DEREK WOLCATT’S PANTOMIME ASA POSTCOLONIAL CRITIQUE<br />GHAITH SALEH MAHDI<br />AL-MUSTAQBAL UNIVERSITY COLLEGE<br />[email protected]<br />Walcott's The Pantomime is spoken by two characters who are different in imitation, race and culture. Both of these main characters in the play had taken the plot to its highest point and made it more interesting. Mimicry is clear and abrogation gives the sense of exploitation in the postcolonial writing of some foreign cultural elements without giving up the local cultures. The postcolonial drama of the pantomime by Derek Walcott highlights the sense of self and other as a step for resistance between the two sides: the English have the colonizer upper hand and the Trinidadian as the colonized one. What the native tries to do is to obtain recognition from the other side and that recognition is very important to the establishment of his new character. Jackson, the main character, has religiously split between the English and West Indian ways of life; he attempts to mimic the flourishes of legitimate English between native culture and white society. II. MIMICRY IN THE PANTOMINE Derek Walcott's Pantomime explored postcolonial issues. Mimicry comes from a Homi K. Bhabha a postˇcolonialist critic. Bhabha's concept of Mimicry is used to analyze the post-colonial issue of the oppressed culture by using the term colonial ambivalence and mimicry. Frantz Fanon clarified this idea is in his book Black Skin / White Mask when he depicts it as the people who tried to give their conventional conceptions of selfishness and national identity by imitating their colonial masters. Bhabha writes that imitation is a sign of dual speech in his essay "Mimicry and Men: the Ambivalence of Colonia Discourse" a complicated change, a regulatory or a disciplinary strategy which fits the other to visualize power. A mimicry is also a form of insufficient recalcitrance that cohesively consistent with the prevailing colonial energy policy, intensive surveillance. It presents an immediate challenge both to "normalized" information and to disciplinary forces. Colonial imitation is a desire to see a changed and identifiable individual as a result of an almost similar but not wholly different distinction. The discourse of reproduction has, therefore based on ambivalence; to be successful, Mimicry has to produce distance, its excesses and its difference continuously. Mimicry tends to reflect a distinction that itself has disavowal. Colonial and postcolonial literature typically demonstrated limitations of the language, politics, cultural or even the dress fashion of colonizers in the colonized community. Mimicry has still seen as<br />something shameful, and other men typically ridicule the black man who imitates the white. However, Bhabha mentioned that the imitation is not always a bad thing, often unintentionally subversive. He said that mimicry is a sort of performance that displays all symbolic expressions of force. Postcolonial authors argue that the people who imitate will use a foreign language to do so to demonstrate hybridity to syncretism. Hybridity is the "effects" of imitation: the hybrid text is the result of an act of reproduction and is not an "official" variant of colonial discourse. The imitators must compose a hybrid text by "annulment" and "appropriation". Abrogation implies a rejection of a traditional or "true" usage as an aesthetic of imperial categories of cultures and acceptance of the usual and established sense "printed" in that world, appropriation implies the use of the language to "bear" the responsibility of one's cultural history or colonial culture has transmitted. In the introduction to the Pantomime, "It’s our Christmas panto," Harry opened his Calypsonian chant and dance. The guy he alluded to in the text is presumably referring both to Crusoe and himself and has thus mimicked Crusoe's history by using it in a new phrase. Harry describes the world of Robinson Crusoe by Defoe as well. Immediately, "HARRY: Try calling me Trewe … JACKSON: Not yet. That will come". Harry came back to the stage and Friday, named Jackson a black guy in Robinson Crusoe's Creole. Jackson was a Trinitarian and worked for Harry as a waiter, but he did not think Harry's bid should have considered. Therefore, Jackson thought he would not have to play Friday's job because he was already a waiter. Jackson politely ignored Harry's offer. He tried to explain to his master that his customers should cancel the play and restore the guesthouse. "JACKSON Mr. Trewe? (English accent) Mr. Trewe, your scramble eggs is here! are here! (Creole accent) you hear, Mr. Trewe? I here wad your eggs! (English accent)". The dialogue about English accent, particularly the lines spoken by Jackson, often shows the use of English Creole. Since it has written before English Creole, a type of revocation has proposed the distinction between colonial English and therefore a new identity. Creole English is the Caribbean director, and he uses a polyglossic script for his films. AS Sanjiv Kumar thinks that Bhabha is concerned with the concept of imitation and ambivalence in V.S. Naipaul's Bend in the River. Further, he defines the word 'micro' as a near likeness, in the sense of a person's color, shape and behavior to another person or individual. The body of predators is concealed or masked. In his imitation, the camouflage of an organism jointly refers to a system of war camouflage that, according to the Webster dictionary, includes "disguises of soldiers, boats and guns to conceal them from their enemy, such as using ink, networks or leaves, in<br />designs fusing with the context ". Once, Bhabha claimed that imitation and humans have a significant base in the Lacanian view of an impression as a disguise leading to colonial ambivalence. He finds colonization as in the grass like a serpent that speaks a language that gives mimetic representations and is one of the most elusive and successful colonial power and intelligence methods. "(JACKSON patiently gets out of the boat, elaborately pantomiming lowering his body into shallow water, releasing his hold on the boat, swimming a little distance toward shore,...". When Jackson tried to imitate Crusoe swam down the shore after a boat snake and Jackson's imitation at that time was so small, Harry was furious. Regardless of the explanation, Harry suddenly chose not to proceed. In the mind of Jackson, his master, Harry undoubtedly envies his beautiful imitation. It signified that Crusoe played the role for Harry, but Jackson took the part of the black, for Harry was a white man and accurately mimicked him. He's been dark, too. Each jealousy of Harry emerged. But an understanding already existed between Harry and Jackson that could undo their imitation. "JACKSON. The hut. That was my idea ...,". Last Friday, Jackson had an idea to turn from black to white, and so on, to white or black.