Untitled (a manservant or Khitmutghar with a flywhisk) c. 1860 - 1880

Curator: Let's discuss this striking albumen silver print by Willoughby Wallace Hooper titled "Untitled (a manservant or Khitmutghar with a flywhisk)." It is part of the Harvard Art Museums collection. What are your initial thoughts? Editor: It's the textural contrast that grabs me first: the rough matting underfoot against the servant's smooth, almost luminous skin, and the coarse whisk. How were these materials sourced? Curator: Hooper, active in British India, captures more than just a visual; he documents the power dynamics of the colonial era through portraiture, which are often charged with racial and class tensions. Editor: Precisely. The flywhisk itself represents a very specific type of labor, control over the immediate environment. How much were these workers paid, if at all? What were their working conditions? Curator: His gaze is direct, challenging the viewer. The “flywhisk” serves not only as a tool but also as a symbol of the servant’s imposed role within a hierarchical system. Editor: A tool, yes, but also a commodity. Understanding the colonial structures allows us to see how this photograph becomes part of that system of labor, trade, and exploitation. Curator: Agreed. Reflecting on the photograph's composition, we see the subtle but firm grip on power dynamics, not just in India, but mirrored throughout colonial contexts. Editor: And for me, it underscores the critical need to always question the means of production, not just the product itself, in this case the photograph.