Professional Documents
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1. INTRODUCTION
1.1. Motivation
In order to explain my personal motivations to write this essay I will allow myself
to be overtly subjective and make some daring generalizations, whilst being
aware of the fact that my initial judgments might be over-simplistic and unjust.
These first impulses are nevertheless important, since they constitute the driving
force of the discussion I am going to develop later on. I chose the topic of this
essay out of a personal uneasiness with certain issues that I perceived when I
moved from Colombia to Sweden. The first issue has to do with the way in which
–as I perceived it- people enjoyed playing different roles in everyday life. I saw
this being manifested in, for example, the popularity of the role-play and in the
cloth collections of the H&M mega stores where you could find, in the same
building and for accessible prices, anything you needed in order to look hippie,
punk, executive, sexy, ethnic, etc. The second issue, which is closely connected
to the first, was the value that people seemed to put into ‘variety’ as the secret
which best led to ‘the fun’ and ‘the exciting’; two things that seemed to me to be
very important for Swedish society. As I saw it, these issues permeated the arts,
the education, the entertainment, the intellectuality and even people’s sense of
humour. Looking at the Swedish society as a new place and from my particular
cultural background, these attitudes seemed to me a little too easy and
unserious. At the same time, I found myself being painfully unable to relax and
play; and I admired the way in which young well educated people could talk
about almost anything, using their broad general culture to juggle with their
pieces of knowledge; jumping from foreign politics to technology and to pop stars
in a witty, exciting and uncommitted way. I decided that boredom and sadness
were taboos in Sweden.
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I will start by clarifying that I will not try to question postcolonialism or, better
said, the postcolonial agenda itself. The reason is that I believe in the great
importance of its existence for the construction of a more ethical and just world.
My intention is, instead, to discuss different strategies and perspectives which
can help or prevent the postcolonial project. I will do this in the light of
postmodernism, considering the powerful influence that postmodernism, in its
philosophical and material manifestations, has in our contemporary societies.
Postmodernism can be seen both as a condition of our age and as a conscious
way of assuming life. In this sense, it should be possible to become aware and
even resist postmodern aspects which reverse the postcolonial agendas, as well
as it should be possible to make use of postmodern strategies in order to
advance the postcolonial project. My hope is that the discussion developed in
this paper will allow me, and the readers, to unveil prejudices, visualize nuances
and open spaces for more postcolonial agency.
1.3. Disposition
I will start the main text of this essay by introducing the terms ‘postcolonialism’,
‘postmodernism’ and ‘deconstructionism’, in ways which seem to be convenient
for the development of the discussion. From the existing definitions of
postcolonialism I will emphasize the aspects concerned with resistance and
political intervention. From the writings on postmodernism and deconstruction I
will primarily use notions developed by Jean-François Lyotard and Jacques
Derrida, respectively. The rest of the essay will consist of six sections which
confront different aspects of postmodernism and postcolonialism. In the section
3.1 I will raise the issue of ethics, which will be a constant issue throughout the
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whole discussion. In the section 3.2, I will dial with the issues of History and
histories, referring to the contributions made by the work of the Subaltern Group.
In section 3.3, I will discuss the postmodern dynamics of commodification in the
light of postcolonialism. This discussion will be extended to the aspects of Art, the
Spiritual and the Exotic in the section 3.4. The section 3.5 deals with the issue of
identity and the connected notions of origins and meaning, all of which are
crucial and controversial notions in both, postcolonialism and postmodernism.
Finally, the section 3.6 uses an article about the Mabo case in order to show how
postmodernism can be both, supportive or contradictory to the postcolonial
agenda, depending on which aspects of it we look at. This section leads to the
final conclusion of the essay, where I suggest that the relationship between the
postmodern practices and the anti-colonial project of postcolonialism is double-
sided.
2.1. Postcolonialism
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2.2. Postmodernism
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2.3. Deconstructionism
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In the cosmic-vision of indigenous societies, the understanding of the sense which life has
and should have does not include the concept of development...This means that we do
not have the conception of a linear life process which establishes a state before or after
knowledge, of under-development and development; dichotomy through which people
must transit, in order to obtain the wellbeing, as it occurs in the Western world. Nor do we
have the concepts of wealth and poverty as determined by the accumulation or scarcity
of material goods. v (My Trans.)
