In episode seven of the ਸੋਚ Podcast I get to talk with Simran K. Arts and Satnam Singh about traditional arts, sikhi and representation.
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As usual, we start with getting to know Simran a little bit better, for instance, the importance of her grandfather’s photography whilst she was a child and the V&A Museum whilst she was studying for her A-levels. We discover that it was restoration that was Simran’s original interest before finding her passion in traditional arts.
Amongst a whole lot more, we find out who Simran’s inspiration is, her training in Persian miniature painting and the connection between traditional arts and the Divine and then we dive deep into the philosophical question of what is the most valuable characteristic you need to have as a traditional artist?
Before moving onto the topic of traditional art and Sikhi, I provide three examples of traditional art: the showcase of Liberian music and dance at the 1901, 1926 and 1984 Worlds Fair, the construction of a cultural centre on Malaita, a Solomon island, that resulted in the revitalisation of the indigenous East Kwaio community and resurrection of dead art forms and, lastly, the colonisation of Hawaiian Hula, which has had such a lasting impact that many of us today are only familiar with the stereotypical, colonial trope of Hula dancing.
We go about trying to define traditional art and Sikh art, discussing examples of traditional Sikh art such as sakhis and raag kirtan. An example I find particularly interesting is the gach and tukri embellishments of the inner walls of Sri Harmandir Sahib. Gach is a base formed by mixing crushed gypsum and water, and heating the mix to the right temperature until it reaches the consistency of a paste. The paste is then applied to the surface to be treated, and fine steel implements are used to etch floral and other designs in the paste before it sets. The next stage involves infilling these with sheets of gold leaf (varqs). In tukri work, pieces of coloured and mirrored glass, sometimes specifically made for the purpose, are cut and inlaid into gach to form patterns and textures with their myriad reflections and colour effects.
We then dive deeper into traditional arts and Sikhi with questions such as, why are traditional art forms of indigenous communities outlawed or banned? Does the artist have a responsibility to be historically accurate? Does the artist have to be considerate of their audience? Does the artist always have to respect traditions? Where do you see Sikh art going? Does representation within art matter? We conclude with a community question - why does traditional art pre-occupy itself with natural materials?
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