Landscapes of the Delhi Durbar, 1903: Ritual and Politics Leo C

Total Page:16

File Type:pdf, Size:1020Kb

Landscapes of the Delhi Durbar, 1903: Ritual and Politics Leo C THE SEMIANNUAL NEWSLETTER OF THE ROBERT PENN WARREN CENTER FOR THE HUMANITIES VOL. 20, NO. 2­­ • SPRING 2012 • VANDERBILT UNIVERSITY Landscapes of the Delhi Durbar, 1903: Ritual and Politics Leo C. Coleman he landscape around Delhi, India, is Indian Princes, notables, and visitors. These marked out by old walls and gates were placed from four to seven miles away which once protected important from the Central (European) Camps, for “rea- settlements and royal centers, and sons of space and public health” as one colonial Tby the monuments of the various governments observer described it. that have occupied this capital city over centu- Of course, Indian participation, and pres- ries. The gates of what is called the “old city” of ence, in this ritual of colonial display was Delhi still stand, now breached by the modern indispensable for its spectacular effect, and city built up since the nineteenth century. The the officials of the Native States, which were old city, in its earlier incarnation as Shahja- an integral part of the British Indian political hanabad, was further protected by a low ridge structure, were encouraged to constitute their which bound the northwestern approach to the encampments as a kind of ethnological museum. city. The ridge also provided a redoubt, of sorts, Some, while keeping with the colonial logic of for the British when their occupation of North sumptuous display, mounted their own coun- India came under attack in the so-called Mutiny ter-display of modern technique and efficiency. of 1857. It was on the ridge that the British later The representatives from the state of Baroda, for built a memorial to the “defense” of the city. instance, were housed in a splendid teak-wood Now visitors are reminded by plaques in Hindi, bungalow, elaborately illuminated inside and Urdu, and English that “The enemy of the out with electric light, topped by a huge dome inscriptions on this monument were those who Delhi Mutiny Memorial plaque with new inscriptions some fifty feet high, with an electric beacon at rose against colonial rule and fought bravely for (1972) its top that could be seen for miles. Around the national liberation.” the coronation in England the previous sum- Baroda encampment, ceremonial archways and After the bloody trial of four months of mer of Edward VII as King of Great Britain and large reception tents were all fitted with elec- battle in 1857, the walls of Delhi could not Emperor of India. Away from the modern city tric signs proclaiming the long life of the King serve to protect the city from the depredations of Delhi, then fitfully expanding, throwing out Emperor and welcoming guests. The encamp- of reconquest. Large sections of the walls were suburbs and developing civic institutions and ment of Kashmir’s Maharaja, Sir Pratap Singh, dynamited in the following years, to make way infrastructures (Gupta 1981), the British built a was likewise fitted with electric lights, to a for railways and to clear defensible areas, as tent-city and a ceremonial amphitheater of lathe well as to provide space for new accommoda- and plaster, to accommodate the celebrants and tions. The sacred spaces of Indian sovereignty, provide a dramatic backdrop for their rite of Inside in the Red Fort or Lal Qila, were taken over as sovereignty over the Orient. Landscapes of the Delhi Durbar, 1903: barracks, and later transformed into ballrooms In keeping with colonial notions about Ritual and Politics .................................... 1-3, 12 and banquet halls for assemblages of Imperial utility and pomp—favoring the former and Preview Spanish Theater: notables. denigrating the latter—the Durbar settlements Text and Performance ........................................4 On New Years’ Day, 1903, under the direc- were not just decorative appendages to a mean- Representation and Social Change Symposium .5 tion of the Viceroy, Lord Curzon, one of these ingless ritual, but rather served as a massive great ceremonial gatherings was staged near demonstration of technical skill and thereby “All I Need to Know I Learned from Delhi on plains dotted with villages but, for the sovereign right. A power plant for producing Don Quixote” by Edward H. Friedman .........6-8 occasion, cleared, platted, and filled with tents. electricity was specially imported from England, What We Are Writing ....................................... 9 The event was called a Durbar, after the Persian and a network of underground wires piped 2012/2013 Warren Center Seminars .................. 