
intimidated in the workplace with women as bosses or equals.
One has to state that all the premises that men have of women are
basically wrong and you start from there. Even the language is
wrong. The whole way of languaging, the way we speak, comes
from a paternalistic, Judeo-Christian religion that is entrenched
in our language. We almost have to recreate a new language
which shows respect for women. I think, as men, if we walked in
women's shoes for a while, we would be outraged.
I think it would be a major step for a man to try and sense what
they [women] feel, the messages they receive from the media,
trying to really understand what they are going through.
We define ourselves as not-women and I think that's part of the
problem. We say we love our women, but we are thoughtless in the
way we act and talk and have expectations on them.

The way one is cultured and programmed as a man makes it
really hard to go over and really walk in the shoes of a woman
and understand the difficulties they have living in this society.
The whole built environment has no relationship to women and
children. It is hard power, it’s ego, it's phallic. There's nothing
that is nurturing or empathetic about our built environment.
Our cities are physical manifestations of where we are at.
Women and children do not belong in our cities. Just a bunch of
power-tripping men belong in our cities. They are not fit places
to develop and grow. Apartments aren't designed for women
and children. It's almost as if that they are forced to live in alien
surroundings in order to survive.
I think we have a responsibility to get over there with the
women and to walk with them. We have the responsibility to
understand where they are coming from, to listen and to
respond to them. And it's hard sometimes because they have
also been programmed by men to be our reflection instead of
themselves. But when women speak out from an
understanding of who they are as women and what their
contributions are, we should listen and support them, rather
than domineer and annihilate them, and it should be our task
to learn from them.

Track 6
Jeanette Armstrong
An Indigenous Okanagan
novelist, poet, educator,
sculptor, and singer.
Her books include Slash
and Whispering in Shadows.
This track addresses the
patterns of violence that
surface in racial and
colonized contexts, but which
are also at core of misogyny
and violence against
Indigenous women.
33

I
got a clear message from my grandmother
that no one has a right to coerce
or own another person
or act in a way which determines by force
that the person doesn't have a choice.
No person
has that right
over another
person.

Track 7
Tuhunnu,
Pesio and
Ebilotoh
Tuhunnu and Pesio
are Indigenous musicians
from the Solomon Islands
in the South Pacific.
35

T
he money world
is full of noise
people making noise
because they
are afraid of silence
in the silence
they will see
their guilt
In the sacred way
you see your meaning
they have to talk
because they are
afraid of silence
and in that noise
they make empty promises
that they aren't related to
when you are quiet
you are connected
your silence brings out
your understanding that
you are part of the sacred world
and your connection to it
it's the silence that connects you
to the sacred world

even before heavy rainfall
you can feel the presence
of something about to happen
there is a
s i l e n c e
the money world doesn't hear this...

. . . s i l e n c e

if you have doubt
about someone
wait and watch
because the more
you wait
the more the person will
reveal their true character
Indigenous people were dependent
on survival skills
the emphasis was on using your
survival skills, knowledge and understandings
in order to be productive
in order to survive
whereas today people are busy
for the sake of being busy
it's often not about being productive
in the Indigenous world
you are free to move
free to be creative
you aren't bound
limited by material possessions
and at the same time, you have learnt survival skills
to survive in tough and trying times
in contrast,
if you remove someone
out of their familiar context in the money world
they are helpless
they need that money world to make them stand

in times of danger, be still
observe
the money world
this money world
is moving too fast
for people to take notice
of things
things that are important
this is the blindness that will defeat them
open your eyes to the concept of sacred things
in the ways of the sacred Indigenous world
the people's eyes were open
they were encouraged not to concentrate on
accumulating material possessions
instead, they were taught to accumulate
a wide range of survival skills, knowledge and understandings
they could take with them wherever they traveled and moved
these are the ways of the sacred Indigenous world.
understand the concept of sacred things
learn that they are moments to hold things close
wait,
wait for the right moment to reveal them
because they will carry with them a sacred power
learn,
learn to be quiet
there are moments to speak
moments to listen

Track 8
Krikati People,
Dhangsha ,
Prasonik and
Huey P. Newton
42

A
ll rhythms
and frequencies
carry the potential
to be activated
as political
metaphors
by those
who listen
closely and carefully
The resistance
underground
continues....

