Holi and Eid in 1898.

Photo: a Sabil set up outside the Jama Masjid. This is from Maynard Owen William’s piece on Delhi in the 1940s.

This post draws on a recent moment of festivity in Delhi, with Holi just passed and Ramzan coming to a close. It’s a reflection on how the past has the potential to inform the future.

In March 1898, a display of communal harmony unfolded in Delhi, as Hindus and Muslims came together to celebrate Eid and Holi. On March 2, Hindus shared sherbet and sweets with Muslims emerging from the Jama Masjid after Eid prayers. Two weeks later, on March 15, during Holi, Muslims reciprocated the gesture. They set up sabils (refreshment stalls), presented attar (perfume), garlanded Hindus, and sprinkled rose water over them. Couplets by the Persian poet Hafez, celebrating peace and friendship, were prominently displayed on the sabils. Newspapers of the time hailed these festivities as a ‘reunion’ of the two communities. Such celebrations had overcome the growing violence that was characterised by the politicisation of religious identities that was a hallmark of the later 19^th century. They had also given the colonial government a bit of a reprieve policing communities during the time of the ‘plague scares’ of the 1890s.

 

As I mentioned above, in these polarised times, this moment can act as a reminder of how the past can be instructive for the future.  

 

See you next Friday.

 

 

References: 

Punjab Native Newspaper Reports, 1898-1900, p. 156 and 191

 

 

 

 

 

Melon cultivation on the banks of the Yamuna in the 19th century

 

When I wrote about the ‘perils’ of the Yamuna, I intended to follow it up with a post on the cultivation practices along the river's banks. While the picture above may not directly depict cultivation, it offers a glimpse into the vast expanse of the Yamuna and its surrounding riverine land in Delhi. Some of this land was also historically used for growing crops.

Melons, in particular, were cultivated along the banks of the Yamuna and required the application of manure. This practice was part of a local tradition aimed at enhancing the fertility of the alluvial soil in the region. The Mughals actively promoted melon cultivation, so much so that when the East India Company sought to remove ‘unsanitary’ trades from the city's vicinity in 1850, Bahadur Shah Zafar, the last Mughal emperor, even petitioned on behalf of the melon farmers. However, after the Rebellion of 1857, melon cultivation was significantly reduced due to concerns about sanitation. It was argued that the manure used in melon farming could contribute to the spread of disease, especially among soldiers stationed in the Red Fort.

Despite this, the reduction in melon farming did not lead to its complete elimination, as there were still voices within the British establishment advocating for the importance of maintaining soil fertility.

Today, melon cultivation continues along the Yamuna’s banks, but environmental degradation has taken its toll. The dumping of chemical waste into the river has led to the early death of melon crops, often just after they sprout. This not only threatens food security but also undermines the livelihoods of farmers dependent on melon cultivation.

Delhi's first modern Fire Station in 1916

 

Here’s a picture of Delhi’s first modern fire station in Shahjahanabad. You may be able to spot the fire warden and firefighters standing in the foreground. There is a caveat, however: Delhi had a temporary fire station established in the 1870s, which remained in operation until this one was built in 1916. The problem was that the old fire station was situated along Burn Bastion Road (now known as Naya Bazar) and when the latter was constructed, it had to be rebuilt. The new fire station included accommodation for a driver and quarters for a fireman, all on a permanent foundation.

One might ask, why was establishing a permanent fire station so significant from the perspective of the colonial government? Well, aside the fact that fires could cause loss of life, Delhi was a commercial hub, and the government could not afford to risk damage to commercial property and goods essential for economic growth. Additionally, a modern fire station symbolised power – it was a representation of control over elements like fire, highlighting the benevolence and advantages of colonial rule.

FYI, I had posted on the Delhi Municipality’s fire engine, the 'Fire King' and the former's embrace of new technology a little while ago and this can be read here:https://hiddendelhiblog.blogspot.com/search?q=fire

More next week, see you then.

Chess Players, Delhi (1862)

 

https://www.nationalgalleries.org/art-and-artists/95309?search=delhi&page=1&search_set_offset=88

The photograph taken from the National Galleries of Scotland Collection is titled Chess Players, Delhi from 1862. This was taken by Bourne and Robertson, who later became known as Bourne and Shepard—perhaps the most prolific photographic studio of their time. Their collection of photographs from 1860s India includes numerous ethnographic images like this one, which played a significant role in the colonial state's knowledge-gathering efforts following the Indian Rebellion of 1857.

This particular image was most likely staged by the photographers. Notice the man on the left, awkwardly perched while wearing his shoes, while another man looks on. The photographers created an oriental 'spectacle' for their viewers, using the camera lens to maintain a clear distance between themselves and their subjects. It's important to consider the context: Delhi in 1862 was a city depopulated by force, still reeling from the brutal reprisals that followed its involvement in the rebellion. The fact that the photographers staged this scene indicates their intent to craft a specific narrative about Delhi and India for their audience.

This photograph thus isn’t just a snapshot of leisure activities in 1860s Delhi; it’s a constructed image that reflects the power dynamics of colonialism. The photographers weren’t merely documenting reality—they were shaping it for their viewers back in Britain. This was how native subjects were imagined to spend their leisure time in far-flung imperial cities like Delhi. 'Knowing' subjects, moreover, as historians have reminded us, was inextricably linked with control of empire and the politics of colonialism. 

It is worth mentioning that the collection of images taken by Bourne and Robertson do also feature some images of the desolation of Delhi, particularly its environs. However, the underlying message isn't one of sympathy. The images of decay and desolation were meant to contrast directly with the modern and progressive force of British power and so therefore served a political purpose. More on this another day, though.