Purple Tongues and an Ancient Land: Why India Was Once Called Jambudweep

This has been a spectacular year for jamuns. Friends have been arriving at my doorstep with bowls of freshly picked fruit. Street vendors are doing brisk business. The paving beneath our neighbourhood tree is squishy and squashy with purple. Even the birds appear to be celebrating. Bulbuls squabble noisily over the ripest fruits, parakeets descend in unruly flocks.

As always, theories abound. “It mean there is going to be drought,” says one person with great confidence. Another attributes it to the delayed rains. A third insists that trees produce more fruit when they are stressed. But horticulturists point out that fruiting depends on a complex interplay of weather, flowering, pollination, soil moisture and tree health. A dry spell at one stage may help fruit set; a prolonged drought at another can reduce it. Hence they caution against any simple cause-and-effect attributions.

Whatever the reason for this year’s abundance, it has reminded me how easily we overlook one of India’s most extraordinary native trees.

The jamun (Syzygium cumini) has grown on this land for thousands of years. It belongs here. Long before apples arrived from colder climates or kiwis and dragon fruit found a place in our supermarkets, the jamun flourished in forests, along riverbanks, in village commons and temple courtyards. It asked for very little in return. A mature tree can withstand fierce summers, survive erratic rainfall, provide generous shade and still produce an astonishing crop of fruit when the monsoon arrives.

Its flowers feed bees and other pollinators. Its dense canopy shelters birds through the hottest months of the year. When the fruits ripen, they become a banquet for parrots, barbets, bulbuls, mynas, fruit bats, monkeys and squirrels. The fruits that fall to the ground feed insects and enrich the soil. A single old jamun tree supports an entire community of life, quietly performing ecological services long before we coined terms such as “biodiversity” and “ecosystem services.”

For us humans, the jamun has always been more than a seasonal treat. Rich in antioxidants, iron, vitamin C and fibre, it has occupied a respected place in Ayurveda for centuries. The seeds are traditionally dried and powdered, particularly for managing blood sugar, while the bark and leaves have found their way into a variety of medicinal preparations. Modern science continues to investigate many of these traditional uses, and although not every claim has been conclusively proven, there is little doubt that the jamun deserves its reputation as one of our healthiest indigenous fruits.

Yet what fascinates me most is not its nutritional value or even its ecological importance. It is the extraordinary honour that our ancestors bestowed upon it.

There was a time when this land was known not only as Bharat, but also as Jambudweep.

The name is deceptively simple. In Sanskrit, jambu means the jamun tree, while dvipa refers to a great landmass or continent. Put together, the name means “the land of the jamun.” It appears in Hindu Puranas, in Buddhist texts and in Jain cosmology. Each tradition interprets Jambudweep a little differently—sometimes as the central continent of the known world, sometimes more specifically as the Indian subcontinent—but all recognise it as the land associated with the magnificent jambu tree.

So even today, every sankalpa begins with “Jambudweepe, Bharata Varshe, Bharata Khande”. A Sankalpa is a formal intention or vow made by a priest or an individual before starting a puja, homa, or vrat. We can think of it like a cosmic address. Just as you use a GPS to pinpoint your exact location on Earth, a Sankalpa uses ancient geography to state exactly where and when you are performing the ritual. It tells the universe your location on a grand, cosmic scale before focusing on your specific name, family lineage, and current location.

An entire civilisation identified itself with a tree.

Modern nations usually derive their names from tribes, kingdoms, rivers or rulers. They commemorate conquests, dynasties and political boundaries. Ancient India, on the other hand, also chose to remember a tree that must have been so widespread, so familiar and so deeply woven into everyday life that it became a symbol of the land itself.

The old texts speak of gigantic jamun trees growing on mountain slopes, their fruits so abundant that the juice flowed into nearby streams, tinting the waters a deep purple. No one imagines these accounts to be literal descriptions. Ancient literature delighted in metaphor and imagination. But beneath the poetry lies an important historical clue. Vast stretches of the subcontinent must once have supported thriving populations of jamun trees, making them one of the defining features of the landscape.

