Brad tries understanding critical theory.

From abhi at Sepia Mutiny…

can you blame an artist for supporting a group that seems to be assisting what the U.S. has designated as a terrorist group, if said artist has a father who is one of the rebels? Is she supporting the group and its practices or simply her father? Secondly, isn’t part of M.I.A.’s appeal that she has rebellious lyrics? Haven’t young people always been drawn to rebellious lyrics? Thirdly, how can you (if of a politically liberal persuasion) enjoy yourself at a concert knowing that the lyrics (and possibly your money) are in support of a group that employs child soldiers and female suicide bombers? I understand that the Sri Lankan government is also complicit but simply letting two wrongs balance each other out doesn’t seem right.

And from Manish at the same site…

As Abhi points out, the terrorism issue will unquestionably be a serious roadblock for M.I.A. commerce: MTV refused to run ‘Sunshowers’ without a disclaimer. In 1991, the Tamil Tigers assassinated the prime minister of India with a female suicide bomber. As suicide bombing pioneers, they’re hardly a cuddly, symbolic, ‘stick it to the Man’ organization, which makes Arulpragasam analogous to Lee Harvey Oswald’s daughter or that aspiring pop singer, bin Laden’s niece.

And Arulpragasam doesn’t downplay her Tiger connection, she flaunts it, it’s integral to her marketing. She did a mix album using unauthorized samples called Piracy Funds Terrorism. Her song ‘Sunshowers’ refers to suicide bombs (‘And some showers I’ll be aiming at you’), her first album bears her dad’s eponymous codename. Jungle guerrillas are all over the ‘Sunshowers’ video, there’s a large running tiger in her excellent concert visuals, she does a soldier step on stage and a shoutout to the P.L.O.

At the level of an individual music fan, going white hat can be quite difficult. So much shared infrastructure is contaminated, you can go nuts trying to track it all. If you watch Bollywood, you fund criminal gangs. If you go to Vegas, you fund the mob. If you buy gas, you fund al Qaeda.

At the same time, ‘it’s too hard’ is the main excuse people use to turn a blind eye to all kinds of injustices. You do as much as is practical. I don’t expect to agree with Arulpragasam’s ideas. She’s a Sri Lankan Tamil, they are right to be bitter about their situation. Where I disagree with them is in methods, their choice of the expedient over the good. The key is not the fuzzy politics of rebellion, it’s whether you press into service the slaughter of non-combatants as a tactic. You can’t simultaneously be against indiscriminate profiling in London and for indiscriminate killing in Colombo, by either side. ‘Sunshowers’ is less ‘I Shot the Sheriff’ than ‘I Bombed the Sheriff’s Wife and Kids.’

The dividing line for me is whether my album and concert dollars go to a great new artist, or to inadvertently funding terrorism. That’s what’s still murky. For M.I.A. to blow up big, she’ll have to come out into the sunlight.

However, the M.I.A. blog of the day goes to sepoy from Chapati Mystery who analyses M.I.A. in the context of contemporary uses of “terrorism” as a label to illegitimise certain causes.

For all her cheap nintendo beats and vacuous posturing, M.I.A. does provide a narrative from the frontlines of disenfranchisement at the hands of an ethnic nationalist government (one supported by international capital and military force). If the most feasible means of self-empowerment for Sri Lankan Tamils is, as she suggests in her song ‘Sunshowers’, to go to work in a Nike sweatshop in order to support one’s family (and buy Reeboks) or to suicide bomb the well-armed opposition, then the Sri Lankan state needs to be seriously reconfigured

…

The market appeal of M.I.A. resembles that of musics yoked to the cause of resistance to racial, ethnic or gender domination by content (punk and ‘two-tone’ from the UK like the Gang of Four or the Specials, hip hop from BDP to Talib Kweli) or genealogy (the guitarist for Rage Against the Machine is nephew to Kenyan anti-colonial nationalist Jomo Kenyatta). While her message is much more difficult to pin down than any of these artists’, she often advocates similar causes (’Pull up the People’ is the most bland and obvious); but as she says elsewhere London, New York, Kingston and Brazil ought to be quieted down; long enough, hopefully, to comprehend the particular ways that global and local processes intersect to maintain conflicts and exclusions in Sri Lanka. It would be quite a shame if consumers of this music are to take its politics seriously enough to demand boycotts of M.I.A. for being an LTTE supporter, but obscure the cause of the problems in Sri Lanka by applying the chock-a-block ‘terrorism’ label.

A very enlightening article!

As a final note for this post, it seems that any idea that M.I.A. uses profits to fund the Tamil Tigers is merely heresay. So I am loath to actually comment on what this act means seeing as there is little proof of the fact. However, the rumour/idea that M.I.A. funds terrorism is certainly part of the machine/event and how we consume her (even if this idea has less force/authority in creating meaning than elements that come through more legitimate channels i.e. the albums, videos, interviews, press releases.