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Thus, in an arguably postmodern move, the Subaltern intellectuals look for the
absent voices in the History of Asian countries written by Western
historiographers. Virtually, these absent voices are the voices of the subaltern or
the oppressed; and they represent the invisible movements of resistance carried
about by people who are neglected in the privileged national narratives. In
looking for these absences and for the incoherency of the logical linearity of
national Histories, the Subalterns make a reading in a deconstructive manner.
They look for contending, ephemeral, parallel, perpendicular and de-centered
micro-narratives lying under the uniform surface of the official meta-narratives of
national liberation. They challenge the traditional line which goes from complete
colonial domination, trough a progressive struggle led by nationalistic elites and
to a final achievement of independence. This way of re-reading and re-writing
history questions the notion of complete colonial hegemony and, eventually, the
notion of complete independence from ex-colonizing powers.
The connection between the Subaltern Group and the Post-structural readings
has been discussed extensively, as well as it has been questioned. As Gayatri
Spivak and other post-structuralist intellectuals have remarked, the Subaltern
Group’s urge for agency and political intervention has led its intellectuals to
create a ‘theoretically fictitious’ voice, which is to talk for an equally fictitious
identity; namely, a Subaltern identity with a unified consciousness. Hence, the
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Let us go back to the example of the Amazonian indigenous people for whom
knowledge is valid as far as it serves the preservation of cosmic harmony. A
balance which involves the equal importance of all creatures on earth, rather
than a balance of wealth distribution negotiated among human beings. If the
condition of knowledge prescribed by Lyotard applies only to the post-industrial
Western world, then the global market should be careful not to commodify
knowledge belonging to societies lying outside the Western, post-industrial
understanding of the world. Whilst the postmodern ethics defined by Lyotard
might open up the mind for a real respect for difference, the postmodern
understanding of knowledge, also prescribed by Lyotard, might retreat such an
achievement thereby consciously or unconsciously imposing the laws of global
market on communities which are ‘different’ from the Western world. As it looks
like today, the global market does impose and expands itself over an increasing
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In the next section I will discuss the global market of feelings in relation to
Western ways of understanding of Art.
In this section I would like to argue that the Westerner’s desire for The Sublime is
connected to the capitalistic commodification of the suffering of The Other in the
form of The Exotic. Let me start by presenting the notion of The Sublime. The
origins of the concept have sometimes been traced back to the times of ancient
Greece. However, the development of The Sublime as an aesthetic quality was
developed significantly during the 18th century in the writings of, among others,
John Dennis, Edmund Burk and Immanuel Kant; as well as in the Romantic Art
which called for strong emotions, including love and jubilance as well as horror
and suffering. At the centre of The Sublime lies the feeling of perceiving
something greater that the self, as well as an ambiguous feeling of pleasure and
anxiety which borders the feeling of pain. The Sublime is also a powerful concept
within the Christian context, where suffering has a purpose in the divine plan.
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Suffering attains its meaning through its connection with the divine, and through
this connection suffering comes to appear sublime.
Lyotard himself uses Kant’s explanation of The Sublime in order to discuss the
relevance of avant-garde art, in the sense that:
‘...Postmodern avant-garde art never entirely loses its ability to disturb...this power of
disturbance is related to the feeling of the sublime. Postmodern art attempts to present
the unpresentable. This is a paradoxical task, and arouses in the viewer the mixture of
pleasure and pain that is the sublime’. xii
Hence, The Sublime teaches us that the mind cannot always organize the world
rationally, and in avant-garde art, this is visualized in the ‘figures’ that challenge
mimetic representation and create ‘new feelings and desires’xiii. Avant-garde art
transgresses norms, clichés and conventions in an ethical and revolutionary act.
It fights the tyranny or reason inherited from the Enlightenment and, in this way,
avant-garde art joins the philosophical vision of postmodernism, which accepts
and embrace the impossibility of ‘knowing’ and ‘being’ in the essentialist sense of
the words. Avant-garde art makes as enjoy and suffer - in a perfectly sublime
manner- the impossibility of attaining the absolute truth, the total image of
reality. It makes us desire the ‘unknowable’ by opening a door to it, only to make
us feel our own incapability to reach it. Being it an experience aroused by
classical Art, Romantic Art, avant-garde Art, Christian faith or nature; the notion
of The Sublime involves a desire for something that is impossible – like total
understanding or total comprehension-. In the Sublime, the desire arouses
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pleasure whilst the impossibility arouses pain, but also more desire and,
therefore, more pleasure.