It is a reminder that our ancestors viewed trees not simply as resources to be harvested or obstacles to development. They were companions in daily life, providers of food and medicine, landmarks for travellers, gathering places for communities and, occasionally, symbols worthy of naming an entire civilisation.

How things have changed! We get excited about imported blueberries and Californian cherries, discuss the merits of avocados with great seriousness and happily pay premium prices for fruits that have travelled halfway around the world. Meanwhile, the jamun arrives quietly every monsoon, sold from baskets lined with newspaper, accompanied by a small paper packet of salt and chilli powder. It stains our fingers, our lips and invariably our clothes, yet never complains about the lack of sophisticated marketing.

Sadly, many of the old jamun trees have disappeared. Expanding cities, road widening and shrinking open spaces have claimed countless mature specimens. Because the fruit bruises easily and has a short shelf life, it has never become a commercial superstar in the way that mangoes or apples have. And so, without quite noticing, we have allowed one of our most remarkable native trees to fade into the background.

This year’s generous harvest, whatever the weather’s role in producing it, feels like a timely reminder. We should celebrate the jamun not merely because it is delicious or healthy, but because it is part of our natural and cultural inheritance. Every old tree that survives deserves to be protected. Every new one that is planted is an investment not just in shade and fruit, but in biodiversity, history and memory.

So the next season when you buy a paper cone of jamuns from a roadside vendor, savour them slowly. Let your tongue turn gloriously purple. Watch the birds helping themselves to the fruits higher up the branches. And remember that you are tasting a fruit so deeply embedded in India’s landscape and imagination that it once lent its name to an entire civilisation.

Jambudweep—the Land of the Jamun. It is an ancient name, but perhaps it still has something important to teach us about belonging, gratitude and the quiet grandeur of a tree we have too often taken for granted.Summary

–Meena

Championing Snakes: Romulus Whitaker

Slimy, sneaky, slithering, scaly, creepy, fanged and deadly, these are some words that are used to describe snakes. These members of the natural world are rarely bestowed with the more complimentary adjectives that their walking, leaping, swimming fellow members often are. Thus, snakes are universally feared, avoided, badmouthed, and when encountered, the first instinct is to eliminate them.

Fortunately, every snake has its day, and July 16 it is. This is celebrated as World Snake Day, a global observance which aims to reduce this negative stigma, dispel common myths, and highlight the ecological significance of these species. This day brings to mind my own journey of learning about snakes, and the person who sparked it. And to celebrate Romulus Whitaker who was one of the earliest champions of the snakes in India.

My snake story began probably in the first week that I started my career as an environmental educator. As part of our orientation, we went to Sundarvan, a small animal park with a collection of snakes. There we saw a Snake Show, as part of which, we were asked to touch a snake! The snake was a Red Sand Boa—a non-venomous snake. For someone who was, at that time, far from being a passionate wild-lifer, this was indeed an experience that served to dispel the many myths that one had grown up with. One of these were that snakes were “slimy”, and to be avoided at all costs. The skin of the sand boa felt dry and smooth, and we learnt that most snakes are in fact non-venomous.

And there began my long and fascinating journey in the natural world. A journey along which I had the most wonderful encounters with some of India’s best known naturalists and educators. One of these was Romulus Whitaker–the Snakeman of India.

Not so long after my induction by snakes, Romulus himself came to CEE and fascinated us with snake tales and the importance of breaking the myths that associated snakes with all things creepy and vile, and communicating the vital role of snakes in the ecosystem, especially as friends of farmers because they eat the rats that destroy crops.

A little later, Romulus graciously accepted to write a piece for a book that Meena and I were editing. In this he recounted how his early childhood years were spent exploring the fields and forests of northern New York State where he was born. Even as a toddler he was catching bugs and spiders, and soon graduated to catching snakes and keeping them in a terrarium in his room. At that point he was equally into dinosaurs and did not imagine that reptiles would one day become his passion as well as his profession. He was seven years old when his family moved to India. He recalled how “the snake charmers at Juhu Beach in Bombay were my first tutors but it wasn’t long before I outgrew their mixture of magic and nonsense.” His school days spent in Kodaikanal, amidst forests, gave him ample opportunity to roam in the wilderness. He returned to the United States for college studies, where he also worked at the Miami Serpentarium, then the biggest snake venom production lab in the world.

