At Manchester, a permanent celebration of the South Asian Diaspora
South Asia Gallery Collective. Photo: Maryam Wahid
Nusrat Ahmed—curator of the South Asia Gallery at Manchester Museum—spoke about the complicated history of colonial artefacts in British museums, the importance of preserving history through art, and the impact she hopes the gallery will have for future generations.
In 1947, the subcontinent was lacerated, slashed and disembodied. Centuries of colonial rule by Britain and the subjugation of South Asians had finally ended—but the cheers of joyful independence were violated by groans of agony, of sorrow, of separation, of loss. Of Partition.
The aftermath of colonial rule continues to scar generations of South Asians that followed the traumatic beginnings of our nations. So many of us are displaced products of Partition—including my own family—and continue to feel a sense of kinship and solidarity with the lands and people across these new borders.
And then, in the decades that followed, the South Asian diaspora from the post-colonized nations and our neighbours spread across the world, many assembling and reassembling in the land of the colonizers themselves. In Britain, many forged a unique and complex new identity, and further enriched the meaning of what it meant to be ‘British’ itself.
“Many South Asian people living in Greater Manchester are here because of the Partition of British India into India and Pakistan in 1947, a dark moment in the history of the British Empire in which millions of people were displaced. We don’t shy away from these difficult stories.”
And now, over 75 years after Independence and Partition, a new South Asian landmark will be revealed. Following a £15 million transformation project, the Manchester Museum will reopen its doors in February 2023 with the unveiling of the first ever South Asia Gallery. This gallery will open with the ambition to “explore the connection between South Asia and Britain’s legacy of Empire, presenting fresh perspectives on British Asian and South Asian culture and creativity.”
The gallery has been curated by Nusrat Ahmed and the South Asia Gallery Collective, a group of 30 community leaders, artists, historians, journalists and musicians. With a story-led design, objects will be presented across six themes, including ‘Past & Present’ (exploring South Asian history from the Indus Valley Civilization, the Mughal Empire, the Indian Independence movement, and more), ‘Lived Environments’ (on South Asian cultures and the impact of the British Empire on the region’s environment), ‘Innovation and Language’ (featuring South Asian innovators such as Satyendra Nath Bose), ‘Sound, Music & Dance’ (featuring musical expression from ancient instruments to contemporary musical art), ‘British Asian’ (an exploration of individual and community identities), and ‘Movement & Empire’ (an examination of South Asian identity in relation to voluntary and involuntary migration).
There are a number of highlights which will be on display among these objects, including a rickshaw imported from Bangladesh and decorated by communities in Manchester, a 17-metre-long mural by The Singh Twins illustrating an emotional map of South Asian diaspora experience, a painting by Azraa Motala that explores contemporary British South Asian identity, a display to celebrate the importance of the South Asian community to medicine in the UK, and a listening station that will play the work of the musician Aziz Ibrahim.
In a recent interview, curator Nusrat Ahmed spoke to The Chakkar about the complicated history of colonial artefacts in British museums, the importance of preserving history through art, and the impact that she hopes the gallery will have for the South Asian diaspora for future generations. Edited excerpts:
Singh Twins exhibit at Manchester Museum.
The Chakkar: How and why was the idea of a permanent South Asia Gallery first conceived for the Manchester Museum?
Ahmed: The idea for a South Asia Gallery, a British Museum partnership, was conceived quite a long time ago—perhaps five or six years ago. There is a large community of people of South Asian heritage in Greater Manchester, and it’s important that museums reflect and work for the cities they serve. Initially, the gallery was going to be designed chronologically. but in 2018, Esme Ward became Director of Manchester Museum, and this was an opportunity to reflect on the development of the gallery. She asked, Is the gallery as imaginative, inclusive and caring as it could possibly be? This motivated a co-curation approach and the South Asia Gallery Collective was formed.
The Collective is an inspiring group of community leaders, educators, artists, historians, journalists, scientists, musicians, students and others from South Asian diaspora. Much of the content in the gallery draws on the Collective members’ lived experience and heritage. They have centred their storytelling and the development of the gallery around their experiences—personally and professionally—as well as their families’ journeys and their own research and interests.
This unique personalised approach humanises the gallery, telling stories about real people and their objects. It is co-curation on an epic scale. Rather than being chronological, the gallery is now split into themes, or anthologies, covering a range of topics, which helps to demonstrate just how rich the region is.
The Chakkar: The gallery will contain hundreds of historic artefacts, plus contemporary commissions and personal objects. Could you share some of these artefacts and objects that fascinated you the most in the curatorial process, and why?
Ahmed: There are so many amazing artefacts in the gallery and, as you’d imagine as I’m from a South Asian heritage, almost all will have special significance to me personally. If I were to only name a few then they would include the silver coins (c.1625 minted in Gujrat India) on loan from the British Museum. The coins tell the story of Nur Jahan, who was the only Mughal woman to have coins issued in her name. She was known as ‘Badshah Begum’ (Empress), which indicated her high status and it is minted in both gold and silver. The Persian inscription reads: ‘By order of the King Jahangir, gold has a hundred splendours added to it by receiving the impression of the name of Nur Jahan, the Empress.’ It is such a fascinating story and object, and shows the power and respect a female was given in that period.