Track 9
IR :: Indigenous
Resistance and
Carlo Ertola
Carlo Ertola is an Ethiopian musician,
singer, sound engineer and content creator.
46

Displacement
In memory of Greg Younging
We send this out to the people of West Papua
who are experiencing current, modern-day colonization:
Indonesian transmigration.
Let's rewind in time
when our melanin
became a synonym for evil
under those who would have us despise ourselves
to further their own selfish methods of
exploitation
domination
subjugation.

From this poison, there was no rapid wake-up.
Abandoned abundance:
life turned into ever-sharper cruelties.
We see you
those with fidelity to those who spit on you
dirtied with the ash of the oppressor’s context.
Those who killed their own mind
were spared their body.
A people deaf to purpose are lost.

From Maafa to present day Chagos Islands
the poison still continues today.
West Papua Highlanders suffer
as phosphorus dropped from the air
Our ancestors cry out
Where are the guardians of the way?
Where is the respect for life today?
Where are the people content with the simplicity of their lives?
Where are the people
at ease with silence?
A people deaf to purpose are lost
hurrying on the rush to destruction.
The noise the hypnotised zombies make
Transmigration policy designed to displace us
But our spirit knows
The land is ours
Not by murder, theft
By way of violence
Or any other type of trickery

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
This is what we fight for
This is what we sacrifice for
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?
A people sure of the past
Unhurried by the present
A future where the unadorned present is cherished

The way is creation
Avoiding the temptations to just become takers
Reciprocity the key word in any deed
Healers, seers, imaginers, rememberers, utterers
Called to link memory with prophecy
Called to pass on the truth of our origins
Called to transmit dub visions of purpose
To those struggling for survival
The way is creation
The beautiful music of revolt
The utterers transmitting seen visions of purpose
Midnight voices from the source

Track 10
IR :: Sankara Future
Dub Resurgence
IR :: Sankara Future Dub Resurgence is based
in Uganda. In 2021, they released the album
Rising Up For The Dub World Within.
67

Anarchist Africa

S
ometimes 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
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 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
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 own 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 it´s necessary
to question the paradigms
that have been implanted
in our minds.

Track 11
Prasonik
and Ebilotoh
73

Prasonik:
In the UK of the 1970s and 1980s, the racial concept of “Black”
identity was redefined by anti-racist activists as a political
category. As Reni Eddo Lodge explains in Why I’m No
Longer Talking About Race, “the concept of political
blackness was used to refer to anyone who wasn’t white, in the
spirit of solidarity.” Generally, this meant Africans, Caribbeans,
and South Asians. Political Blackness was thus used not in
reference to a particular race, but rather to shared experiences of
racism. It was also indirectly a reference to colonialism because
Black communities in the UK were made up of immigrants from
Britain’s former colonies.
Ebilotoh:
Recently, I was reading an article on the history of the Indian
independence movement that spoke about how so many
important Indian revolutionaries who fought for independence
had been unfortunately erased from the historical accounts of
those movements - all because they did not share a nationalist
fervour.
The legacy of Marcus Garvey parallels this. He is well known
for his influence on Caribbean anti-colonialism, especially among
the Rastafari, but he is less known for his influence on other
revolutionary leaders. For example, Malcolm X’s parents - Earl
and Louise Little - were active members within their local
chapter of Garvey’s Universal Negro Improvement
Association in Nebraska. The great Vietnamese leader Ho Chi
Minh was known to have attended Garvey’s lectures in Harlem
years before he became a leader of the Vietnamese people.

