ABSTRACT Banned from the U.S. during the “war on terror,” the British/Sri Lankan hip-hop artist M.I.A. responded by recording her 2007 album Kala in multiple locations throughout the global South, collating indigenous musical styles and unorthodox recording techniques. Via a critical/cultural analysis, this paper explores M.I.A.’s work on Kala as subaltern resistance mobilized by “differential movement,” particularly in its mode of production, which operated outside of, and in opposition to, institutional mechanisms designed to expunge or neutralize politically subversive art and artists. Yet M.I.A.’s musical sampling also surfaces conflicts between creative freedom and cultural appropriation, emblematizing “postcolonialist/postmodern schizophrenia” (Vályi, 2011. Remixing cultures: Bartók and Kodály in the age of indigenous cultural rights. In K. McLeod & R. Kuenzli (Eds.), Cutting across media: Appropriation art, interventionist collage, and copyright law (pp. 219–236). Durham, NC: Duke University Press.).

中文翻译：

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次代声音和后殖民精神分裂症：MIA的Kala的政治紧张局势

摘要在“反恐战争”期间，美国/英国嘻哈歌手MIA禁止在美国演出，其2007年的专辑Kala在全球南方的多个地方录制，整理了本土音乐风格和非传统的录制技术。通过批判/文化分析，本文探讨了MIA关于卡拉的工作，它是通过“差异运动”动员的次要抵抗力量，特别是在其生产方式下，这种运动在旨在消除或抵消政治颠覆性的体制机制之外并与之相对立艺术和艺术家。然而，MIA的音乐采样也暴露了创作自由与文化侵占之间的冲突，象征着“后殖民主义/后现代精神分裂症”（瓦里，2011年。混合文化：土著文化权利时代的巴托克和柯达利。）McLeod＆R. Kuenzli（编辑），《跨媒体切入：挪用艺术，干预主义拼贴和版权法》（第219-236页）。北卡罗来纳州达勒姆市：杜克大学出版社。