Recent theorizations of affect have focused largely on Western historical, political and aesthetic contexts to distinguish between affect and emotion. Notably, these interventions offer new imaginaries to reinvigorate analysis of politics in the face of shrinking possibilities. However, much of this literature views affect as autonomous from emotion, while overlooking the political history of development and the differentiated relation to affect under colonial capitalism in other historical contexts. This paper studies subaltern engagement in activist performance in India to address these issues. It thinks through Lauren Berlant's account of the aesthetic genre and affective structure of cruel optimism, and her focus on historical contexts where people have recently lost the vision of a good life. By contrast, focusing on the historical present of those born into a pervasive and intractable sense of marginality and insecurity, I ask: what is the subject's relation to affect and activism in contexts where the loss of vision of a good life is not new under neoliberalism, but rather, reworks long-standing violence and inclusion/exclusion of colonial capitalism and nation-state histories. I argue that it is useful to understand Berlant's ‘materialist context for affect theory’ in light of uneven global histories of colonialism, development and neoliberalism. The affective experience of time is different across different spaces. As such, this paper contributes a global materialist context for affect theory, by focusing on activist theatre by a tribe called Chhara, designated ‘born criminals’ by British colonial law – a status legally denotified in 1952, but that is practically still effective in postcolonial India. Competing affective structures – sentimental optimism, cruel pessimism, betrayal and ordinary regard – shape and are shaped by Chhara negotiations with branded criminality. Ultimately, for the postcolonial subject, surviving in the neoliberal present involves vacillating among competing affective structures, only some of which generate sustained political critique.