Track 12
Assata Shakur
Jeanette Armstrong
Douglas Cardinal
Ebilotoh
Black activist Assata Shakur has devoted
many years of her life to radical activism.
She has also survived assassination attempts
by the Amerikkkan government and
imprisonment on false charges. In 1979,
she escaped from a high security prison
and eventually fled to Havana, Cuba,
where she continues to live today.
Rapper Tupac Shakur was her nephew.
104

Jeanette Armstrong and Douglas Cardinal:
I have often spoken about being a warrior from the Native
perspective. Such a warrior operates from commitment and a way
of being, a commitment to take a stand. A stand can be all sorts of
positions coming from one understanding. It is a willingness to
sacrifice everything except your truth, your way of being, your
commitment. The ultimate stand is to do something with your life
that will make a difference. I learnt from my Native ancestry the
power of commitment and the magic of bringing something into
being. I learnt we are magical in this indefinable world where
anything is possible because we are human beings.
Assata Shakur:
I will be honest with you. I hate war in all its forms: physical,
psychological, spiritual, emotional, environmental.
I hate war and I hate having to struggle. I honestly do because I
wish I had been born into a world where it was unnecessary. This
context of struggle and being a warrior and being a struggler has
been forced onto me by oppression. Otherwise, I would have been
a sculptor or a gardener, a carpenter - I would be free to be
much more.
I guess part of me, of part of who I am, and part of what I do is
being a warrior, a reluctant warrior, a reluctant struggler. I do
it because I am committed to life. We can't avoid it. We can't
run away from it because to do that is to be cowardly. To do that is
to be subservient to devils, subservient to evil. And so that the only
way to live on this planet with any human dignity at the moment is
to struggle. We need to struggle against those who make war
against humans, against the earth. We have to struggle against
them or otherwise we will be annihilated - the earth will be
annihilated.
We can't go forward till we get rid of the oppression we are
living under, till we get rid of that imperialistic octopus that is just
taking our life force away. We have no choice.

I guess part of me,
of part of who I am,
and part of what I do
is being a warrior,
a reluctant
warrior
A reluctant
struggler
Assata Shakur

Rod Taylor.
•Lonely Girl•
album cover.

Track 13
Dr. Butch
Bilal Ware
Dr. Ware is the author of the book,
The Walking Qur’an. He also teaches a
course, The African Qur’an, in which he states,
“The Qur’an, though Arabic in language,
is largely a book about Africans. Most of its
stories take place in Ancient Egypt.”
109

I
have made the following supplication:
Please put me in the place
where I can make the most benefit,
to the most people,
so I can undo the harm
I have done to my own soul.

So Rasta can't tell nobody
what to think
Rasta can't force nobody
to believe I
If people no want fe begin
with the reality
And work their way to reach
the ideal I…
“Live Right (Love Right)” by Midnite
Lyrics written by Vaughn Benjamin"
Lij Tafari Makonnen (circa age 3),
Haile Selassie King of Ethiopia as a child

114
Extended
Dub Mixes

Studio
Tech Notes

John Trudell recorded during bumpy car ride in New York City.
Assata Shakur recorded in Havana, Cuba.
Pesio and Tuhunnu recorded in Sosolakam and Solomon Islands
in the South Pacific.
Douglas Cardinal recorded in the hallway of the Canadian
Museum of History in Hull, Canada.
Philosophical wisdubs from Jeannette Armstrong and Douglas
Cardinal on Tracks 6 and 12 can be found in The Native
Creative Process published by Theytus Books. Those
interested in deep basslines should definitely make an effort to
access this very rich source.
Jean Binta Breeze’s work can also be accessed through
Understanding the Connections between Black and
Aboriginal Peoples, published by The Fire This Time.
Some of the poetry by John Trudell featured on Track 3 can be
accessed on his cassette, Tribal Voices. Trudell’s recordings
contain an abundance of hidden frequencies well worth tracking
down.
Krikati people recorded in Krikati territory, Maranhão, Brazil.
IR::Sankara Future Dub Resurgence and Carlo Ertola recorded
in Uganda and Ethiopia.