Romulus’s own journey is a testament to how a childhood fascination can grow into a not only a profession, but also a meaningful lifelong mission to champion the snakes. In his own words: So you see, that a child’s single-minded interest in creatures that most people think are slimy and scary can develop into a profession that is totally fulfilling. My own, very self-centred fascination with reptiles has grown by leaps and bounds and resulted in the Snake Park, Croc Bank and exciting educative films. These are ways of sharing a love and passion for the creatures that have given me such an enjoyable life.

When he returned to India, Romulus was determined to set up a serpentarium, and start a long-term study of reptiles. In the meanwhile, he also had to earn a living. He started writing articles for newspapers and magazines, often accompanied by a photo. He also started writing his first scientific notes on interesting things that he had observed about reptiles for the Journal of the Bombay Natural History Society. At the same time, he was also scouting around for a place to start a Snake Park; Madras (now Chennai) seemed to be the best choice. As he recalled: “To make a long story very short, I badgered and bothered people in the Forest Department and the Secretariat in Madras and finally got permission to set up India’s first Snake Park within beautiful Guindy National Park, the green heart of the city.” The Snake Park was attracted a lot of visitors who had the opportunity of observing snakes at close quarters, as well as knowing more about these usually maligned creatures.

Romulus’s real knowledge about snakes came from the Irula, an indigenous community of traditional snake catchers of Tamil Nadu. They became his friends and mentors, sharing their experience in every aspect of these reptiles—from finding and catching them unharmed, to snake bites. While studying incidents of snakebites in India, Whitaker discovered that numerous lives were lost due to inadequate production and distribution of anti-venom serum. That is when he mobilised the Irula community to form a snake catchers’ cooperative, who under licenses from the Wildlife Department, extract and freeze-dry venom from snakes and sell it to anti-venom producing laboratories before releasing the snakes back into the wild.

His passion to show and tell more people about reptiles led Romulus to start making documentary films. Rom was aware that films were a medium that could reach out to large audiences. Rom teamed up with two school friends John and Loise Riber, and a young filmmaker Shekar Dattatri to make a film on India’s snakebite problem. Made on a shoestring budget, the film Snakebite went on to win several awards. Later many of his films were supported by National Geographic Television, and have won international awards.

Romulus Whitaker has won many accolades including an Emmy Award, Whitley Fund for Nature Award, Rolex Award for Enterprise, Peter Scott Award for Conservation Merit, Salim Ali Award for Nature Conservation. In 2018 Romulus was awarded the Padma Shri for nature conservation.

In one of the interviews following the award Romulus said “I believe that touching a snake opens people’s minds and changes it forever.” I personally can totally vouch for that! 

Thank you Romulus Whitaker for helping to open a new world not just for me, but for generations of young people. And for being a lifelong champion of the snakes.

–Mamata

Twiggy: The Quirky Bagworm Moth

At first glance, it looks like a tiny piece of dried grass crawling across a wall.

Or perhaps a bundle of twigs that has mysteriously come to life.

Look closely, and you may be witnessing one of nature’s most ingenious engineers—the bagworm moth.

Bagworm moths belong to the family Psychidae, a group of over 1,300 species found across the world. India alone is home to more than a hundred recorded species, many of which remain little known outside scientific circles. Despite their modest size, these insects display a level of architectural skill that would put many builders to shame.

A House You Can Carry

Unlike most caterpillars, a bagworm larva begins life by building itself a portable home.

Using silk as mortar, it gathers whatever materials lie nearby—tiny twigs, dry leaves, grass blades, bark flakes, seeds, even grains of sand. Every species has its own choice of materials and characteristic style. Some create neat spindle-shaped cases, others make rough bundles of sticks, while tropical species may construct surprisingly elaborate structures.

