Stuart Hall’s Cultural Identity and Diaspora

Ouahani Nasr-edine A Paper some Stuart foyers article ethnic identicalness and Diaspora Stuart hall talks about the authoritative subprogram of the Third Cinemas in promoting the Afro-Caribbean heathenish identities, the Diaspora hybridity and difference. Hall argues that the role of the Third Cinemas is non simply to reflect what is already in that respect rather, their crucial role is to produce representations which unvaryingly constitute the third worlds peoples as raw subjects against their representations in the Western dominant regimes.Their vocation is to allow in us to see and recognize the distinct parts and histories of ourselves. They should provide us with new positions from which to speak about ourselves. Stuart Hall provides an analysis of ethnical identities and what they birth for, their drubings and underlying complexities and pr deedices. Hall argues that cultural identities argon never repair or complete in any sensory faculty. They atomic numbe r 18 not accomplished, already-there entities which argon equal or projected with the new cultural practices.Rather, they be productions which cannot exist outside the work of representation. They ar problematic, highly contested sites and processes. Identities are social and cultural formations and constructions essentially subject to the differences of time and place. Then, when we speak of anything, as subjects, we are essentially positi adeptd in time and dummy and more significantly in a sealed culture. These subject positions are what Hall calls the positions of phraseology (222). Hall talks about cultural identity operator operator from two different, barely related, perspectives.First, he discusses cultural identity as a unifying grammatical constituent or as the shared cultural practices that h doddering a certain group of people together and second, he argues that as well as there are similarities, there are likewise differences within cultural identities. In the following paragraphs, we will discuss these two sides of cultural identities. In the first sense, cultural identity is held to be the historical cultural practices that held to be common among a group of people it is what differentiates them from separate groups and held them as of genius origin, one common destiny.In this sense, cultural identity refers to those cultural codes which are held to be unchangeable, fixed true practices. This underlying oneness or one true self is the essence, Hall argues, of Carribeaness, of the dim Diaspora. It is this identity which should be find by the black Diaspora and subsequently, should be excavated and projected through the representations of the Third Cinemas. hither we would add that this collective identity is not altogether to be represented by the Third Cinemas but also by The Third writings and through The Third Academia.It is this sense of cultural identity which plays a censorious role in eliciting a lot of postcompound st ruggles. The act of disc everyplaceing such identity is at the same time an act of re-shaping and rehabilitating, of re-claiming the true self. It is an act which goes beyond the misery of today to recover and reconstruct what colonization thrust distorted. Imaginative rediscovery plays a crucial role in restoring such identity.The takings of counter discourses (like feminist discourse, anti-racist discourse, anti- colonial discourse and so on) which tries to highlight and bring to the ahead the hidden histories are an out espouse of the creative force of such sense of cultural identity. Hall gives the example of Armet Francis photographs about the peoples from the Black Triangle which is considered as a visual attempt, an act of imaginary reunification of blacks which put one across up been sprinkle and fragmented across the African Diaspora. Another universal unifying element of blacks is the Jazz music.It is an attempt to restore the black agent to his home Africa, to reloc ate him, symbolically, within his true essence Africanness. Such counter discourses are resources of tube which problematizes the Western regimes of scholarly and cinematic representations of blacks. The second side of cultural identity is related to the discontinuities and differences, to the historical ruptures within cultural identities. Cultural identity is not just a matter of the erstwhile(prenominal), a past which have to be restored, but it is also a matter of the future.It is a matter of nice as well as of being (225). In this sense cultural identities no longer signify an accomplished set of practices which is already there they are subject to the play of history, power and culture. They are in constant transformation. Hall argues that it is this second sense of cultural identities which enable as to come to terms with the traumatic character of the colonial experience. The Western representations of the black experiences and peoples are representations of the play of p ower and knowledge.Western categories of knowledge not only position us as Other to the West but also makes as experience ourselves as Others (225). This colonial experience puts as in a dangerous position it makes us ambivalent in our life, our needs, and our thought. This colonial experience had produced uprooted subjects, split amid two words in an unknown space.This rootlessness, this lack of cultural identity which the colonial experience produces leads us to interview the nature of cultural identity itself. In this sense it is never a fixed, shared entity. It is not one and for all (226). It is not something which happens in the past but it is a process. What we told ourselves about our past is always constructed through memory, fantasy, fib and myth.Cultural identities are not essences but are positionings they are constructed sites from which we speak about ourselves. Hall states that black Caribbean identities are shaped through two operative vectors the vector of the c ontinuity which is related to the past hereditary pattern and the vector the discontinuity which is the result of slavery, transportation and migration.In this sense, it is the Western world that unifies the blacks as much as it cuts them, at the same time, from direct access to their past. This colonial effect on the Caribbean positions the different regions of the Caribbean archipelago as both the same and different simultaneously. In relation to the West, we are positioned in the periphery, one space, one specify and one destiny but in relation to each other, we have different cultural identities.These variations within cultural identities cannot be simply cinematically presented in simple binary oppositions as past/present or them/us. Drawing on the concept of differance which the French philosopher Jacque Derrida had developed, Hall explains that cultural identities which, generally, we think of as eternal and unified are instead, merely a temporary worker stabilization and arbitrary closure of meaning historically and culturally specific. Cultural identities are subject to the infinite nature of the semiosis of meanings and the endless supplementarity within those meanings.The complexities of the Caribbean cultural identities can be partly understood if we relate it to the three presences over the islands the presence Africaine, the presence Europeenne and the presence Americain, the terra incognita. The presence Africaine is the space of the repressed. It is inscribed in every aspect of the Caribbean everyday life and it is the secret, hidden code by which Western texts are re-read. This is the live Africa from which the Third Cinemas and other representations should derive their materials.The discontinuity and ruptures which are caused by slavery and transformation makes us aware of our blackness. It causes as to return back to our past to discover our real essence which unites us despite our differences. This process returning back enables the emer gence of a new Africa grounded on and necessarily connected to the symbolic old Africa. Our journey to the old Africa is an imaginative journey, a symbolic journey to the far past to make something of the present day Africa.The presence Europeenne, on the other hand, has positioned us in the rims of the centre and inscribes in us a sense of ambivalence manifested in our attitudes of and identification with the West, going backward and forward from moments of refusal to moments of recognition. Finally, the Americain or the New realism presence constitutes the battleground where different cultures from different parts of the world grapples and clash with each other, what Mary Louse Pratt calls a contact zone.It is the exonerate space, the third space or the space of no one. It is the place where the processes of creolizations, transformations, assimilations, syncretisms and displacements come out It stands for the endless ways in which Caribbean people have been destined to migrat e it is the human body of migration itself- of travelling, voyaging and return as fate, as destiny of the Antillean as the prototype of the new-fashioned or postmodern New World nomad, continually moving between centre and periphery. 234) In this sense, the New World presence, the terra incognita, constitutes the very showtime of the Diaspora of the black presence, of diversity, hybridity, and difference.It is an open symbolic space which is constantly producing and re-producing, a space of heterogeneity of constant newness and uniqueness. The rich past of sameness and difference, of shared uncanny and cultural habits on the one hand and of memories of ruptures and discontinuities_ slavery, migration, transformation_ on the other hand constitute the reservoir of our cinematic and other narratives.It is the real black Diaspora. speechRutherford, Jonathan. Identity, Community, Culture and Difference. Ed. London Lawrence & Wishart Limited, 1990. 1 .All the quotations stated in t his work are taken from Stuart Halls article Cultural Identity and Diaspora in Jonathan, Rutherford. Identity, Community, Culture and Difference. Ed. London Lawrence & Wishart Limited, 1990. PP 222237