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Linton Kwesi Johnson's Dub Poetry and the Political Aesthetics of Carnival in Britain

British dub poet Linton Kwesi Johnson (LKJ) moved to Britain from Jamaica on the cusp of adolescence in 1963. He arrived in the metropolis during a time of tremendous social and cultural ferment. Living in Brixton, South London, LKJ was quickly immersed in the radical currents that circulated throughout the black and Asian diasporic world at the time. The Black Panthers, whose youth wing he joined while still attending secondary school, exposed LKJ to the fertile blend of socialist political-economic analysis and black consciousness that characterizes the internationalist strands of the black radical tradition.1 In addition, as a young member of the Caribbean Artists Movement (CAM) in London during the early 1970s, LKJ participated in the groundbreaking debates that took place within that organization concerning the appropriate forms and themes of artistic production among members of the Caribbean exile community in Britain.2 Popular culture acquired increasing significance as these artists struggled, under the weight of the increasingly incendiary political events of the period, to forge a role for themselves as artists and popular leaders. Following the lead of figures like Edward Kamau Brathwaite, LKJ sought to craft his own poetic language in order to overcome the traditions of linguistic and mental colonization imposed by the educational apparatus in the British colonies of the Caribbean. He found a