Indigenism and politics of identity
Continuing the series on postcolonial literature, I would like to
explore the themes of indigenism and politics of identity. Nativism in
postcolonial countries is closely fused with indigenism and emerging
politics of identity.
An important branch of indigenous literature is aboriginal
literature. Since indigenous literature / culture has a common history
of oppression, aboriginal literature also falls into the category of
‘postcolonial’. Similarly, in postcolonial societies in Africa and Asia,
Aboriginals in these regions have been conquered, ruled and forced into
assimilation into ‘mainstream’ cultures. They have resisted fiercely the
modes of colonising representation.
Pramod K. Nayar in Postcolonial Literature, an Introduction,
observes, “Soon after the first moment of white discovery of America,
Canada, and Australia, the indigenous people lost their lands. Though
they were first residents, colonisation by the White drove them into
interior and into their deaths. Today, they exist in ghettos,
euphemistically called ‘reservations’. The total acreage of the USA is
1.9 billion acres. The BIA (Bureau of Indian Affairs) claims that it
holds 56 million lands ‘in trust’ for Indian nations and individuals.
But, as Glenn Morris is quick to point out, there is no mention about
how the other 1.85 billon acres lot to Indians. The irony is that even
within the postcolonial nation-state, Aboriginal communities, tribals
and ‘First People’ (or ‘fourth world’ about 4 per cent of the global
population is Aboriginal) have been marginalised in favour of an urban
elite”.
Nayar points out that Kath Walker (now Oodgeroo Noonuccal) who
published her poems We are going in1964 which marked a major trajectory
in Aboriginal writings inspired a genre of writings which provided a
rich counter-tradition to the settler (White) one. Nayar observes that
‘Aboriginal writings from Australia, New Zealand, and Canada and Dalit
writings from India have acquired a significant readership for their
identity politics and have provided some of the most trenchant social
critiques in contemporary postcolonial cultures.”
Principal features of Aboriginal writings include resistance to
settler colonialism and its culture, homogenisation and battling
injustices and exploitations by/from dominant races and tribes.
Celebrating Aboriginal culture and tradition search for means of
continuation in tradition and devising modes of survival in a globalised
culture are some other dominant features of Aboriginal writings.
Globalisation
One of the dominant themes in Aboriginal writings is nature. Nature
has been figured in almost all cultures in Aboriginal writings. Another
major strand in Aboriginal writing is the expression of anxiety about
the loss of cultural specificity particularly in the face of young men
and women moving into cities and cosmopolitan cultures for economic
gain. Nayar observes thought the Aboriginal youth migration into cities
is inevitable in the context of global capitalism and urbanisation,
‘this relocation is almost and always permanent and more often than not,
means a complete break with roots and Aboriginal ways of living’.
One of the important aspects of globalisation in the context of
Aboriginal writing can be found in the elaborate description by Nayar of
Aboriginal life writings. One of the principal objectives of these
Aboriginal writings seeks to represent the histories of entire
communities. Nayar observes, “Such accounts especially by Native
American, Australian, and Canadian women, began appearing in large
numbers from the 1970s (and it is no coincidence that this was
conterminous with the rise of feminism, with its concomitant search for
alternative cannon of texts by women). Beverley Hungry Wolf’s The Way of
My Grandmother, Margaret Blackman’s During my Times and other texts were
quickly taken into curricula and feminist studies courses in First World
class room ( itself a mode of clonisation and appropriation). ”
Comodification of aboriginal or native culture is a seminal feature
in the context of postcolonial societies. Nayar observes, “Aboriginal or
Native American culture became a tourist commodity for consumption by
white races from Europe and America. In a particular tragic poem,
‘Trading Post-Winslow, Arizona’ Terry Meyette writes:
Tourists with knobby knees white socks
And black leather shoes parade out
Cameras around smog-soaked necks
………………………………………..
They buy history in a blanket,
Family tradition in a squash-blossom necklace
The old lady walks home
With two bags of flour”
This comodification of culture can be seen in Sri Lanka in the form
of specially –arranged traditional performances (short versions of
Kohobakankariya ) and commercial display of indigenous culture such as
in theme-boutique hotels and re-creation of model villages and cultural
artifacts such as paddy field and thrashing floor (Kamatha).
There is an episode in Arundhati Roy’s The God of Small Things (1997)
which highlights such comodification of culture. The ‘Kathakali Man’ ,
hair to an illustrious tradition is on show;
“He cannot slide down the aisles of buses, continuing change and
selling tickets. He cannot answer bells that summon him. He cannot stoop
behind trays of tea and Marie biscuits…He hawks the only things he owns.
The stories his body can tell. He becomes a Regional Flavor.”
Cultural negotiations
Nayar observes an important area of Aboriginal writing is its concern
about the cultural negotiations, “The Aboriginal writing is concerned
with cultural negotiations that present-day youth have to undertake.
Faced with discriminatory laws, social codes, and even medical norms,
Aboriginal youth are often criminalised for not conforming to mainstream
cultural codes. ”
“The children are forced to join ‘mainstream’, white schools where
their own culture is erased through a very different education. In fact,
the Aboriginal experience has been one of forced acculturation – a dual
process of erasure of their native one and an assimilation of white one.
The most famous Aboriginal texts, the Canadian Jeanette Armstrong’s
Slash (1985) also deals with the experiences of a young Indian boy. An
Old medicine man tells Slash:
It is not [native] culture that is lost. It is you. The culture that
belongs to us is handed down to us in sacred medicine ways. Our strength
lies there ..That is not lost. It is around us here in the mountains and
in the wild places. It is in the sounds of the drums and in the sound of
the singing of the birds…We are the ones who are lost, in alcohol and
drugs and in the cities in the rat-race”
It is obvious that these issues are valid even in our context. What
is important to explore is whether Sri Lankan writers in English and
Sinhala are aware of the issues and have ever dealt with them in
contemporary Sri Lankan literature.
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