Colonial Polyrhythm: Imaging Action in the Early 19th Century

This article proposes a new reading of early-19th-century modernity by examining India's so-called “ethnographic” paintings, and arguing that rather than participate in a trajectory of speed and acceleration these works produce colonial polyrhythmic temporality. First, the article establishes that many of these images depict action, not ethnicity or occupational group. It then situates these images in economies of circulation, viewing, politics and commercial enterprise. By focusing on the action in the subject matter—do-ing rather than do-er, processes rather than occupations—a layered, polyrhythmic range of temporalities emerges, upturning dualistic, acceleration-driven, and rupture-based understandings of visual culture from this period.