The result is a camouflage masterpiece.

To an unsuspecting bird, the moving caterpillar looks like nothing more than a fragment of the tree itself.

And unlike a snail that outgrows its shell, the bagworm keeps enlarging its home as it grows, carefully adding fresh material throughout its larval life.

India’s Hidden Diversity

Bagworms occur throughout India—from the Himalayan foothills to the Western Ghats, from dry deciduous forests to urban gardens.

Entomologists from the Zoological Survey of India have documented more than 106 Indian species, although many more almost certainly await discovery, especially in biodiversity hotspots like the Western Ghats and Northeast India.

Several Indian species belong to genera such as Eumeta, Cryptothelea, Clania, Mahasena and Eumasia. Many feed on a wide range of plants, while others specialise on lichens growing on tree trunks.

People commonly refer to them simply as “bag caterpillars,” “case moths,” or by descriptive names equivalent to “leaf-bag insects” or “twig-case worms.” In Hindi, for instance, ‘jhola illi’ may be used; in Marathi, ‘pishvi ali’; in Kannda, ‘chila  ulu’; in Tamil, ‘pai or kuudu puzhu’, etc.   Generally, they are recognised more by the little bags hanging from trees than by the moth itself.

The Caterpillar That Never Really Leaves Home

The story becomes even stranger when adulthood arrives.

Male bagworms emerge as small, winged moths with feathery antennae, flying actively in search of mates.

Many females, however, never develop wings at all. Females of these species spend virtually their entire lives inside the protective case they built as caterpillars. They neither fly nor wander. Instead, they remain inside the bag while releasing pheromones that attract males. After mating, they lay eggs within the same case, and the next generation begins life inside the home built by their mother.

Nature has produced many unusual lifestyles, but few are as remarkable as an adult moth that never truly leaves its childhood home.

Forest Engineers in Miniature

The bag is much more than camouflage.

It protects the caterpillar from birds, parasitic wasps, spiders and sudden changes in temperature. Some cases are even pretty rain-proof.

Researchers believe the bags also reduce water loss during hot weather and provide insulation against cold nights.

The silk itself is extraordinarily strong. Scientists have noted that bagworm silk possesses impressive durability, making it of interest in materials research.

Friends…and Occasionally Foes

Most Indian bagworms quietly recycle plant material and form part of healthy forest ecosystems.

A few species, however, can become agricultural or horticultural pests when their numbers increase dramatically. They feed on leaves of ornamental plants, fruit trees and plantation crops, occasionally causing noticeable defoliation. Fortunately, such outbreaks are relatively uncommon, and natural predators usually help keep populations under control.

More to Come!

As recently as 2023, researchers described a previously unknown bagworm, Eumasia venefica, from Kerala. Unlike many relatives, its larvae have a close association with lichens and possess unusual case-building habits, reminding us that India’s insect diversity still contains many surprises.

Watch out for those walking twiggy bundles! Who knows if you will stumble on a new one!

–Meena

Wimbledon Shines On

A photograph in the newspaper showed Roger Federer tennis’ GOAT sitting alone in the VIP Pavilion at Wimbledon. It made me wonder why? Wimbledon is one of the oldest and most revered of Tennis traditions, and to be a spectator at this venue which is teeming not only with the GOATs and future Greats of Tennis, but equally the crème de la crème of society from British monarchy to Hollywood icons, is a special privilege. Is it that this year the FIFA World Cup has eclipsed all other sporting events?

Be that as it may, Wimbledon remains the grand old lady of professional tennis. It’s interesting history dates back to 1877. The first tournament was hosted by the All England Lawn Tennis and Croquet Club. It had originally been called the All England Croquet Club when it opened in 1869. But as the new game of lawn tennis was growing in popularity the club decided to provide tennis courts for their visitors. And also changed its name to include Lawn Tennis.