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that the desire for a kind of pleasure enhanced by pain contributes to normalize
subtle neo-colonial attitudes. Connecting the notions of The Sublime and Desire,
we could suggest that Western culture has promoted a desire for pain or
suffering out of two reasons: First because ‘suffering is sublime’ –when
experienced within the frame of the divine or the aesthetic experience-. Second,
because suffering is arguably scarce in the First World as compared to the ‘real’
suffering of the Third World.
Finally, I will discuss the capitalistic and postmodern reactions to this desire,
expressed in the subsequent invention of The Exotic. I would like to connect the
pleasure-pain ambiguity of The Sublime to the similarly ambiguous nature of The
Exotic, understanding the latter as a commodity which provides pleasurable
certainty as well as disquieting mystery. The creation of The Exotic is an attempt
to predict The Other thereby framing it conveniently, but The Exotic is also made
so that The Other is never completely exhausted to the point that it stops being
interesting. This notion of The Exotic is closely related to Homi Bhabha’s notion of
The Stereotype, which he explains as ‘A complex ambivalent, contradictory mode
of representation, as anxious as it is assertive’xiv
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Using Savigliano’s inspiring connections between The Exotic and the economical
and philosophical dimensions of postmodernism, I aim to suggest that
postmodernism –despite its reactionary attitudes towards some central aspects
of past ages and ‘isms’ – is permeated by a historical Desire for The Sublime.
What this might imply for the postcolonial agenda, is that the ‘enemies’ that
need to be identified and fought against, might be hidden not only in the
dynamics of global markets, the political domination, the military invasions and
the racists attitudes, just to name a few instances; but also in the roots,
development and several branches of Western philosophy, Christianity and
theories of Art. The problem I see here, which has certainly been extensively
discussed by postcolonial theorists, is that the leaders of this postcolonial fight
are unavoidably part of Western history, even when their position is relatively
marginal. As Savigliano herself recognizes, she has no other tools than those
given to her during her Western education, and the best she can do is to
‘Appropiate post-modern strategies (poststructuralist, deconstruction, Lacanian
psychoanalysis, post-feminist and post-colonial writings) in order to trick back
rather that to unmask postmodernism’.xvii
The lesson that Savaglioni gives us seems to me very important. This is, to take a
critical stance towards postmodernism –or any other cultural manifestation of the
West-, at the same time as recognizing the usefulness of the analytical tools
provided by it. The issue of the Westernized Third World and the particular case
of the ‘native intellectual’ have also been discussed before. Frantz Fanon has an
illuminating description of the process which, in his opinion, the ‘native
intellectual’ goes through. This process is a journey driven by his/her ambiguous
position of not quite being the colonized or the colonizer. In my opinion, this
ambiguity is not an exclusive experience of the native intellectual, although
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she/he might become more aware of it than other people. Nor is it only a matter
of intellectual preferences or economical systems. This ambiguity goes all the
way to the most sensitive and subtle layers of the aesthetic and spiritual
experiences of even those who are non-artists and non-religious people. This
ambiguity is embedded in the notions of the beautiful and the ugly, the good and
the bad; and no matter how much the postmodern voice of the West
recommends us to break this dichotomies, the matter of tastes and beliefs are
embedded deep inside the cultural heritage of colonizers and –in most of the
cases- the colonized. This is manifested in the way in which African museums
make exhibitions of their own sacred African masks, and in the way in which
Muslim monks perform their Dervish dances at Western theatres. It is implicit in
the way in which Westerners price the beauty of Noemi Campbell because, being
black, she still fulfils the Western standards of body proportions and features, or
in the way in which Avant-garde artists found in African music –meaning by this a
careless generalization of a great diversity of music- a fantastic source which
could be appropriated and converted into the stylized forms of minimalistic
music. I do not mean to invent an ‘evil’ here, but rather to find an arena for
postcolonial enquiry.
In order to closure this section, I will try to give examples which synthesise and
visualize the use of the ideas discussed above. I come from the Andes region of
Colombia. A region with a predominance of mestizo people; this is, a blending of
native indigenous and European –mainly Spanish and German- people. I have
been surrounded by Andean folk music and dance since I was very young and
they form part of my memories of childhood. However, it is not that music and
those dances what I tend to recur to, when trying to re-create my home abroad.
Instead, I recur to the Afro-Colombian music coming from regions which are miles
away from the region I come from. I had a ‘sublime’ revelation when I was fifteen.
