The Location of Culture

The Location of Culture (1994) is a work of postcolonial criticism by Homi Bhabha. Bhabha explores the formation of postcolonial identity, focusing on concepts like hybridity, mimicry, and the third space (or “in-between” spaces). He challenges fixed binaries from colonial discourse, emphasizing the fluid, negotiated nature of cultural identity as shaped by historical and social contexts.

This guide uses the 2004 Routledge Classics edition.

Summary

The Location of Culture is a key text in postcolonial theory, in which Bhabha analyzes how culture, identity, and power intersect in the context of colonialism and postcolonialism. Bhabha challenges conventional ways of thinking about the relationship between colonizer and colonized, identity formation, and cultural difference. 

Bhabha examines how colonialism and imperialism create and reinforce binary oppositions, such as colonizer/colonized, self/other, and civilization/barbarism. These binary oppositions have long shaped Western discourses on race, culture, and identity, but Bhabha deems them overly simplistic. He argues that colonialism is not just an imposition of power from the colonizer upon the colonized, but is instead a negotiated and contingent process, marked by contradictions, uncertainties, and ambivalences. In this way, Bhabha insists that identities are never fixed or stable but are instead constantly redefined through the hybridity that emerges within colonial encounters.

For Bhabha, colonialism creates a cultural difference that cannot be reduced to essentialist notions of race or ethnicity. Cultural difference is fluid, shaped by history and power, and it takes on multiple meanings depending on the context in which it is negotiated. Culture is not a static, homogenous entity; it is continually in flux, influenced by the interactions and exchanges between different cultural and historical forces.

Bhabha also explores the idea of hybridity in more depth. Hybridity refers to the ways in which colonized peoples often create new cultural forms that blend elements from both colonizing and indigenous cultures. These hybrid identities are not mere imitations or passive adaptations; they are instead active reconstructions of indigenous and colonial identities that challenge the hierarchies imposed by colonial power. Hybridity, in Bhabha’s view, is a form of resistance to colonial authority because it disrupts fixed cultural identities and questions imperialism’s underlying assumptions about cultural “purity” and cultural “superiority.”

Hybridity also connects to Bhabha’s idea of the third space, which is a space of cultural negotiation and transformation where colonial subjectivities are contested and redefined. The third space is not simply a zone of mixing or merging cultures but an area of tension, ambiguity, and creativity, where new meanings are produced. This third space is important because it allows for a reconfiguration of identity and offers a way to subvert and reclaim power from colonial structures. The third space is crucial because it challenges the idea of cultural essentialism, or the notion that cultures are pure, unchanging, and homogeneous. Instead, Bhabha emphasizes that cultural identities are always performative, emerging through social interactions and continually shaped by both historical and cultural contexts.

Bhabha examines mimicry, which refers to the way colonized peoples often adopt the cultural practices, language, and behaviors of the colonizers. While mimicry can be seen as a form of compliance or adaptation, Bhabha argues that it is also a form of resistance because it exposes the contradictions inherent in colonial authority. Mimicry is never a perfect imitation. Instead, it always carries a sense of difference, or a slight deviation, which undermines the authority of the colonizer. This is what Bhabha calls “ambivalence”: The tension between the desire to imitate and the inherent failure to replicate fully. Mimicry reflects the ambivalence of colonial relationships, where the colonized subject is both complicit with, and resistant to, colonial power.

Through mimicry, Bhabha reveals the insecurity and instability of colonial authority. The colonizer’s attempt to impose a singular, dominant culture is always thwarted by the hybridization of cultural practices and the subversive potential of mimicry. This disruption of colonial authority occurs precisely because mimicry cannot be fully assimilated into the colonizer’s worldview. As a result, mimicry reflects a dynamic interplay between power and resistance, where colonial subjects negotiate their identity through adaptation, in ways that challenge the very structures of imperial control.

Bhabha also addresses the role of discourse and representation in the construction of cultural identities. Building on the work of Michel Foucault and Edward Said, Bhabha examines how colonial power is sustained not only through military force or political control, but also through the production of knowledge and cultural representations. Colonial discourse operates through language, literature, art, and education, all of which serve to reinforce the dominant narrative of colonial superiority and racial hierarchies.

However, Bhabha argues that this discourse is not monolithic or uncontested. Instead, it is fragmented and ambivalent, marked by contradictions and tensions. He highlights the ways in which colonized peoples engage with, and subvert, these representations, creating alternative narratives and forms of identity that challenge the authority of the colonizer. Through this process, postcolonial subjects assert agency and power in the face of colonial oppression.

Bhabha draws on the psychological and psychoanalytic theories of figures such as Frantz Fanon and Jacques Lacan to explore the impact of colonialism on the subjectivity of colonized peoples. He examines how colonialism distorts the sense of self and creates identity crises for the colonized, who are forced to navigate between different cultural worlds. For Bhabha, the colonial experience is not just a material or economic phenomenon but a psychic one as well, involving the internalization of colonial power and the splitting of the colonized subject’s identity. 

The colonized subject often develops a divided self, caught between the desire to conform to colonial norms and the urge to resist them. This creates ambivalence, a simultaneous feeling of attraction and repulsion that the colonized subject feels toward the colonizer and the colonizer’s culture. Bhabha suggests that these contradictions create a space of displacement, where the colonized subject is never fully at home in either the colonizer’s world or their own. The psychic toll of colonialism results in alienation and the potential for transformation and new forms of identity.

Bhabha suggests that postcolonial subjects can resist colonial domination by reimagining and recreating new forms of identity in response to the complex realities of postcolonial life, rather than returning to pre-colonial identities or seeking pure, untainted cultural forms. Bhabha offers a vision of the postcolonial world as a site of continuous transformation, where identities and cultures are always in flux, subject to reinterpretation and re-configuration. This approach challenges both the colonial legacy of cultural dominance and the idea that postcolonial subjects must either reject or return to their pre-colonial pasts. Instead, Bhabha advocates for a vision of postcoloniality that embraces fluidity, ambiguity, and creative possibility.