Tennis itself had its origins in a 13th century French handball game called je de paume or ‘game of the palm’ which developed into an indoor racket-and-ball game called real or ‘royal’ tennis.  In about 1873, an Englishman adapted indoor tennis to be played on grass, naming the game ‘sphairistike’, after an ancient Greek game. Sphairistike quickly became popular among the idle upper classes, who were itching for a new sport to play.

The game was promoted by the All England Lawn Tennis and Croquet Club which laid down the rules of the game that codified and shaped the game. Since then the All India Club has been the ‘supreme court of appeal on the question of rules’.  

The club held its first lawn tennis tournament on 9 July 1877 at Wimbledon, then an outer suburb of London. The tournament continued for the next several days, including some non-playing days. The only event was the Gentlemen’s Singles tournament, where the winner would take home a 25-guinea prize. 200 spectators showed up. By the mid-1880s thousands were flocking the stands. By 1905 the championships were attracting competitors from overseas. Tennis was coming of age.

Twenty-two amateurs registered to compete in the first championship, but only 21 showed up on July 9 for its first day. Interestingly only ‘amateurs’ were allowed to compete in the championships, and that clause remained for the next 90 years. ‘Amateur’ was then a synonym of ‘gentleman’. For the elite running the country clubs, sport wasn’t sport until it was played in one’s leisure time on private estates. The term professional carried the stigma of the ‘manual labourer’.

In the 1950s, many tennis stars turned professional while Wimbledon struggled to remain an amateur tournament. It is only in 1968 that Wimbledon first allowed professionals—players who in some manner were paid for their tennis ability—to compete at the championships, ushering in the “open era.”

Women began playing at Wimbledon in 1884, seven years after the men. But it was only in 2007 that Wimbledon introduced equal prize money for women.

The annual championships continued uninterrupted except for the years during World War II. In preparation for Germany’s infamous Blitz bombing attacks on London, the grounds of the 150-year-old British tennis club were transformed into a Civil Defence camp. The grounds even became home to a small farmyard stocked with rabbits, pigs and hens. On 11 October 1940 Wimbledon’s historic Centre Court even took a direct hit from a 500-pound German bomb. The grounds were not fully repaired until 1949. And from then on, the annual tournaments were uninterrupted.

As with all things English, Wimbledon has its special traditions. The accepted outfit of choice for Wimbledon players in the nineteenth century was plain white long-sleeved shirts and trousers for men, and full-length corseted white dresses and hats for women. It was not until the 1920s and 1930s that the players, and particularly the female players, began to experiment with their clothing. Shorter skirts, shorts and sleeveless tops were all introduced, some more daringly than others, to provide ease of movement and a sense of individual personality. Today we have players like Naomi Osaka making her entrance to the court in outfits that attract as much (if not more) attention as her dramatic tennis.

The men have long been promoters of commerce. As far back as the nineteen thirties, the French grand slam winner Rene Lacoste promoted his own label by wearing crocodile emblazoned shirts on court. Today designer wear and multi-million dollar sponsorships which announce themselves with emblazoned logos, make players look like animated ads. Even the ball boys and girls have left behind the traditional Wimbledon colours of green and purple, and have sported navy and cream uniforms created by the American fashion designer Ralph Lauren since 2006. The tradition of having strawberries and cream has remained unchanged.

Bjorn Borg 1975

I cannot resist adding my own Wimbledon story. As a young student in England in 1975, one of the items on the ‘bucket list’ of things to do before I leave England was to catch a match at Wimbledon. So early one morning, a couple of friends and I set off by train from Brighton to the Wimbledon station. Having walked to the venue we joined the serpentine queues for the daily tickets. Our carefully saved few pounds would not let us anywhere near the luxury of season tickets, or seats for any of the later matches on the Centre Court, as the players advanced from quarter finals to crowning glory. Nevertheless, we could afford standing room for the day’s matches. We saved a few shillings to partake of the traditional strawberries and cream, as we flaunted our wide-brimmed straw hats. But we did get to see the rising star, and everyone’s current heart throb Bjorn Borg play. He lost that year’s Wimbledon title to Arthur Ashe, but the next month went on the win the French Open title.