I got to know better the folk music and dances from the Atlantic and Pacific
coasts of Colombia. Thirteen years later, I continue to be fascinated by these
music and dances, and two years ago I decided to make a solo about African
influence in Colombia, departing from one of my favourite folkloric forms of the
Atlantic Colombian coast: The Cumbia. The danger- from a postcolonial
perspective- is double: First, I might exoticise the Afro-Colombian people who I
see as being different from me when I am in Colombia. By exoticising I mean
making their dances a little bit too ‘pretty’ and reinforcing the clichés of
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By telling all this, my intention is to make a call to the postcolonial agenda: Can
the heritage of The Sublime and its pervasiveness in the Western history of Art
provide one more Achilles tendon of neo-colonialism? My own solution, following
Savigliano, is the following: First, I will accept – whilst wondering if I actually have
a choice-my Western way of approaching Art, thereby keeping the dance pieces
the way they are –even though I do have tried hard to clean them from my
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colonial attitudes-. Second, I will use my –notice that I say ‘my’- Western
analytical tools, in order to increase my awareness of these attitudes and
hopefully transform them in agreement to the postcolonial agenda of
decolonizing the mind. Since I am concerned about making the audience
participant of all this thinking, I will include in my performances a forum based on
a postcolonial criticism of my own works.
Apart from violating the lands of the colonized, the colonizers violated their
identity: their language, their religions, their economical systems, their
conception of time, nature, etc. Thanks to a multiplicity of political resistance and
national liberation movements, lands and political auto-determination has been
returned to the ‘natives’, even when most of the times this return has only
benefited neo-colonial native elites. Indeed, the processes of independization of
the ex-colonial nations have been strongly criticized by postcolonial theorists.
Some of the arguments are that the concept of nation itself is a Western concept,
and that once the new ‘free’ nations are created, the people who had been most
disadvantaged during the colonial times continue to be disadvantaged and
exploited in the new democratic systems. However, no matter how
imperialistically it might have been done, returning the lands has been possible.
However, what about returning identities? Is postcolonial identity possible? Is it
necessary? Is it a basic right to dignity?
In some cases, identity has played a very important role as a strategy to fight
ideological and political colonial ‘enemies’, such as colonization or racism. This is
the case of the ‘Negritude’ movement in French colonies during the 1930’s, the
movement ‘Black is Beautiful’ in the U.S. during the 1960’s and the Black
Consciousness Movement in South Africa during the same decade, just to name a
few. These movements recurred to the shared heritage of the Black people and
strived to turn the negative implications attributed to being black into positive
characteristics to be proud of. The achievements of these movements should not
be underestimated, in terms of their capacity to transform and challenge racist
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Since the West has a deplorable record of simultaneously denying the existence of any
worthwhile history in areas it colonized (Africa is the most obvious example) and
destroying the cultures which embodied that history, an important dimension of post-
colonial work has been the recovery or revaluing of indigenous histories.xix
Lands have been returned but not identities. No matter how fictitious the notion
of ‘identity’ might be, the West has had the right to it for hundreds of years.
‘Identity’ has provided the First World with pride, confidence and certainty; and
even in the cases in which it might have provoked rejection and guilt – like in the
case of new German generations-, identity has not been denied to the First
World. No wonder why the issue of ‘identity’ is an anguishing issue for the
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If the effect of colonial power is seen to be the production of hybridisation rather than the
noisy command of colonialist authority or the silent repression of native traditions, then
an important change of perspective occurs...enabl[ing] a form of subversion, founded on
the undecidability that turns the discursive conditions of dominance into the grounds of
intervention.xx
The concept seems to me very to be useful in the sense that it challenges the
notion of total domination and gives recognition to the cultural resistance exerted
from the part of the colonized; a concern which reminds us of the Subaltern
Studies discussed above. However, I would like to suggest that hybrid cultural
forms become ‘grounds of intervention’ only as far as the colonized sees the
confrontation embedded in such forms. He or she needs to be aware that these
hybrid forms are the collapse and re-creation of what was sometime two, three or
hundreds of cultural manifestations. He or she needs to see where and how the
colonial relationships are not one-sided. For this, I believe, it is necessary for the
colonized to have a look at some origins –fictitious or not- and identify some
truths which are different from the truths imposed by the colonial powers. An
attempt of this kind has been done by the researcher Evon Z. Vogt, who made an
investigation about the interactions between the Spanish conquerors and the
indigenous people from the areas maya-tzozil and maya-tzeltal of the Altos de
Chiapas in Mexico. Vogt claims that the symbol of the cross existed in the sacred
iconography of the Mayas and that it was a representation of the ‘Tree of the
World’. Vogt explains that:
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Many specialists have interpreted that this pre-Columbian form of the cross settled the
cultural context appropriated for the quick adoption and subsequent re-interpretation of
the Christian church by the Mayas...In the case of the Yaquis, the pre-Columbian evidence
is more conceptual than iconographic. We must remember how their contemporary cross
is related to “Nuestra Madre” (Our Mother), a supernatural mother of all the Yaquis. ..In a
Yaqui myth, “Nuestra Madre” is transformed into a tree, which in turn transformed itself
into a cross on which Jesus was crucified, so that in his last agony, he was embraced by
her arms” (My trans.) xxi
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forms available in the world and inserting them into a postmodern game of
meanings that tends to lead towards meaningless.
