Nobody to Somebody

"Never in my life did I feel prouder of being an African, a black, and no mistake about it," Claude Mckay reminisced about his time in Moscow. Dada Amir Haider Khan, Claude Mckay, and the people featured in this Chinese propaganda poster experienced a similar journey of transitioning from 'nobody' to 'somebody.' Their 'nobodiness' is characterized by feelings of isolation, alienation, and humiliation on basis of their skin color, subjected upon them in the United States of America- a place they have inhabited their entire lives but has still denied them a home. If this is 'nobodiness,' then 'somebodiness' is the restoration of feelings of self-worth, dignity, and belonging within these individuals. It is the replacement of an imposed inferiority complex with racial and cultural pride. It is above all, the reminder and affirmation of the feeling that they too are human beings.

Both Dada Amir and Claude Mckay share a commonality of the unrelinquished desire of being seen as dignified human beings. They feel isolated, vulnerable, and degraded in a world where they can not even access public conveyance, educational institutions, and eating places, due to the mere virtue of their skin color. Upon reflecting his journey to the USSR, Dada Amir asserts that "third class" was not just a passenger category, but also a symbol of his status as a human being, assigned to him by his skin color. "Are we third class passengers not human beings," expresses his wounded self-pride and longing for recognition. Similarly, Mckay's recollection of his journey to Moscow depicts that he was resented by the American delegation. The color of his skin was 'un-American,' and therefore the American delegation simply did not want him. Colonial subjects, as in the poster above, experienced the same feeling of 'nobodiness.' Only did the USSR become their savior, by promising them a utopia of dignity, homeliness, and indefinitely 'somebodiness.' 

Their skin color, the root of their affliction, was inverted into the source of their 'somebodiness.' When Dada Amir attends the university at Moscow, he is rechristened - given a new name. This is both the literal and metaphorical translation of recognition and humanization. The university provides a conducive environment for growth and education. He becomes the representative of the Indo-American group at the tribunal, interacts with the political and intellectual elite, and eventually gains membership to the Communist party. At the same time, he is taught in his own language and he decides to return to Indian soil after a certain amount of time. This shows that he remains conscious about maintaining the integrity of his racial and cultural roots. He does not have to become a Russian in order to become a 'somebody.' He can be an Indian and a 'somebody,' whereas being Indian was the root of his 'nobodiness'  in America. In simpler words, he feels important, dignified, and even prestigious. Mckay experiences a similar trajectory at Moscow. He has friends in high Bolshevik circles, is requested to speak at congress meetings, and emerges as a "black icon." His journey from 'Nobody' to 'Somebody' is best encapsulated in his own words, "For the first time in my life I knew what it was to be a highly privileged personage."

The people portrayed in the poster above - the African, the Latin American, and the East Asian, are also tied to the narratives of Dada Amir and Mckay. Decolonization also made them into a 'somebody,' as reflected by their depictions on the poster. They are not shown as subjects, but in fact as human beings with strength and agency. Their fierce gaze and erect posture symbolize a sense of pride, power, and dignity. The African stands with a head held high, arms spread wide, and a chest protruding outwards, as an indication of a newly gained freedom.Their culture is represented through their outfits, and is celebrated instead of being looked down upon. The sun shining bright, along with the vibrant and exuberant tones of the poster deliver a sense of optimism and imply a forthcoming utopia. Such a positive and empowering representation on the poster shows that they have become a 'somebody' in this new world, like Dada Amir and Mckay.

If colonization is a story of exploitation, discrimination, and dehumanization, then decolonization is a story of empowerment, equality, and humanization. It is the story of making an inconceivable world conceivable, exception the norm, and non-white the white (in terms of privilege). This story made it possible for an Asian, an African, and a Latin American to be represented as dignified heroes, instead of resigned subjects on a poster. It made it possible for people like Dada Amir and Mckay to elevate from humiliated outsiders to dignified human beings. It made it possible to become a 'somebody' from a 'nobody.' 

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