Articles of Postcolonial Studies

Postcolonial Studies: The critical analysis of the history, culture, literature, and modes of discourse that are specific to the former colonies of England, Spain, France, and other European imperial powers.  These studies have focused especially on the Third World countries in Africa, Asia, the Caribbean islands, and South America.  Some scholars, however, extend the scope of such analyses also to the discourse and cultural productions of such countries as Australia, Canada, and New Zealand, which achieved independence much earlier than the Third World countries.  Postcolonial studies sometimes encompass also aspects of British literature in the eighteenth and nineteenth centuries, viewed through a perspective that reveals the extent to which the social and economic life represented in the literature was tacitly underwritten by colonial exploitation.

(Abrams and Harpham)

Postcolonialism in literature is basically the study of countries and people that were once colonised by foreign powers deal with the effects of colonisation. It focuses on the stories, cultures, and perspectives of those who were oppressed or marginalised. This blog is a thinking activity assigned by Barad Sir, where we shall explore postcolonialism through different articles, movies and literary works.

Globalisation reshaping postcolonial identities:- 

This article by Dr. Dilip Barad “Globalisation and the Future of Postcolonial Studies”, explores the intersection of globalisation and postcolonial studies, focusing on key events like 9/11, the rise of the New American Empire, and the Global War on Terror. It argues that globalisation is reshaping traditional postcolonial frameworks, emphasising the need for scholars to adapt by considering new concepts such as transnational networks, fluid identities, and the dissolution of geographic boundaries. Key scholars, including Thomas Friedman and Joseph Stiglitz, are discussed, along with critiques of globalisation’s impact on inequality and global governance. The article also addresses the role of higher education, the challenges posed by Market Fundamentalism, and the significance of the Fourth Industrial Revolution in shaping the future of global interactions. Additionally, the work highlights the importance of preserving dissent and critical inquiry in academic environments amidst political and corporate pressures.

(Barad)

Through this article, we understand how global capitalism can reinforce colonial-era patterns of exploitation and cultural dominance. 

Global capitalism often perpetuates economic dependencies established during colonial times. Many postcolonial nations remain reliant on foreign investment and export-oriented economies, which can make them vulnerable to global market fluctuations. Moreover, the spread of global brands, media, and consumer culture can lead to a degree of cultural homogenization. This process, often termed "McDonaldization" or "Coca-Colonization," can erode local cultural practices and traditions. Multinational corporations often seek cheap labor in postcolonial countries which can lead to exploitation of the people living there. 

Global capitalism also tends to create pockets of development within postcolonial societies, often leading to increased inequality. Urban centers may become integrated into the global economy while rural areas lag behind. In many postcolonial societies, global capitalism creates a new class of local elites who benefit from international trade, investment, and globalization. These elites often adopt Western lifestyles and values, distancing themselves from the majority population, and contributing to internal social inequality.

                                           

The examples of this can be seen in movies and books like "The Reluctant Fundamentalist" by Mohsin Hamid and "The Namesake" by Jhumpa Lahiri.

“The Reluctant Fundamentalist” (the novel and its film adaptation), examines the shifting identities of a Pakistani man in America before and after 9/11. This directly relates to the article's emphasis on how the 9/11 phenomenon reshaped global dynamics and perceptions.

"The Namesake" novel (also adapted into a film) explores the experiences of Indian immigrants in America and their children, touching on themes of cultural dislocation and identity formation that align with the article's discussion of postcolonial identities in a globalised world.

Globalisation and Fiction - 

This article, “Globalization and Fiction: exploring Postcolonial Critique and Literary Representations” by Dr. Dilip Barad explores how contemporary fiction offers a critique of globalisation, particularly through a postcolonial lens. It highlights how authors from postcolonial backgrounds tackle themes like resistance, hybridity, and identity crisis, often reflecting the complexities of global movements.