Today 149 years after the first tournament was initiated on 9 July, the Wimbledon championships remain the only major tennis event still played on grass. The name and the game continue to make headlines as new comets emerge, skyrocket to fame and, when their time comes, give way to a new crop of stars. The glory of Wimbledon continues to glitter and gleam like old gold.

–Mamata

The Golden Mystery: Amber and the Lost Amber Room

Every year, 26 June is observed as International Amber Day, a celebration of one of nature’s most extraordinary creations. Unlike gemstones that are forged under immense heat and pressure deep within the Earth, amber begins life as something far more ordinary—sticky tree resin. Over millions of years, this resin hardens and fossilizes into a warm, golden substance that has fascinated people across cultures for thousands of years.

Amber is often called “sunshine trapped in stone.” Its rich honey, butterscotch, cognac, and cherry hues have inspired myths, jewellery, medicine, scientific discoveries, and one of history’s greatest unsolved mysteries—the disappearance of the legendary Amber Room.

Nature’s Time Capsule

Amber is not tree sap, as is commonly believed. Sap carries water and nutrients within a tree. Resin, on the other hand, is a protective substance produced when a tree is injured, sealing wounds and defending against insects and disease.

When resin flows over small insects, spiders, feathers, leaves, flowers, or even tiny lizards, these organisms can become trapped. If conditions are just right, the resin is buried under sediments and, over millions of years, transforms into amber. Unlike most fossils, which preserve bones or shells, amber often preserves entire organisms in astonishing three-dimensional detail.

These inclusions make amber invaluable to scientists. Tiny air bubbles reveal the atmosphere of prehistoric forests. Preserved pollen helps reconstruct ancient ecosystems. Even microscopic bacteria and fungi have survived inside amber for tens of millions of years.

For palaeontologists, amber is less a gemstone than a perfectly preserved archive of life on Earth. In fact, amber entered popular imagination through Jurassic Park, whose opening premise is that a mosquito that had fed on a dinosaur millions of years ago becomes trapped in sticky tree resin, which later fossilizes into amber, supposedly preserving the dinosaur’s blood—and its DNA—inside the mosquito’s abdomen. Scientists in the story use this DNA to clone dinosaurs, making amber the unlikely hero of one of cinema’s most iconic scientific adventures. While the preservation of insects in amber is entirely real, the survival of usable dinosaur DNA for 66 million years is not supported by modern science. Even so, the film brilliantly transformed a little-known fossil into a symbol of prehistoric mystery, inspiring countless people to take an interest in palaeontology and the natural world.

The Gold of the Baltic

Although amber is found in several parts of the world—including Myanmar, the Dominican Republic, Mexico, Canada, and even parts of India—the finest and most abundant deposits occur around the Baltic Sea.

For over 5,000 years, Baltic amber travelled across Europe through the famous Amber Road, an ancient trade route linking northern Europe with the Mediterranean. Long before the Silk Road became famous, merchants carried amber southwards in exchange for wine, glass, spices, and precious metals. The Romans valued amber so highly that it sometimes fetched prices exceeding those of gold by weight.

Many cultures also believed amber possessed healing powers. It was worn to ward off illness, ground into powders for medicine, and even carried as a protective charm.

The Eighth Wonder of the World

If amber itself is remarkable, its most famous artistic creation was extraordinary.

The Amber Room was one of the most lavish interiors ever built.

Constructed in the early eighteenth century in the Kingdom of Prussia, it featured over six tonnes of amber painstakingly carved into intricate decorative panels. Craftsmen combined amber mosaics with gold leaf, mirrors, gemstones, and exquisite carvings to create walls that glowed with warm golden light.

In 1716, Frederick William I presented the room as a diplomatic gift to Peter the Great, symbolizing growing ties between Prussia and Russia.

The room was eventually installed in the magnificent Catherine Palace, where generations of visitors marvelled at what many described as the “Eighth Wonder of the World.”

Sunlight reflecting from thousands of amber tiles created an almost magical glow unlike anything else in European architecture.

