Creative artists lead postcolonial social transformation by seizing representation

Evidence

A theory of postcolonial creative response rests firstly on the recognition that the colonizing process triggers a wide range of responses in all colonized societies. So the postcolonial response is never simply unitary, either in object or design. But for me, by far the most interesting aspect of this shared response are those strategies of transformation, by which the dominant discourse itself is invaded, appropriated, and used, by which various postcolonial subjects construct a voice that can be heard by the widest audience. This is, by the very nature of the exercise, first achieved by creative artists, as they seize control of representation, and in this respect it is the postcolonial artists who may be leading the way for other forms of postcolonial social transformation. — David Theo Goldberg, John Solomos, A Companion to Racial and Ethnic Studies, 3441

Categorization

• XREF: Connects to Mohsin Hamid’s Reluctant Fundamentalist which stages postcolonial voice through direct address to the reader; also echoes the strategic appropriation of dominant discourse seen in Zamyatin’s We. — connects to: Public art revitalizes community by giving voice to silenced groups — Rebecca A. Martusewicz, Jeff Edmundson, and John Lupinacci, EcoJustice Education: Toward Diverse,…, 1822
• corroborated: 2 independent passages support this claim — David Theo Goldberg, John Solomos, A Companion to Racial and Ethnic Studies, 3441