Soundtrack
Indigenous
and Black
WisDub
A Soundbook and
Soundtrack for Critical
and Creative Resistance
#60

T
his book is accompanied by a soundtrack of selections from
the IR discography. It is titled IR60 Indigenous and Black
WisDubs: A Soundbook and Soundtrack for Critical and
Creative Resistance. It can be found on the IR :: Indigenous
Resistance page on Bandcamp:
dubreality.bandcamp.com/
Some of the musical tracks feature words found in this book.
This is the track listing for the album:
1. Krikati Empowerment Mix
2. Displacement ...For The People Of West Papua
3. Reflecting on Laos Dub While On The Ho Chi Minh Trail
4. Silence Joins Sky and Earth (Witness the Insurgence)
5. Stand Together
6. Anarchist Africa
7. WisDub From Assatta Shakur

Filmography
According to spiritual teachers from multiple
traditions, our senses are an important source
of knowledge.
Seeing is associated with believing, hearing is
associated with understanding.
Our eyes and ears also complement each other,
and so in IR’s work, sound accompanies vision,
image accompanies text.
This book comes with a soundtrack and its
messages are further extended with three films,
directed and produced by Joshua Black Alibet
and IR::Sankara Future Dub Resurgence on
location in Uganda, East Africa.

As you watch these films, remember to listen. As you listen, seek
out the frequencies that cannot be heard. Listen to how they
complement what cannot be seen.

FILM 1
youtu.be/lPnOfmzzNWY
When
Vision
Falls
From Sky

African Literacy

Indigenous
Wisdom
Keepers
& Healers
Keshiyankwat

Autelohom
(Maya Popti')
Itz'

James
Carpenter

FOR ALL THOSE OUT
THERE WHO WOULD
HINDER OUR ABILITY
TO BREATHE - YOU HAVE
REVEALED YOURSELVES
WE SEE
YOU NOW

FOR ALL THE SISTERS & BROTHERS OUT THERE
READY TO ENGAGE WITH OPEN HEARTS AND MINDS
WE SEE YOU NOW

FILM 2
dubdem.com.br/silence
When
Silence
Rises
from
Earth:
4’33”
An African Ceremony for
an Anti-Colonial Future
(More Than Cage
Imagined Mix)"

u b i p

FILM 3
dubdem.com.br/silence-sky-earth
Silence
Joins Sky
and Earth
(Witness the
Insurgence)
In memory of J

Silence from
the Dub World
for Indigenous
Children on
Turtle Island

Photo
Index
This index contains rare gems of
knowledge as well as signposts for
those who want to go deeper into
the histories of the people and
places featured in this book.
The dub is in the details.
Burrning Spear,
live concert
set list.
142

King Jammy’s mixing board.
Photo by Dubdem at Jammy’s,
Kingston, Jamaica, 2006.
Track 1
Bass
P.07
Legendary Jamaican bassist
Robbie Shakespeare from
Sly & Robbie, classic riddim duo.
Photo by Manfred Becker, 80s.
Track 2
Drums
Legendary Jamaican drummer
Sly Dunbar, also from Sly & Robbie,
on tour with Peter Tosh in Cardiff,
Wales, 1979. Photos by Tim Duncan.
P.10
Nyahbinghi Bobo Shanti drummers
of Daniel No.1 Band.
Ethiopian celebration, The Feast
of Timket. Postcard, circa 50-60s.
Photo by George Talanos,
Addis Ababa, Ethiopia.
Traditional Indigenous ceremony
in North America. Photo by Patrick Frilet.
Women’s Ashenda celebration in
Mekelle Tigray, North Ethiopia.
Photo by Thera Mjaaland -
Theram Production, 2018.