Resistance - 

Postcolonial fiction often critiques economic dominance, particularly by multinational corporations, as depicted in “The White Tiger” by Aravind Adiga. In this novel, the protagonist, Balram, rises through a corrupted and exploitative system shaped by global economic forces. His journey reflects both the aspirational aspects and the harsh realities of a globalised world, emphasising the social and economic inequalities that stem from globalisation.

Other works like Robert Newman's “The Fountain at the Center of the World” use global protests, such as the WTO protests, to showcase resistance to the negative impacts of globalisation. These narratives underscore the tension between the powerful and the marginalised, emphasising how globalisation often benefits the privileged while suppressing the vulnerable.

Hybridity - 

The theme of hybridity is central to postcolonial narratives that engage with globalisation. In “The Ministry of Utmost Happiness” by Arundhati Roy, diverse characters navigate a complex landscape of social and political unrest in India, where global forces affect local lives. Roy weaves global themes of displacement, development, and marginalisation with the personal stories of her characters, reflecting how globalisation often leads to cultural hybridity and social fragmentation.

Hardt and Negri's theory of "Empire" mentioned in the article suggests that globalisation manages "hybrid identities, flexible hierarchies, and plural exchanges"—a process where postcolonial authors explore how global forces reshape national identities. For instance, characters often grapple with multiple cultural allegiances, reflecting the deterritorialisation that comes with globalisation. 

Identity Crisis - 

Globalisation frequently generates crises of identity, particularly among characters from formerly colonised nations. In works like “Cosmopolis” by Don DeLillo, globalisation is portrayed as a force that leads to alienation, where characters experience a loss of cultural identity amid global financial systems. Similarly, in “Saturday” by Ian McEwan, global conflicts like the Iraq invasion seep into the personal lives of characters, reflecting how globalisation disrupts local identities.

These literary works underscore the existential crisis brought about by the rapid changes of globalisation, as individuals struggle to retain their cultural identity while navigating a globalised, interconnected world. In navigating these themes, authors from postcolonial backgrounds seem to:-

• Employ satire and irony to critique power imbalances 
• Weave together multiple narratives to show diverse impacts of globalisation 
• Use individual stories to illuminate larger systemic issues 
• Depict the tension between local traditions and globalizing forces
• Explore how identities are fragmented and reconstructed in a globalized world
• Highlight forms of resistance that draw on both local knowledge and global connectivity

Postcolonial fiction provides a nuanced critique of globalisation by highlighting resistance to economic dominance, exploring hybridity, and showcasing the identity crises faced by individuals caught between local traditions and global forces. Through their narratives, authors from postcolonial backgrounds expose the multifaceted consequences of globalisation, offering both critical and reflective perspectives on its impact on culture, society, and the individual. 

(Barad)

Environmental concerns in Postcolonialism 

This article "Postcolonial Studies in the Anthropocene: Bridging Perspectives for a Sustainable Future," explores the intersection of postcolonial studies and environmentalism, particularly in the context of the Anthropocene—a term used to describe the current geological epoch marked by significant human impact on the Earth's ecosystems.

Postcolonial studies traditionally focus on the legacies of colonialism and imperialism, examining how these historical forces have shaped societies, cultures, and global power dynamics. However, as environmental challenges become more pressing, scholars within this field are increasingly examining how these issues intersect with ecological concerns. Environmental degradation and climate change, phenomena deeply entwined with the history of colonialism and global capitalism, disproportionately affect formerly colonised nations and marginalised communities. The concept of "spatial amnesia," as discussed by Rob Nixon highlights how environmental discourse often overlooks the colonial histories of these regions, erasing the experiences and voices of indigenous and colonised peoples.

(Barad)

A Canadian documentary film, “Anthropocene: The Human Epoch”, made by Jennifer Baichwal, Nicholas de Pencier and Edward Burtynsky explores these themes. It was released in 2018. It shows the scenes of destruction brought about by human development.It also portrays how many people, working at such places, are still in the dark about the ill-effects their work is having on the environment. 