Let me present an example. This is a dance piece performed in the closure event
of a dance school. The character of the school is amateur, private and
commercial. The dance piece starts with young girls and boys dancing a funk-like
dance in tight tops and military trousers. In the middle of the dance, a man
performs a butoh-like solo, dressed in the same way as the surrounding funky
choir. After the solo everyone continues to dance the funk-like dance, finishing
with a hip-hop like pose. All this happens in a matter of more or less six minutes.
The absurdity of this mixture is not difficult to see. However, I believe that the
problem is not the absurdity itself, but rather the unconscious exploitation of
meanings for the sake of entertainment. Let us check what meanings are
involved here. In its arguably original Afro-American context, the ‘funk’ music and
dance carry –or embody- qualities like ‘sexy’, ‘loose’, and ‘fun’. Disregarding its
appropriation by the fashion industry, the camouflage green patterns refer to
armies and war. Butoh dance, in the radical approach of its founders Tatsumi
Hijikata and Kazuo Ohno, is a physical research into the taboos of civilization:
sexuality, deformity, decadence, defecation, etc. So what is this postmodern
cocktail? In this particular example, I dare to say that more than a challenging
confrontation of meanings, the result is a parody which empties the meanings
involved, alas not all of them in the same way. I would read our example like this
‘war is sexy, deformity is fun’, rather than ‘sexy is war and fun is deformity’; or I
would read it as ‘this does not really mean war, or deformity or sexy, or anything.
This is just a game of fractured surfaces’.
Even though this example can in no way speak for all the postmodern interaction
of meanings and interpretations, I do believe that this example can speak for
many examples and the way in which the young Western perceives the
meaningful –or meaningless? - globalized world. Is this postmodern dynamic of
representations an unavoidable and desirable condition? I suggest an answer:
Maybe not for all of us in the planet. Maybe some of us want to believe in
something that is meaningful, transcendental, true, untouchable or sacred.
Maybe some of us want to represent deep meanings without parodying them or
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I will conclude this essay by bringing about an example in which we can see two
sides of postmodernity in relation to the postcolonial agenda. The Aboriginal Law
Bulletin published an article by Stephen Gray, where he discusses issues related
to Aboriginal Art within the context of the Mabo casexxii:
The interest of the non-Aboriginal Australian public in Aboriginal art is matched only by its
ignorance. Most people are unable to tell the difference between ‘traditional’ and ‘non-
traditional’ art, ‘good’ and ‘bad’ art, or genuine and fake art. Consequently they rely for
advice upon a small legion of (mostly non-Aboriginal) galleries, dealers, brokers and
rogues. This has led in turn to the exploitation of Aboriginal artists, to the marketing of
traditional (if occasionally altered) designs in non-traditional or inappropriate contexts,
and to outright forgeries. Australian law has not yet produced an unequivocal statement
to the effect that the interests of such artists are protected.xxiii
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The proposition that Aboriginal art and land are fundamentally (and in 'reality) different is
one manifestation of the privileging of the present over the absent, a privileging which
Derrida argues is fundamental to Western philosophy…It is immediately apparent to our
senses that art and land are physically separated. What other connections there may be
between art and land (eg., spiritual or other intangible links) are downplayed or
considered of peripheral importance.xxiv
4. CONCLUSION
From the second half of the 20th century, the anti-imperialist agenda of
postcolonialism has been in continuous interaction with the material and
philosophical manifestations of postmodernism. The postmodern condition, as
