TY - JOUR
AU - D.J. Rycroft
AB - In February 1856, the Illustrated London News published a wood-cut print of Sido Murmu, a captured leader of an anti-colonial rebellion in India led by indigenous Santal headmen. Known as the Hul, this movement has been re-visited by exponents of subaltern historiography in an effort to understand insurgent consciousness, and the parameters of ‘minority’ history. Working across these parameters, this article employs a visual and historical ethnographic methodology, in order to question whether the interplay between colonial-era and post-independence representations of the Hul may inform a new understanding both of British scopic regimes and of Santal (tribal) and Adivasi (Indigenous) assertion in India. The concept of ‘after-image’ is used metaphorically, to trace how a seemingly imperialist portrait of Sido Murmu has assumed multiple afterlives. I question how these afterlives intersect with the intangible heritage of the Hul especially in the new state of Jharkhand (eastern-central India), to generate an approach to heterotopian encounters that has applicability in both visual studies and subaltern studies.
BT - Visual Culture in Britain
DO - 10.1080/14714787.2011.609398
LA - English
M1 - 3
N1 - Publisher: Taylor and Francis Ltd.
N2 - In February 1856, the Illustrated London News published a wood-cut print of Sido Murmu, a captured leader of an anti-colonial rebellion in India led by indigenous Santal headmen. Known as the Hul, this movement has been re-visited by exponents of subaltern historiography in an effort to understand insurgent consciousness, and the parameters of ‘minority’ history. Working across these parameters, this article employs a visual and historical ethnographic methodology, in order to question whether the interplay between colonial-era and post-independence representations of the Hul may inform a new understanding both of British scopic regimes and of Santal (tribal) and Adivasi (Indigenous) assertion in India. The concept of ‘after-image’ is used metaphorically, to trace how a seemingly imperialist portrait of Sido Murmu has assumed multiple afterlives. I question how these afterlives intersect with the intangible heritage of the Hul especially in the new state of Jharkhand (eastern-central India), to generate an approach to heterotopian encounters that has applicability in both visual studies and subaltern studies.
PY - 2011
SP - 367
EP - 386
T2 - Visual Culture in Britain
TI - After-Images: Visual Cultures and Subaltern Pasts
UR - https://www.scopus.com/inward/record.uri?eid=2-s2.0-85044020421&doi=10.1080%2f14714787.2011.609398&partnerID=40&md5=68b4a1a3e937412f034e67870950c2d2
VL - 12
SN - 14714787 (ISSN)
ER -