Track 3
John Trudell
Photo by RPA.
P.15
Oromo sacred tree,
Ambo, Ethiopia. Photo
by Ebilotoh.
Track 4
Jean Binta Breeze
P.24
More poems and
biography at
https://poetryarchive.org/
poet/jean-binta-breeze/
Track 5
Douglas Cardinal
P.28
Two collages by Dubzaine imagining Indigenous people
from Turtle Island travelling in Jamaica. As Prasonik
notes, these collages are deeply subversive on multiple
levels. They challenge us to see Indigenous peoples as
travellers to lands and countries that are not of their own.
They also display a non-touristic sense of respect for the
land as well as hospitality from the land, while reminding
us to see the streets of Kingston as “land.” These collages
are not mere fantasy: they were partially inspired by IR’s
experience of meeting an Indigenous person in the hills of
Jamaica during the early nineties. The latter came from a
rural area on Turtle Island and was inspired to visit after
seeing images of Jamaica and Jamaican culture.
Samples of Cardinal’s
work can be found at
http://www.djcarchitect.com/
Baro River, Gambela Region, Ethiopia.
Photo: UNICEF Ethiopia 2005 /
Getachew via Flickr (CC BY-NC-ND).
Piegan Encampment, Montana, North America, 1910.
Photo by Edward Curtis.
Ancestral Indigenous Pueblo dwellings on
Turtle Island. Photo by George H. H. Huey..

Track 6
Jeanette Armstrong
P.33
Circa 1985.
Songhai youths, Sudan, Africa,
mid-20th century.
Track 7
Tuhunnu,
Pesio and
Ebilotoh
P.35
Early Ethiopian
radio broadcasters.
Huey P. Newton mural in
Kensington Market, Toronto,
Turtle Island painted by
Afrikan Anarchists,
members of Industrial
Workers Of The World,
and other anarchists
in the shadows.
Track 8
Krikati People,
Dhangsha,
Prasonik and
Huey P. Newton
P.42
Photo of a West Papuan
woman with her face
painted in the colours
of the West Papua flag.
Photo by Alexander
Pototskiy, Wamena, 2011.
She is among the many West Papuans who inspired
Displacement, which is on the soundtrack for this book.
“Displacement” is a collaboration between IR :: Indigenous
Resistance and Ukweli. The lyrics are in English and the
Ethiopian language Amharic. The Amharic lyrics are sung
by Ethiopian singer Carlo Ertola. This track also draws
on the dub of the book Two Thousand Seasons
by Ayi Kwei Armah.

Track 9
IR :: Indigenous
Resistance and
Carlo Ertola
P.46
Vintage photos
of North American
Indigenous Peoples.
Images of Ethiopia
from vintage postcards,
circa 1950-60's.
Photos by George
Talanos.
Track 10
IR :: Sankara Future
Dub Resurgence
P.67
Kabaka Labartin Klacity
at African Dub Museum,
Uganda, East Africa.

Track 11
Prasonik
and Ebilotoh
ONE
BLOOD
ONE
AIM
ONE
DESTINY
Junior Reid´s One Blood
studio, Kingston, Jamaica.
Photo by Dubzaine.
P.73
Three images relating to the Ghadar Party, an diasporic
Indian anti-colonial movement from the early twentieth
century: the Ghadar Party flag, mirroring the red-goldgreen
colour scheme of pan-Africanist movements;
three of the founding members standing proudly together,
despite being arrested a revolt against British oppression
in 1910 (photo by Kesar Singh, courtesy of Amarjit
Chandan Collection); and Ghulab Kaur, a fiery woman
who left her husband, joined the Ghadars while in the
Philippines, and distributed revolutionary literature and
weapons while disguised as a journalist. Details on her
life are scant, but preserved in the Punjabi-language text,
titled Gadhar di dhee - Gulab Kaur (Gadhar’s
Daughter - Gulab Kaur) written by S. Kesar Singh.
Frantz Fanon, psychiatrist and anti-colonial philosopher
born in Martinique, 1925. Author of many books, including
Black Skin, White Masks and The Wretched of the
Earth, excerpts of which were narrated by rapper-singer
Lauryn Hill in the documentary film, Concerning Violence.
Yuri Kochiyama, a Japanese-American
revolutionary activist. She was a close
friend of Malcolm X and was among
the first to hold his body immediately
after his assassination on Feb. 21, 1965.
Indian anti-colonial revolutionary
Bhagat Singh.
Baburao Shedmake, who led
hundreds from his own community of
Indigenous, Adivasi, Gond people to
revolt against the British during the
1857 rebellion.