10 term for a royal audience used by the Mughal clean, efficient electric power throughout the Emperors of Delhi, and it was held to celebrate tent-city. Meanwhile, camps were arranged for Graduate Student Fellows Lecture Series ............11 Letters • Spring 2012 • 1 Letters • Spring 2012 • 2 reported total of 120,000 candlepower. disdain I brought on myself by being on visit- As I develop materials to address such ques- Though the tents, electric lights, railway, and ing terms with a clerk who was living in E-class tions, I aim to expand our ability within politi- amphitheater installed for the Durbar were all quarters.” Such distinctions and discrimina- cal anthropology to understand political rituals taken down at the end of the event, the grid of tions, drawn from the pay-grades of civil ser- as more than sideshows, or mere reflections or roads and expansion of the city to the northwest vants, thus provided the lingua franca for much performances of political texts already set down. remained as traces on the land. The Durbar of the administration of Delhi throughout the Rituals, whether the personal and private or grounds combined the memory twentieth century, across changes the great public rites of political life, work with of British conquest with the orna- in regime—and indeed the same meanings and material conditions in ways ments of a longer, indigenous is true of almost any modern city, which are highly formal, set apart from and yet Imperial past and the technologi- though to varying degrees and necessary to everyday life, often though not nec- cal imperatives of the twentieth drawing on different repertoires essarily religiously sanctioned, and by definition century. It is not incidental that of distinction. It is the ritual orga- effective. Ritual collapses distinctions between Lord Curzon’s appointment book nization, in urban landscapes and cause and effect and intention and action, trans- for the event had bound inside political consciousness, of such forms space and time, and marks the physical the front cover a map of the posi- distinctions and discriminations world with its traces, its temporary occupations tion of British troops around Delhi that I am studying further as a fel- producing powerful sites of return, memory, during the battles of 1857, nor that low in this year’s Fellows Program and concern. The sites of memory which mark the Central Camp of the assem- at the Robert Penn Warren Center Delhi to this day, though recoded to remember blage on the Western side of the Leo C. Coleman for the Humanities. In particular, I different aspects of long-ago political struggles, Ridge was laid out in just the am embarking on new research on the are such because of constant and renewed ritual same spot where the occupying army had been politics of urban citizenship in contemporary attention to them, connecting them with great housed some 45 years before. global cities. transcendent and justificatory stories about who The events of the Durbar and the shaping of This year, the Warren Center Fellows are counts in the “we” of political communities. the city of Delhi through such political rituals, investigating “Sacred Ecology,” human rela- Political anthropology has become, over the in which particular cultural and technological tions with the land, and with representations past thirty years or so, predominantly the study resources are deployed to mark, transform, and and projections of landscape, in which the of how differences between groups of people make socially meaningful a set of relations in sacred, the supramundane, and ritual prac- are made and marked. Classically defined as space and time, are the subject of my book-in- tices affect both the real and the imagined the study of ordering institutions of a society, progress, “Delhi in the Electrical Age.” Based on terrain of human occupation. As a political and of behavior in contexts defined as about ethnographic research in contemporary Delhi, anthropologist and an urbanist, this topic power and control, and therefore political, this and historical materials about the experience of provides me with a framework for thinking subfield of cultural anthropology has more and the city and its transformation into a modern, through contemporary struggles over identity more focused on what the theorist Judith Butler techno-political space through electrification and citizenship in globalization. As global cit- has called the “ground of politics,” the making and planning, I tell a story about the modern ies such as Delhi grow in population, and also (and remaking) of the common-sense world of state, its urban techniques and technologies become important sites of residence for a ris- categories and distinctions in terms of which of rule, and how people are able to participate ing affluent class, how are spaces made and strategies can be formulated and tactics are effec- in politics and modernity in and through the remade to give expression to new communi- tive. Responding, indeed, to the constricted state’s rituals. We can trace a line from the plat ties and to exclude others? Comparatively, I range of conclusions possible in studies of coun- of the Durbar camps to the rigorously ordered, am also interested in how recent conflicts cils, committees, and local disputes, and more separated, and meaningfully marked spaces for over mosques and other religious buildings importantly under the influence of Foucauldian each rank or category of person that typified the at key sites in the United States represent definitions of power as “productive” (as opposed bureaucratic regulation of space in Delhi.