described by Jean Francois Lyotard, debilitates the modern meta-narratives and,
by doing this, it also re-considers totalizing notions such as truth, identity, nation,
origins and History. The consequences of this for the success of the postcolonial
project are double- sided. One the one hand, postmodern ways of thinking might
increase the respect for difference as well as it might challenge the authority of
Western morals and beliefs. On the other hand, in the global capitalistic system
of Westernized societies, this respect for difference seems to tend to become an
insatiable hunger for multiculturality; where the meaningful cultures of ‘the
others’ are cut into pieces, deprived of their transcendental truths, commodified
and sold to the world in the form of the Exotic. It seems to me that the
relationship between postmodernism and the anti-colonial project of
postcolonialism is one determined by the double-sided (if not multiple-sided) coin
of the former. The capitalistic markets and the readings of deconstruction can be
said to belong to the same coin, to the same postmodern condition described by
Lyotard. However, the philosophical and material manifestations of this coin, its
two sides, seem to have different implications for the postcolonial project. A
critical discussion which confronts postmodernism and postcolonialism might
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NOTES
25
i
Wikipedia, keyword: ’Lyotard’
ii
Irena R. Makaryk (ed.), Encyclopaedia of Contemporary Literary Theory. Approaches,
Scholars, Terms, Canada: University of Toronto Press Incorporated, 1993, p.514
iii
Jonathan Culler, On Deconstruction. Theory and Criticism after Structuralism, London:
Routledge and Kegan Paul Ltd., 1983, p.90
iv
Jean- Francois Lyotard, The Differend: Phrases in Dispute, Minessota: University of
Minessota Press, 1988, p.p.126-128
v
http://colombia.indymedia.org/news/2004/06/14295.php
vi
Gayatri Spivak quoted in Peter Childs and Patrik Williams An introduction to Post-Colonial
Theory. Prentice Hall, Lodon: 1997, p.23.
vii
Chatuverdi Vinayak, Mapping Subaltern Studies and the Postcolonial, New Left Review and
Verso. London 2000, p.p vii-viii
viii
Gayan Prakash quoted in Peter Childs and Patrick Williams, An Introduction to Post-
Colonial Theory, London: Prentice Hall, 1997, p.8
ix
Aijaz Ahmad quoted in Peter Childs and Patrick Williams, An Introduction to Post-Colonial
Theory, London: Prentice Hall, 1997, p.8.
x
Jean Francois Lyotard, The Postmodern Condition (1979)
http://www.marxists.org/reference/subject/philosophy/works/fr/lyotard.htm
xi
Marta Savigliano, Tango and the Political Economy of Passion. Westview Press, Boulder:
1995.p.2
xii
The Internet Encyclopedia of Philosophy. http://www.iep.utm.edu/l/Lyotard.htm#H9. Key
word Lyotard.
xiii
ibid
xiv
Homi Bhabha quoted in Peter Childs and Patrik Williams. An introduction to Post-Colonial
Theory. Prentice Hall, Lodon: 1997, p.126
xv
Marta Savigliano in Tango and the Political Economy of Passion. Westview Press, Boulder:
1995.p.213
xvi
ibid
xvii
ibid
xviii
Peter Childs and Patrik Williams. An introduction to Post-Colonial Theory. Prentice Hall,
Lodon: 1997, p.124.
xix
Peter Childs and Patrik Williams. An introduction to Post-Colonial Theory. Prentice Hall,
Lodon: 1997, p.8.
xx
Homi Bhabha quoted in Peter Childs and Patrik Williams. An introduction to Post-Colonial
Theory. Prentice Hall, Lodon: 1997, p.133
xxi
Evon Z. Vogt, Cruces Indias y Bastones de Mando en Mesoamérica in Manuel Gutiérrez
Estévez, Miguel León-Portilla, Gary H. Gossen and J.Jorge Klor de Alva (eds.), De Palabra y Obra
en el Nuevo Mundo. Siglo Veintituno Editores, sa. Madrid: 1992, p.272
xxii
The Mabo case is known as a decision taken in 1988 by the High Court of Australia, which
overturned the sections of the Australian law that denied the aboriginal people’s rights to land
and title. The name is given after Eddie Koiki Mabo, one of the most important leaders of the
movements defending indigenous land rights in Australia.
xxiii
Stephen Gray, Wheeling, Dealing and Deconstruction- Aboriginal Art and the Land post-
Mabo. Aboriginal Law Bullentin, 1993.
http://www.austlii.edu.au/au/journals/AboriginalLB/1993/31.html
xxiv
Ibid.