Photo taken in 1936 of an unknown Black
man holding an anarchist flag in combat
fatigues. He was a member of the Bakunin
Barracks fighting in the Spanish civil war
against the fascist Franco regime.
Enrique and Ricardo Flores Magón,
the anarchist brothers who led the revolutionary,
anarcho-syndicalist Partido Liberal Mexicano.
Ghadar Party co-founder
Pandurang Khankhoje depicted
in a mural by famed Mexican
muralist Diego Rivera.
Photo of Khankhoje by
Tina Modotti.
Emir Abdelkader.
Painting of a Zapatista
woman, featured on
IR 10: Indigenous
Dublands CD.
Assata Skakur.
Photo from book cover for
Assata: An Autobiography.

Track 12
Assata Shakur
Douglas Cardinal
Jeanette Armstrong
Ebilotoh
P.104
Assata Shakur, 1987.
Photo: Newsday RM
via Getty Images.
Rod Taylor, Lonely Girl album cover
(King Culture, 1983). Illustration
by Ras Daniel Hartman, 1973.
Track 13
Dr. Butch
Bilal Ware
Dr Butch Bilal Ware.
P.109
Senegalese woman walking in Dakar,
Senegal and passing by an image of
Shaykh Amadou Bamba.
P.142
Roots reggae vinyl
auctions at
Dubdem laboratory.
Photo by Dubzaine.
Extended
Dub Mixes
Dubdem Sound System
mixing board.
Photo by Dubzaine.
IR :: Sankara Future Dub
Resurgence at Dub Museum,
Kampala, Uganda, East Africa.
Ras Kilomo, Kabaka Labartin
Klacity, Ras Charles
and Ras Isaacs.

West African Muslim woman writing
on a wooden board. Such boards were also
traditionally used for studying the Qur'an.
Ras Isaac reading Ethiopia Dub
Journey II. Photo taken by Joshua
Black Alibet in Senene, Uganda.
Muslim scholar in a library in Timbuktu, Mali.
Another scholar with an ancient manuscript in the region of Futa Toro, West Africa.
As documented by Dr. Butch Ware, in 1770, there was a revolution in Futa Toro to
abolish slavery and monarchy. This African-Islamic revolution not only predated the
American and French revolutions, but it also predated the abolition movements of
Europe and the Americas. In fact, there is evidence in British documents that the Futa
Toro revolution directly inspired the creation of the European abolition movement.
Ultimately, the historical significance of the Futa Toro is that it runs counter to the
mythology pushed by numerous historical books which falsely claim that the
movement to abolish African slavery began in Christian Europe and the implication
that there was no large scale organized resistance to slave trading in Africa.
Keshiyankwat is the sacred name of an
Indigenous activist and Ojibwe elder on Turtle
Island. Among his many accomplishments is the
book Songs For The People, which he wrote
under the name Art Solomon.
Autelohom Itz'
and James Carpenter.
Young boy and woman, residents of Senene,
Uganda. Photos taken by Joshua Black Alibet.
Thomas Sankara,
resistance eyes.

Giant collage created by IR :: Sankara Future
Dub Resurgence at Dub Museum in Kampala,
Uganda, East Africa.
Artwork representing Bombozila, a digital
streaming platform that showcases radical
documentary film- and video-makers from South
and Central America, and which actively strives to
make the links with critical African thought and
grassroots activism.
Artistic interpretation of Shaykh Amadou Bamba
by unknown Senegalese artist.
A fragment of a digital art piece
entitled “#MLKNow”, which
features an artistic interpretation
of James Baldwin, author of
many novels and books of essays,
including No One Knows My
Name and The Fire Next Time.
Kabaka Labartin Klacity wearing a Dubzaine-designed t-shirt,
featuring the words of Jacques Derrida: “You always return
to the water,” while standing in Lake Nalubaale, Uganda,
East Africa, 2021. Photo by Ugandan photographer who
uses the moniker “Lake Nalubaale.”
Dubzaine poster designed for demonstration in support
of the Indigenous people of West Papua, held in front of
the Indonesian embassy in Bogota, Colombia.