Recommended publications
  • 215 the History and Practice of Naming Streets in Delhi
    International Journal of Advanced Research and Development International Journal of Advanced Research and Development ISSN: 2455-4030, Impact Factor: RJIF 5.24 www.advancedjournal.com Volume 2; Issue 3; May 2017; Page No. 215-218 The history and practice of naming streets in Delhi Nidhi M.A (F), Delhi School of Economics, Delhi, India Introduction: History of Streets which naming streets took place have changed considerably. The word ‘Street’ was borrowed from Latin language. The Delhi, India’s capital is believed to be one of the oldest cities Roman strata or paved roads were taken up to drive the word of the world. From Indraprastha to New Delhi, it had been a street. The word street helps us to recognise the roman roads long journey. As popularly believed, Delhi has been the site which were straight as an arrow, connecting the strategic for seven historic cities- Lalkot, Siri, Tughlaqabad, Jahan positions in the region. Panah, Ferozabad, Purana Quila and Shahajahanabad. The early forms of street transport were horses or even Shahajahanabad remains a living city till present housing humans carrying goods over tracks. The first improved trails about half a million people. would have been at mountain passes and through swamps. As 2.5.1 Street names of Shahajahanabad: Mughal Capital trade increased, the tracks were often flattened or widened to The seventh city of Delhi, Shahajahanabad was built in 1638 accommodate human and animal traffic, Some of these soil on the banks of river Yamuna. The two major streets of tracks were developed into broad networks, allowing Shahajahanabad were Chandni Chowk and Faiz Bazaar.
    [Show full text]
  • Anchoring Heritage with History—Minto Hall
    Oprint from & PER is published annually as a single volume. Copyright © 2014 Preservation Education & Research. All rights reserved. Articles, essays, reports and reviews appearing in this journal may not be reproduced, in whole or in part, except for classroom and noncommercial use, including illustrations, in any form (beyond copying permitted by sections 107 and 108 of the U.S. Copyright Law), without written permission. ISSN 1946-5904 PRESERVATION EDUCATION & RESEARCH Preservation Education & Research (PER) disseminates international peer-reviewed scholarship relevant to historic environment education from fields such as historic EDITORS preservation, heritage conservation, heritage studies, building Jeremy C. Wells, Roger Williams University and landscape conservation, urban conservation, and cultural ([email protected]) patrimony. The National Council for Preservation Education (NCPE) launched PER in 2007 as part of its mission to Rebecca J. Sheppard, University of Delaware exchange and disseminate information and ideas concerning ([email protected]) historic environment education, current developments and innovations in conservation, and the improvement of historic environment education programs and endeavors in the United BOOK REVIEW EDITOR States and abroad. Gregory Donofrio, University of Minnesota Editorial correspondence, including manuscripts for ([email protected]) submission, should be emailed to Jeremy Wells at jwells@rwu. edu and Rebecca Sheppard at [email protected]. Electronic submissions are encouraged, but physical materials can be ADVISORY EDITORIAL BOARD mailed to Jeremy Wells, SAAHP, Roger Williams University, One Old Ferry Road, Bristol, RI 02809, USA. Articles Steven Hoffman, Southeast Missouri State University should be in the range of 4,500 to 6,000 words and not be Carter L. Hudgins, Clemson University/College of Charleston under consideration for publication or previously published elsewhere.
