In episode seven of the ਸੋਚ Podcast I get to talk with  Simran K. Arts and Satnam Singh about traditional arts, sikhi and representation.

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?