Heroes or Hegemony 

This article, "Heroes or Hegemons? The Celluloid Empire of Rambo and Bond in America's Geopolitical Narrative" by Dr. Dilip Barad examines how Hollywood films, particularly the “Rambo” and “James Bond” franchises project American dominance and shape global perceptions of U.S. hegemony. These films often reinforce narratives that align with U.S. geopolitical interests, particularly during the Cold War and the era of globalisation.

Films like “Rambo” Franchise depict the U.S. as morally justified in its military actions. In “Rambo: First Blood Part II”, the Vietnam War is revisited with a narrative that suggests the U.S. seeks redemption for past failures, framing American soldiers as heroes despite their government's betrayal. In “Rambo III”, Rambo supports the Mujahideen against the Soviet Union, aligning with U.S. policies during the Soviet-Afghan War. These narratives portray the U.S. as a global liberator, fighting against the evils of communism and other threats.

The “James Bond” series, while a British creation, often aligns with Western, particularly American, geopolitical interests. For example, “The Living Daylights” features Bond assisting Afghan rebels, similar to Rambo's role in “Rambo III”. Through widespread distribution, these films propagate American values and perspectives globally, subtly influencing audiences to view the U.S. and its allies as defenders of freedom and democracy.

The success of these franchises also highlights America's dominance in global entertainment, contributing to cultural and economic hegemony. Hollywood's ability to craft compelling narratives that resonate globally has solidified its role as a tool of soft power, shaping perceptions of American power and legitimacy worldwide.

(Barad)

From a postcolonial perspective, these films can be critiqued for reinforcing hegemonic narratives that marginalise non-Western perspectives. They often portray the U.S. and its allies as the moral centre of global conflicts, with other nations and peoples depicted as either villains or needing rescue. This perpetuates a binary of Western superiority versus non-Western inferiority, overlooking the complexities of global power dynamics and the agency of other nations. Additionally, the focus on American redemption and heroism in films like “Rambo” ignores the broader historical and geopolitical contexts, such as the impact of U.S. interventions on the countries involved. The simplistic portrayal of these conflicts as battles between good (the U.S.) and evil (communism, terrorism) reinforces a worldview that legitimises American dominance.

“Indiana Jones” movies are another example where Hollywood films project American dominance and reinforce hegemonic ideals, often aligning with U.S. geopolitical narratives.

Throughout the series, Indiana Jones often seeks to recover ancient artifacts from non-Western cultures, which are depicted as needing protection from either corrupt forces or local authorities who are seen as unworthy or incapable of safeguarding their own heritage. This reflects a colonial mindset where Western characters are portrayed as the rightful protectors of global cultural heritage, implying a kind of cultural superiority.

These films often position their hero against global threats that align with historical American adversaries, particularly the Nazis and, later, the Soviets. In “Raiders of the Lost Ark” and “Indiana Jones and the Last Crusade”, Indiana Jones battles Nazi forces, aligning with the broader Western narrative of World War II where the U.S. is portrayed as a liberating force against fascism. In “Indiana Jones and the Kingdom of the Crystal Skull”, the enemy shifts to Soviet agents, reflecting Cold War anxieties.

These films often portray non-Western cultures in a simplistic and exorcized manner, feeding into Orientalist stereotypes. These cultures are frequently depicted as mysterious, dangerous, or backward, with Indiana Jones serving as the enlightened Westerner who navigates these worlds with superior knowledge and skill. This can be seen in “Indiana Jones and the Temple of Doom”, where Indian culture is depicted through a lens of dark mysticism and savagery, reinforcing negative stereotypes.