    [Show full text]
  • Kevin Milburn, Delhi Durbar Dress. in Derbyshire.Pdf
    Dr Kevin Milburn Delhi Durbar Dress. In Derbyshire. And so, with a final intense, some may say frantic, period of work, the prototype stage of our project has come to an end. All the archival work in London – such as at the British Film Institute, the National Portrait Gallery and nosing around inside Carlton House Terrace – is completed; the correspondence with American institutions, such as the Smithsonian and the Library of Congress, is over; the star-gazing at ‘celebrity’ authors and historians – step forward Owen Jones, Tristram Hunt and Kate Williams, all similarly beavering away in The British Library – is no more. All of which makes me a little sad. Following soon after that stage of the project, came the onset of the most recent editing phase, which has largely revolved around copy editing and proofing written texts for the app as well as audio/film scripts associated with it. However, in between hunter-gathering information and then giving it a bit of a polish (hopefully) came a rather jolly and extremely productive away-day, one that took me and Nicola away from this project’s more usual Exeter St. David’s-London Paddington axis, to the quiet foothills of the south-eastern corner of the Pennines, and, more specifically still, to Kedleston Hall, Derbyshire. Kedleston Hall, National Trust. Photograph: Kevin Milburn Dr Kevin Milburn Built in the mid-18th century by renowned architect Robert Adam to be the country seat of the Curzon family, Kedleston Hall is now a popular National Trust property. And it was here, that a group of enthusiastic, good hearted, shivering and, initially, blurry eyed, people, gathered to film and photograph − courtesy of 360 degree SpinMe technology − the most famous outfit associated with the subject of our app, Mary Curzon: the Peacock Dress.
    [Show full text]
  • THE COAT of ARMS an Heraldic Journal Published Twice Yearly by the Heraldry Society the COAT of ARMS the Journal of the Heraldry Society
    Third Series Vol. II part 2. ISSN 0010-003X No. 212 Price £12.00 Autumn 2006 THE COAT OF ARMS an heraldic journal published twice yearly by The Heraldry Society THE COAT OF ARMS The journal of the Heraldry Society Third series Volume II 2006 Part 2 Number 212 in the original series started in 1952 The Coat of Arms is published twice a year by The Heraldry Society, whose registered office is 53 High Street, Burnham, Slough SL1 7JX. The Society was registered in England in 1956 as registered charity no. 241456. Founding Editor † John Brooke-Little, C.V.O., M.A., F.H.S. Honorary Editors C. E. A. Cheesman, M.A., PH.D., Rouge Dragon Pursuivant M. P. D. O'Donoghue, M.A., Bluemantle Pursuivant Editorial Committee Adrian Ailes, B.A., F.S.A., F.H.S. Jackson W. Armstrong, B.A. Andrew Hanham, B.A., PH.D Advertizing Manager John Tunesi of Liongam PLATE 4 Osmond Barnes, Chief Herald at the Imperial Assemblage at Delhi, 1876-7 Private Collection. See page 108. HERALDS AT THE DELHI DURBARS Peter O 'Donoghue Three great imperial durbars took place on the Ridge outside Delhi during the height of the British Raj, on a site which was associated with the heroics of the Mutiny. The first durbar, in 1876-77, proclaimed Queen Victoria as Empress of India, whilst the second and third, in 1902-3 and 1911, proclaimed the accessions of Edward VII and George V respectively. All three drew upon Indian traditions of ceremonial meetings or durbars between rulers and ruled, and in particular upon the Mughal Empire's manner of expressing its power to its subject princes.
    [Show full text]
  • Urdu in Hyderabad State*
    tariq rahman Urdu in Hyderabad State* The state of Hyderabad was carved out in 1724 by the Asif Jahis (Āṣif Jāhīs), the governors of the Mughal emperors in the Deccan, when they became powerful enough to set themselves up as rulers in their own right. The Nizams1ófrom Mīr Qamruíd-Dīn Khān (1724ñ48) until the sixth ruler of the house Mīr Maḥbūb ʿAlī Khān (1869ñ1911)óused Persian as their court language, in common with the prevailing fashion of their times, though they spoke Urdu at home. Persian was, however, replaced by Urdu in some domains of power, such as law courts, administration and education, toward the end of the nineteenth century. The focus of this article is on the manner in which this transition took place. This phenomenon, which may be called the ìUrduizationî of the state, had important consequences. Besides the historical construction of events, an attempt will be made to understand these consequences: the link of ìUrduizationî with power, the construction of Muslim identity, and socio- economic class. Moreover, the effect of ìUrduizationî on the local languages of Hyderabad will also be touched on. *The author is grateful to the Higher Education Commission of Pakistan for a grant to carry out research for this article in India. 1The Nizams who actually ruled were the first seven; the last in the line carried the title until 1971 but did not rule: 1) Mīr Qamaruíd-Dīn Khān Niāmuíl- Mulk Āṣaf Jāh I (r. 1724–48); 2) Mīr Niām ʿAlī Khān Āṣaf Jāh II (r. 1762–1803); 3) Mīr Akbar ʿAlī Khān Sikandar Jāh III (r.