A Treasure Lost During War

The Amber Room’s greatest chapter is also its saddest.

During the Second World War, German forces invaded the Soviet Union in 1941. Conservators attempted to protect the fragile amber panels, but the material had become too brittle to dismantle safely. Instead, they covered the room with wallpaper in the hope that occupying forces might overlook it.

The attempt failed.

Specialist German units removed the entire room in just over a day, packed it into dozens of crates, and transported it to the Königsberg Castle, where it was publicly displayed once again.

Then, it vanished.

As Allied bombing intensified and the war drew to a close, the Amber Room disappeared. Whether it was destroyed in fires, hidden in underground bunkers, loaded onto ships that later sank, or concealed in forgotten mines remains unknown.

Despite decades of investigations across Germany, Poland, Russia, and the Baltic region, no verified trace of the original Amber Room has ever been found.

The mystery has inspired countless books, documentaries, archaeological expeditions, and treasure hunters. Every few years, reports emerge claiming that the room has finally been located in caves, tunnels, castles, or shipwrecks. None has yet been confirmed.

The Amber Room remains one of the greatest missing treasures of the twentieth century.

Recreating a Masterpiece

The story, however, did not end with its disappearance.

In 1979, Soviet conservators embarked on an ambitious project to recreate the Amber Room using surviving photographs, architectural drawings, and traditional amber-working techniques.

The painstaking restoration took more than two decades. Craftsmen had to relearn skills that had nearly disappeared, sourcing thousands of kilograms of Baltic amber and hand-carving each decorative panel.

The reconstructed Amber Room was formally inaugurated in 2003, coinciding with the 300th anniversary of Saint Petersburg.

Visitors today can once again experience something close to the original splendour, even though the fate of the authentic masterpiece remains unknown.

Why Amber Still Matters

On International Amber Day, perhaps the greatest lesson is that the most valuable treasures are not always those that glitter the brightest. Sometimes they are those that preserve the memories of worlds long gone—whether hidden inside a tiny fossilized drop of resin or concealed somewhere, perhaps still waiting to reveal the final chapter of the Amber Room’s remarkable story.

–Meena

PIC: SMITHSONIAN MAGAZINE

Every Word Counted: Postcards

Long before automatic word counts, and apps that restrict the number of words, people used to carefully pen the maximum number of words that would legibly fit onto the surface area of a rectangular piece of stiff paper, not counting one fourth of the space that was kept blank for the address of the intended recipient, and the stamp of the post office. A unique medium of communication that allowed messages to be sent out without the need for an envelope. This was the ubiquitous Postcard.

Postcards carried all kinds of news—from good to bad. News of a forthcoming marriage, of an exam passed or failed, of a job appointment, an impending visit from a relative, a birth in the family, as well as of a death. Post cards were cheap, convenient, easily available and transported in their thousands across the length and breadth of the country. For most people of a certain generation this was the primary means of communication. And for many, this was a very “Indian” product.

However, the postcard had already made its debut in Europe. Following earlier experiments in Austria-Hungary and Britain, the first postcard in the world was issued in Austria on 1 October 1869. This was yellow in colour; it was 12.2 cm long and 8.5 cm wide. One side was left blank for writing the message and the other side had space for writing the address.  In Britain, postcards without images were issued by Post Office, and were printed with a stamp as part of the design, which was included in the price of purchase.

In British-ruled India the postcard was officially introduced by the Post Office of India on 1 July 1897. The postcard was light brown in colour, with East India Postcard printed on it. The coat of arms of Great Britain was printed in the centre and in the upper right corner was the crowned face of Queen Victoria, printed in red brown. It was 14 cm in length and 9 cm in width.

The card was priced at one fourth of an anna or 3 paise. It was the cheapest form of post and proved a huge success. It is believed that postcards worth about ₹7.5 lakh were sold in the first three quarters of the inaugural year itself. The convenience of this form of communication led the government to also introduce postcards meant specifically for government use in April 1880. Ten years later reply postcards were introduced. In all cases the specs were uniform: The postage was prepaid in full; the weight of the card was not to exceed 5 grams; the cards shall have a legend Post Card written in Hindi or English or printed on the address side. Thus postcards, while uniform in form, took on multiple roles and uses which continued even after India became independent and do so till this day.

