In a recent video, a young Punjabi woman, likely Sikh, candidly shares her discomfort upon returning to India after living in Canada (this kind of echoes the Aussie influencer’s comments on chronic Indian inequality). The noise, the pollution, the density. Her frustration is raw, familiar, and deeply sincere.
But beneath her words lies something larger: the aesthetic asymmetry that defines the postcolonial condition. Wide roads, clean air, manicured parks; these are not just amenities. In the global South, they become symbols of escape, status, and salvation. And so, millions migrate. Or aspire to. Not just for jobs, but for dignity. For air that doesnât burn. For order that doesnât humiliate. For a feeling of being seen.
And when they do, when they arrive in Canada, the UK, Australia, something subtle happens: they become grateful. Not just for opportunity, but for escape. For the fact that the West âworks.â That gratitude then curdles into deference.
They begin to believe that the world outside the West is meant to be chaotic, dirty, loud. That governance is a Western gift. That clean streets and quiet parks are civilizational rather than institutional. This is the gratitude trap; the soft power of asphalt, symmetry, and silence.
And itâs why postcolonial recovery is so difficult. Not because the global South lacks culture or potential, but because its own elites, shaped by extraction, not architecture, rarely build for elegance. Rarely build for pride. Rarely build for joy. What the West exported was not just railways or rule of law. It exported a built environment that still shames us. And until that is understood, until we take seriously the spatial dignity of our cities and the material form of our futures, the colonial spell will remain unbroken.