    [Show full text]
  • The Delhi Coronation Durbars Trust Based in New Delhi
    THE ALKAZI COLLECTION OF PhotographY The Alkazi Collection of Photography Codell POWER AND RESISTANCE The Alkazi Foundation for the Arts is a registered charitable The Delhi Coronation Durbars trust based in New Delhi. It is primarily dedicated to the power AND resistance exploration and study of the cultural history of India. Over the last 30 years, Ebrahim Alkazi, the Foundation’s The Delhi Coronation Durbars This volume explores how photography represented, Chairman, has amassed a private collection of photographs The Delhi Coronation Durbars Coronation The Delhi idealized and publicized the Delhi Coronation Durbars, known as The Alkazi Collection of Photography occasions marking the formal coronations of English (www.acparchives.com), an archive of nineteenth- and early- monarchs as empress and emperors of India: Victoria twentieth century photographic prints from South and power Edited by Julie F. Codell South-East Asia, amounting to over 90,000 images.The core in 1877, Edward VII in 1903 and George V in 1911. of the Collection comprises works in the form of photographic Formally schematized and instituted by the Viceroys albums, single prints, paper negatives and glass plate negatives of India—Lytton, Curzon and Hardinge—the durbars from India, Burma, Ceylon, Nepal, Afghanistan and Tibet. were the first examples of the aestheticisation of imperial Almost every region with a history touched by the British Raj politics and the inscription of the Raj in a celebratory is represented. These vintage prints document sociopolitical history that served to legitimate colonial presence. life in the subcontinent through the linked fields of history, AND architecture, anthropology, topography and archaeology, Lasting several weeks, each lavish occasion was imaged beginning from the 1840s and leading up to the rise of and described in photographs (cartes-de-visite as well as modern India and the Independence Movement of 1947.
    [Show full text]
  • The Delhi Coronation Durbars
    T HE AL K A Z I COLLECTION OF PHOTOGRAPHY Te Alkazi Collection of Photography Codell POWER AND RESISTANCE Te Alkazi Foundation for the Arts is a registered charitable Te Delhi Coronation Durbars trust based in New Delhi. It is primarily dedicated to the POWER AND RESISTANCE exploration and study of the cultural history of India. Over the last 30 years, Ebrahim Alkazi, the Foundation’s Te Delhi Coronation Durbars Tis volume explores how photography represented, Chairman, has amassed a private collection of photographs The Delhi Coronation Durbars Coronation The Delhi idealized and publicized the Delhi Coronation Durbars, known as Te Alkazi Collection of Photography occasions marking the formal coronations of English (www.acparchives.com), an archive of nineteenth- and early- monarchs as empress and emperors of India: Victoria twentieth century photographic prints from South and POWER Edited by Julie F. Codell South-East Asia, amounting to over 90,000 images.Te core in 1877, Edward VII in 1903 and George V in 1911. of the Collection comprises works in the form of photographic Formally schematized and instituted by the Viceroys albums, single prints, paper negatives and glass plate negatives of India—Lytton, Curzon and Hardinge—the durbars from India, Burma, Ceylon, Nepal, Afghanistan and Tibet. were the first examples of the aestheticisation of imperial Almost every region with a history touched by the British Raj politics and the inscription of the Raj in a celebratory is represented. Tese vintage prints document sociopolitical history that served to legitimate colonial presence. life in the subcontinent through the linked fields of history, AND architecture, anthropology, topography and archaeology, Lasting several weeks, each lavish occasion was imaged beginning from the 1840s and leading up to the rise of and described in photographs (cartes-de-visite as well as modern India and the Independence Movement of 1947.