I also absolutely love the contemporary seven-foot-tall self-portrait by Azraa Motala, who is one of our co-curators for the gallery. In the portrait, Azraa explores what it means to be British Asian today. I can very much identify with the multiple identities captured in this very beautiful painting, and I’m sure visitors will be drawn to it for various reasons.
I’m also really excited about our Rickshaw, which is a new object to the museum. Made in Dhaka, Bangladesh, this rickshaw is one of two commissioned by Manchester Museum specifically for the South Asia Gallery. Three young British Asian artists have decorated the vehicle under the mentorship of Bangladeshi rickshaw artist team. As British Council funded project, this has allowed for new partnerships in Bangladesh and South Asia. I know this is going to be a ‘wow’ object for young and older visitors, because of the detailed artwork on the rickshaw, showing multiple stories connecting Britain to South Asia. The object shows how art and objects can be used as powerful tools to connect people regardless of where they live.
Nusrat Ahmed. Photo: Maryam Wahid
I have gained an enormous amount of knowledge for the region and its heritage during this co-curation process. This learning has come through objects and their historical significance and also through my peers and fellow co-curators. It’s been a fascinating learning journey that you could never experience through reading books, because it’s been about emotions and real feelings.
The Chakkar: Museums in Britain have long come under the scanner for featuring artefacts and objects that were removed from the colonies over the past few centuries—and then displayed or stored away in the U.K., away from their cultural roots. With that heavy burden in mind, how does this South Asian gallery address the difficult history of colonization and museums in Britain?
Ahmed: The South Asia Gallery collective has grappled with difficult and often traumatic subjects during the co-curation process and one of the anthologies you will see is called ‘Movement and Empire’. Many South Asian people living in Greater Manchester are here because of the Partition of British India into India and Pakistan in 1947, a dark moment in the history of the British Empire in which millions of people were displaced. We don’t shy away from these difficult stories.
An example comes from Talat, a member of the Collective, who has loaned his great-grandfather’s World War 1 uniform for display. He found the uniform in a trunk at his family’s home and this is part of a story that recognises the South Asian contribution to international wars.
“I know this is going to be a ‘wow’ object… because of the detailed artwork on the rickshaw, showing multiple stories connecting Britain to South Asia. The object shows how art and objects can be used as powerful tools to connect people regardless of where they live.”
More broadly, Manchester Museum recognises that it is an institution born of Empire and how we interrogate and address this complicated history is urgent work. We have a Curator of Indigenous Perspectives, Dr Alexandra P Alberda, and a Curator of Living Cultures, Dr Njabulo Chipangura, who are driving this work forward.
The Chakkar: There is, of course, so much history told through art, and much of it promises to be featured in the gallery in sections like ‘Past & Present’. What did it mean to you personally to see the history of the region being given centre stage?
Ahmed: As a first-generation British-born South Asian person, I often felt like I didn’t belong in museums. My community is all too often overlooked in cultural institutions. Representing South Asian diaspora and preserving South Asian history is long over-due, and it means a great deal to me, personally, to see the region being given centre stage in a museum. By drawing upon collections and diverse perspectives, museums can become more relevant to the communities they serve and help to build understanding between cultures. I hope that my granddaughter will visit museums and galleries in the future and see herself in the displays.
The Chakkar: There are wide divisions within South Asia and South Asians. How is this gallery addressing the nuances of this cultural diversity—and is it finding a common ground of unity as well? With tensions between South Asian communities spilling over to the diaspora, what is your hope for art and history to help heal some of the wounds?
Ahmed: The gallery has been developed by a collective and it is divided into anthologies, so it addresses lots of different topics and ideas in one space. There are stories of what it’s like to be a young British-Asian person today; there are stories about the LGBTQ+ community; there are stories about environment to inspire and motivate, and much more. This means we address diversity within cultures, while bringing people together at the same time.
I beg you to define me, Azraa Motala, South Asia Gallery.
I think museums have incredible convening power. They are unique in that they are places for different communities and generations to come together to ask questions, learn, and talk. Where else does this happen? Throughout the museum, there are spaces for people to gather for conversations and connections, which has never been more important. As well as caring for objects, Manchester Museum cares for people and relationships.
The Chakkar: What long-term impact do you hope this exhibit will have on visitors? For the South Asian diaspora in the UK, and beyond; on the visiting citizens from the various homelands in South Asia; and for non-South Asians as well?
Ahmed: The gallery offers much-needed space for South Asian people to express themselves and connect to their heritage. I hope that the long-term impact is that more people feel that they belong in museums. I also hope that people who have never been to the region come to the gallery too, to learn more about its rich history and its influences on the rest of the world.
My ultimate vision is for the South Asia Gallery to have international reach, connecting rural South Asian communities to Manchester’s South Asia diaspora and celebrating our similarities.
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Karan Madhok is a writer, journalist, and editor of The Chakkar. His debut novel A Beautiful Decay (Aleph Book Company) was published in October 2022. His creative work has appeared in Epiphany, Sycamore Review, Gargoyle, The Literary Review, The Bombay Review, and the anthology A Case of Indian Marvels. He is the founder of the Indian basketball blog Hoopistani and has contributed to NBA India, SLAM Magazine, Fifty Two, FirstPost, and more. You can find him on Twitter: @karanmadhok1 and Instagram: @karanmadhok.
