![]() ![]() However, intellectuals and writers, both non-Muslim and Muslim, havestruggled with postcolonial theory as an effective tool for analysing and accountingfor the experience of Muslims in the modern world. At the same time, olddiscourses such as Orientalism are re-vamped and applied to the new configurations.Postcolonialism might seem to provide a framework for approaching the experiencesof not only formerly colonized subjects, but émigrés, exiles and expatriates and their host societies. Hybrid identity formations, very often provisional,are generated in the articulations of difference marked by newly and re-imaginedrelations to faith, nation, class, gender, sexuality and language. The speed and intensity of the changes characteristic of latemodernity under the pressures of cultural and economic globalisation has traumatisedMuslims and non-Muslims alike. ![]() However,the relationship between the two and the question of their compatibility has not beenextensively investigated. Postcolonialism and Islam are two terms that frequently appear in tandem. Also, in a complementary reading, I read the aforementioned ‘violent’ lyrics through the lens of Fanon’s ideas of violence and social psychoses in colonial societies. As shown through M.I.A.’s lyrics and my analysis thereof, the hybridised third-world immigrants’ absorption of their former coloniser’s identity thereby becomes a mechanism of infiltration. is one, mimic former colonial masters not just through multiculturalist notions of assimilation, but also through parody and threats of violence and plunder. Meanwhile, immigrants from the Global South, of which M.I.A. Westerners, such as Katie Hopkins above, co-opt the discourse of anti-imperialism through a dishonest and ahistorical assumption of victimhood. In my interpretation of Kala, I argue that the West (as former colonisers) and third-world immigrants from former colonies exchange identities in a two-way version of Bhabha’s concepts of mimicry and hybridity. Bhabha and Frantz Fanon, I study the album’s construction of violence and immigration. Through the works of postcolonial theorists Homi K. (born Maya Arulpragasam), particularly her sophomore album Kala (2007). ![]() This essay studies the early work of the English-Sri Lankan recording artist M.I.A. ![]()
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