    [Show full text]
  • Viceroy of India 1899 – 1931
    Viceroysof India 1899-1931 ADMINISTRATION Announced Partition of Bengal Province, the nerve centre of Indian Nationalism into two parts - Bengal and East Bengal (1905) Established Archaeological Survey of India to restore India's cultural heritage, Department of Commerce and Industry, Agricultural banks LORD CURZON Passed the Cooperative Credit Societies Act 1904 (1899-1905) POLICE Appointment of Police Commission (1902) under Sir Andrew Frazer to review Police Administration, recommended the establishment of CID Education Appointment of Raleigh Commission Emphasis on Technical Education, (1902) to suggest improvement into established Agriculture Research the prospects of Universities and Institute at Pusa passing of Indian Universities Act (1904) ADMINISTRATION His period is witnessed as “Era of Great Political Unrest” in India Partition of Bengal was formally enforced on October 16, 1905, the day was observed as a Day of National Mourning throughout Bengal Morley-Minto Reforms 1909, popular for its 'Divide LORD MINTO II & Rule Policy' provided for Separate Electorate to (1905-1910) Muslims National Movement Anti-Partition & Swadeshi Movement to prevent unjust partition of Bengal through Boycott of Foreign Goods Foundation of Muslim League (1906) to safeguard the rights of Indian Muslims. It will cause the partition of British India in 1947 and demand for a Separate Muslim Nation Split in Congress at Surat Session of Congress in 1907 due to the Ideological differences between Moderate-Extremist Major Events Annulment of Partition of Bengal
    [Show full text]
  • Theodore John Baptiste Phyffers C.1821-76
    Theodore John Baptiste Phyffers c.1821-76 http://www.victorianweb.org/sculpture/phyffers/index.html [c.1821] [born Leuvan (Louvan), Belgium] c1844 Wood carving, Palace of Westminster, London [19.07.1847] [marriage to Maria Colquohoun] [Westminster] [1849] [birth of son Theodore James Phyffers Benyon] [Chelsea] [31.08.1849] [birth of son Felix Phyffers] [Westminster] 1850 Bust of John Watkins, Esq (RA 1365) Address: 44 Arthur Street, Chelsea 1850 High Altar and reredos for A.W.N. Pugin for the Chapel of St Joseph, at the Cathedral Church of St Marie, Norfolk Row, Sheffield, architects John Grey Wightman and Matthew Ellison Hadfield (partnership until 1858). 1850 The first lesson of the Bible, sculptural relief, untraced 1850 Unidentified subject (bust) 1850 Unidentified subject, statue, untraced [30.03.1851] Census: occ. sculptor / stone carver Westminster RC Cathedral [Address: Holywell Street, Westminster (in-laws)] "This small and unpretentious building in Horseferry-road was erected in 1813… It was enlarged and beautified in 1852… The sculpture over the alter represents the Annunciation of our Lady, and is said to possess great artistic merit. The sculptor was Phyffers.” ['St John the Evangelist, Westminster: parochial memorials’, 1892] 1852 [04.02.1853] [birth of daughter Alice Phyffers] [St Pancras] 1854 Bust of H. S. Parkman, Esq (RA 1475) Address: Landsdowne Yard, Guildford Street Henry Spurrier Parkman (1814-1864), portrait painter, Bristol 1854 Bust of J. R. Clayon, Esq (RA 1484) Address: Landsdowne Yard, Guildford Street John Richard Clayton (1827-1913), stained glass artist, sculptor, architect. Trained by George Gilbert Scott and later in partnership with Alfred Bell (1832-1895).