This series, like other Hollywood films, perpetuates American hegemonic ideals by portraying an American hero who not only survives but thrives in foreign lands, often at the expense of local cultures. The films reinforce notions of American cultural and moral superiority, while their depiction of non-Western societies reflects and perpetuates colonialist attitudes. From a postcolonial perspective, these narratives can be critiqued for their simplistic portrayal of global cultures and for reinforcing a worldview that privileges Western dominance over others.

Reimagining Resistance

This article by Dr. Dilip Barad, “Reimagining Resistance: The Appropriation of Tribal Heroes in Rajamouli's RRR” critiques how ‘RRR’, a film by S.S. Rajamouli, reimagines and appropriates the historical resistance of tribal heroes Alluri Sitarama Raju and Komaram Bheem against colonial powers. The film recasts these figures as united symbols of Indian nationalism in the fight against the British Raj, while sidelining their localised and specific struggles for land, water, and forest rights. This choice dilutes their historical significance and overlooks the ongoing environmental and social challenges faced by indigenous communities.

This reimagining of tribal resistance raises critical questions about the role of popular cinema in representing historical narratives and the potential impact on postcolonial struggles. By framing the story within a broader nationalist context, ‘RRR’ contributes to a form of historical revisionism that aligns more closely with current nationalist discourses, potentially undermining the ongoing struggles of marginalised communities for environmental justice and indigenous rights.

(Barad)

This approach can be seen in other films as well, such as “Mangal Pandey: The Rising” (2005). This film is a dramatised account of Mangal Pandey, an Indian soldier who played a key role in the 1857 uprising against British rule. While the film aims to highlight the significance of Mangal Pandey in India’s first war of independence, it tends to romanticise his story and inflate his role within the broader resistance. The film’s narrative simplifies the complexities of the rebellion, turning a multi-faceted, pan-Indian uprising into a more straightforward story of heroism. The film contributes to the postcolonial narrative by celebrating a national hero, but it may undermine the diverse and widespread nature of the 1857 rebellion, reducing it to the story of a single individual rather than a collective resistance.

Words - 2504

Images - 17

Videos - 1

References - 

Abrams, Meyer Howard, and Geoffrey Galt Harpham. A Glossary of Literary Terms. Cengage Learning, 2015.

Barad, Dilip. “GLOBALIZATION AND FICTION: EXPLORING POSTCOLONIAL CRITIQUE AND LITERARY REPRESENTATIONS.” Journal of Higher Education and Research Society: A Refereed International, vol. 10, no. 2, 2022. ResearchGate, https://www.researchgate.net/publication/376371617_GLOBALIZATION_AND_FICTION_EXPLORING_POSTCOLONIAL_CRITIQUE_AND_LITERARY_REPRESENTATIONS. Accessed 22 September 2024.

Barad, Dilip. “GLOBALIZATION AND THE FUTURE OF POSTCOLONIAL STUDIES.” Journal of Higher Education and Research Society: A Refereed International, vol. 10, no. 2, 2022. ResearchGate, https://www.researchgate.net/publication/376374570_GLOBALIZATION_AND_THE_FUTURE_OF_POSTCOLONIAL_STUDIES. Accessed 22 September 2024.

Barad, Dilip. (2024). Heroes or Hegemons? The Celluloid Empire of Rambo and Bond in America's Geopolitical Narrative.

Barad, Dilip. “POSTCOLONIAL STUDIES IN THE ANTHROPOCENE: BRIDGING PERSPECTIVES FOR A SUSTAINABLE FUTURE.” Journal of Higher Education and Research Society: A Refereed International, vol. 10, no. 2, 2022. ResearchGate, https://www.researchgate.net/publication/376374708_POSTCOLONIAL_STUDIES_IN_THE_ANTHROPOCENE_BRIDGING_PERSPECTIVES_FOR_A_SUSTAINABLE_FUTURE. Accessed 22 September 2024.

Barad, Dilip. (2024). Reimagining Resistance: The Appropriation of Tribal Heroes in Rajamouli's RRR. 10.13140/RG.2.2.30146.80329.