Dubzaine album art and poster for the free IR album in support of
West Papua liberation movement: IR 54: If Thomas Sankara &
Fela Kuti Were Here, They Would Say FREE WEST PAPUA.
You can download this album for free from the Dubdem site:
www.dubdem.com.br. Mural of Thomas Sankara and Fela Kuti
painted in Uganda, East Africa by Kenyan dub artist Swift Graffiti.
Shrine in memory of the 215 + X
Indigenous children of Turtle
Island (North America) built at
the Atuadub shrine in Senene,
Uganda, East Africa. Ras Charles
is holding the Dubzaine-designed
215+ X poster at the Atuadub
shrine and a dub Senene youth is
holding the 215+ X poster in front
of Lake Naluubale, Uganda.
These images were part of “215 + X”: an IR
action featuring a Dubzaine-designed poster
and a video (edited by Tapedave) to honour
the bodies of the 215 Indigenous children found
unceremoniously dumped on the grounds
of a residential school in Kamloops, Canada.
The letter “X” acknowledges the unknown number
of bodies yet to be discovered at other residential,
boarding, and industrial schools throughout Turtle
Island (North America).
The “X” is also a demand that those bodies must
be found at all such institutions of colonial
genocide on Turtle Island.
This action took place in Uganda, East Africa and
Colombia, South America within weeks of
discovering the first 215 bodies.
Ras Charles is holding a copy of the poster at the
Atuadub shrine in Senene, Uganda. A dub
Senene youth is holding another in front of Lake
Naluubale, Uganda.
Sumuloula Dub painted the mural in the
Candelaria District of Bogota, Colombia. Spanish
translation of the text for this mural was done by
Dub In The Shadows.

About the
Authors
A special edition of the first installment,
Eritrea Dub Journey, is available as
an E-book and includes a soundtrack album.
You can find it on the
IR :: Indigenous Resistance Bandcamp
page: tinyurl.com/tuzrz5rp.

AFREEKAN DUB BIOGRAPHIES#1
Ebilotoh & Dubzaine

If reading this book has awakened in you a curiosity or need
to explore the deeper spiritual and ancestral side of yourself,
then we suggest you search out a forthcoming book by
Maskarm Haile in 2022.
Luana Dub Liz Eid

An invitation to political activists who remain detached from
spirituality and also mystically-inclined individuals claiming to be
“spiritual, not political.” IR invites you to a dialogue, hoping it will
widen your vision, challenge your preconceptions, and encourage
self-reflection.
• The pre-colonial histories of anarchist Africa
• The outernationalist networks across India, Mexico,
Vietnam, Jamaica, and Turtle Island
• The confluence of political and spiritual dub in the visionary
lives of Ho Chi Minh and Emir Abdelkadez
• The legacies of Canute Frankson, Pandurang Khankhoje,
Bhagat Singh, the Punjabi anarchists of the Ghadar Party, the
Black anarchist fighting against Franco in the Spanish Civil
War and other anti-colonial and anti-fascist revolutionaries.
All of this is grounded in the philosophies and dialogues from
Indigenous Peoples from the Solomon Islands, West Papua, Turtle
Island and beyond, amplified through voices like former American
Indian Movement Chair John Trudell, whose words flow in unison
with the revolutionary vision of Assata Shakur.
AFREEKAN DUB
BIOGRAPHIES#2
PUBLISHED BY TFTT-IR
ATUA DUB • 2021 • 978-1-927801-21-5
TORONTO • SÃO PAULO • BOGOTÁ
MEXICO CITY • KAMPALA