Post colonial’ as we define it does not mean ‘post-independence’, or ‘after colonialism’, for this would be falsely ascribe an end to the colonial process. Post-colonialism, rather, begins from the very first moment of colonial contact. It is the discourse of oppositinality which colonialism brings into being” (pL.117)
The term post colonial is resonant with all the doubts and complexities of the various cultural experiences it involves. It also addresses all aspects of the colonial process from the beginning of the colonial contact. These aspects involve the development of internal divisions based on racial, linguistic or religious discriminations and the continuing unequal treatment of indigenous people in settler/invader societies. (pL..2) All these aspects confirm the fact that post-colonialism is a continuous process involving resistance and reconstruction.
As Gilberts and Tompkins have written in Post Colonial Drama that “Inevitably, post-colonialism addresses reactions to colonialism in a context that is not necessarily determined by temporal constraints: post-colonial plays, novels, verse, and films then become textual/cultural expressions of resistance to colonization (p.2). Postcolonial literature usually focuses on race relations, the effects of racism, the mass extinction of peoples, such as the Aborigines in Australia and often indicts white and/or colonial societies. In Alan Lawson’s words, “post-colonialism is a ‘politically motivated historical-analytical movement (which) engages with, resists, and seek to dismantle the effects of colonialism in the material, historical, cultural-political, pedagogical, discursive , and textual domains’(1992:156),(P.2).
In simple words post-colonialism is a process that involves discussion about experience of variouskindsas:migration,slavery,suppression,resistance,representation,difference,race,gender,place,and responses to the influences of a colonizing country. A very good example of this case is a drama No sugar.
No Sugar by Jack Davis’ is a play that shows Aboriginal family’s experience from an Aboriginal point of view. Being a part of an Aboriginal family Davis knows the problems and sufferings of Aboriginal families. No Sugar is based on Millimurra family’s stand against government pseudo-protection and their struggle to survive during the late 1920’s and early 1930’s depression in Australia. Davis locates his play during the Moore River Native Settlement, where four hundred people, whose only crime was to be Aborigine, were forced into a compound suitable for two hundred people. Historical evidence reveals that the compound was fenced and policed. Furthermore, children and adults were not allowed to associate, even in the dining room, and children’s dormitories were locked and bolted from the outside at six o’clock in the evening during summer.(11) Davis sets his drama in the settlement but outside the compound in order to explore family ties. Though history...