    [Show full text]
  • Pomp and Privation in Victorian India, Kapil Komireddi
    Pomp and Privation in Victorian India KAPIL KOMIREDDI This essay examines British colonial rule in late nineteenth-century India through the lens of two contemporaneous artefacts. Each vivifies a reality that complicates the message sought to be advanced by the other. The first artefact, a lavishly illustrated book commemorating the opulent Proclamation Durbar of 1877, clarifies the self-image of a benignant empire in India crafted by the colonial apparatus for audiences in Britain. The second, a photograph of starving children during the Great Famine of 1876-1878—through the course of which an estimated ten million Indians perished—conveys the experiences of the colonised peoples under the reign of Queen Victoria as she formally assumed the title of Empress of India. Pomp returned to Delhi on New Year’s Day of 1887, when the former capital of the Mughals, reduced only two decades before to nonentity by the British in retaliation for the Great Rebellion of 1857, hosted the most extravagant spectacle in the subcontinent’s living memory: the Proclamation Durbar.1 The principal function of the of the 1877 Durbar, at which Queen Victoria was formally proclaimed Kaiser-e-Hind,2 was the solemnisation, through elaborate ritual, of India’s reconfigured relationship to Britain. In choosing Delhi—a city ‘for ever bound up with the history of India’—as the site of the investiture ceremony, the British were seeking to project their rule as a continuation of, not a departure from, India’s past and traditions, which, after the Durbar, would become ‘interwoven with those of the English people’.3 The official history of the Durbar was published the same year in the form of a handsome book.
    [Show full text]
  • Freedom Struggle in Delhi Rowlatt Satyagraha to Civil Disobedience Movement
    FREEDOM STRUGGLE IN DELHI ROWLATT SATYAGRAHA TO CIVIL DISOBEDIENCE MOVEMENT Author Supervisor Mrs. Reva Dhanedhar Prof GP Sharma Department of History & Culture Jamia Millia Islamia The genesis of freedom struggle in Delhi can be traced to the Great Revolt of 1857. The flames which lit in Meerut on 10 May 1857 reached Delhi the next day and engulfed the entire city. The soldiers proclaimed Bahadur Shah as Emperor of India. In the resultant violence many Europeans and Indian Christians were killed. By September 1857 the Britishers were able to suppress the revolt but the cruelty perpetrated by them was never forgotten by the people, who had to stay out of their houses for days and months. The Delhi Durbar of 1876, the formation of Indian National Congress in 1885, the second Delhi Durbar of 1903, the partition of Bengal in 1905, the change of Capital from Calcutta to Delhi in 1912, the hurling of bomb on Lord Hardinge in 1912 were some of the major events in the history of Delhi which contributed in preparing the base for the freedom struggle in the subsequent decades. The transfer of capital in 1911 turned Delhi into a center of political activity. It gained in stature and the areas around looked up to it for guidance. Naturally, this caused a lot of anxiety to the British rulers even in far away districts of Multan and Gujarat. The period of one and half decades starting with Rowlatt Satyagraha in 1919 and ending with Civil Disobedience Movement in 1934 however, constitutes the most important phase of the freedom struggle in India and also in Delhi.
    [Show full text]
  • Press Release
    PRESS Press Contact Rachel Eggers Manager of Public Relations [email protected] RELEASE 206.654.3151 JULY 31, 2018 PEACOCK IN THE DESERT: THE ROYAL ARTS OF JODHPUR, INDIA OPENS AT SEATTLE ART MUSEUM OCTOBER 18, 2018 Immersive exhibition explores five centuries of the artistic and cultural heritage of the city of Jodhpur and its people SEATTLE, WA – The Seattle Art Museum (SAM) presents Peacock in the Desert: The Royal Arts of Jodhpur, India (October 18, 2018–January 21, 2019), showcasing five centuries of artistic creation from the kingdom of Marwar- Jodhpur in the northwestern state of Rajasthan. Organized by the Museum of Fine Arts, Houston, in partnership with the Mehrangarh Museum Trust of Jodhpur, the exhibition features 250 objects from the 16th to the mid-20th century including intricate paintings, decorative arts, elaborate tents, canopies, textiles, jewelry, and weapons, presented with photos and videos that evoke the impressive setting of the Mehrangarh Museum. Peacock in the Desert presents a vision of a cosmopolitan court culture that relies on art as an essential aspect of its rule. Established in the 15th century, the city of Jodhpur was ruled by the Rathores for over seven centuries. The objects on view, many of which have not been seen beyond palace walls or traveled to the United States, tell the story of this vast desert kingdom. The exhibition traces the kingdom’s cultural landscape as it was continuously reshaped by cross-cultural encounters, notably by two successive empires who ruled India: the Mughals and the British. These encounters introduced objects, artists, languages, architectural styles, and systems of administration that influenced the complex royal identity of the Rathore dynasty.
    [Show full text]