While today there are ‘privacy issues’ related to the sharing of data, the postcard, by its very form, was open and public. It was open to be read by anyone from the clerk in the post office, to the postman who carried it in his bag, to the actual recipient. At the receiving end, sometimes in a remote village, it was often read out loud by the postman himself, or by a literate member of the community; or the contents were shared under a tree where the elders gathered. Whether it bore good news or sad news, the emotions that it conveyed were equally shared by the community.  

The size of the postcard (which has remained unchanged since it was introduced) and the space available for writing presented a silent challenge to every writer. Squish the handwriting or condense the message? This was no place for waxing eloquent or beating around the bush! Keep it short and neat!

Postcards soon became the cheapest and most accessible form of communication, revolutionizing mass correspondence. Though introduced in India by the British, postcards played a key role in the sharing of information during the movement to gain freedom from the British rule. No one utilized this means of communication better than Mahatma Gandhi.

A prodigious writer of letters, Gandhiji actively used postcards for the majority of his vast correspondence. As a highly practical and budget-conscious communicator who constantly traveled, he found that postcards were the most efficient method to share updates with friends and relatives without wasting time or money. With his unerring logic he explained that postcards were cost-effective, as they cost much less than standard envelopes. Indeed, they did not require an envelope at all, nor the hassle of buying, keeping, and pasting stamps. They were more durable than ordinary writing paper. And their news was transparent, anyone could read the message, and Gandhiji had nothing to hide! And, as a person who could not abide waste in any form, Gandhiji appreciated that the limited space forced the writer to express themselves concisely and clearly.

While Gandhiji wrote perhaps thousands of postcards to people from all walks of life, people from all parts of India and the world also reached out to him through postcards. Throughout the freedom struggle, Gandhiji was constantly on the move, but people who wrote to him were not worried about his address. They simply wrote postcards with his name, and sometimes added “Wherever he may be”. And these postcards did reach him, wherever he was! We can still see some of these original postcards in archives and exhibitions.

Independent India’s first requirement was to collect reliable demographic statistics. A census was considered to be central to this.  But the government faced two immediate challenges: how to persuade people to participate in the census, and how to maintain communication between enumerators and census officials across a vast, poor and largely rural country. By then the postal department was the largest unified communications network available to the Indian state. In the run up to the first census in 1951, government used a bilingual pictorial postmark stamped on postcards and letters travelling across the country to educate the public and mobilize participation. The postmark showed a family of three framed by the words “Census of India” in Hindi and English. Subsequently postcards and postmarks were used for different mass pubic campaigns.

When they were first launched, only plain government postcards were permitted, printed and sold by the Indian Post Office. In 1898 the Post office formally permitted privately printed postcards, provided that adhered to size, layout and message restrictions. This opened up a large picture postcards industry in India. Publishers began printing scenic views, cultural monuments, and daily life in India, which became popular.

Almost a century later, India Post introduced Competition Postcards, following the immense popularity of Doordarshan’s show Surabhi where viewers were invited to send in answers to the quiz questions of the week. Initially viewers used the standard 15 paise postcard to send in responses. The response was so overwhelming that the postal department issued a different category of blue-coloured postcards priced at Rs 2/-  each to send in responses. These Competition Postcards were subsequently used for many competitions inviting mass public responses.  

The Competition Postcards are not currently available, but there are three types of postcards available in post offices. Normal postcards (50 paise), Reply postcards: A double card format which has an attached pre-paid flap that the recipient can detach and send a reply message (Rs 1). Meghdoot postcards wherein the address side features pre-printed colourful advertisements allowing the post office to generate revenue while subsidizing the cost (25 paise). So much to be communicated in so little, literally and cost-wise.  

While there is still a generation for which postcards evoke a lot of nostalgia, sadly there is a generation for whom communication has a whole new meaning.

–Mamata