January

Mr. Singh’s India 1999/2000 Poster color, gouache and gold dust on mount board 59.7 x 76.2cm (23.5 x 30in) Artist: The Singh Twins, Amrit and Rabindra K.D Kaur Singh Collection of Glasgow Gallery of Modern Art

This painting was commissioned for the permanent collections of the Glasgow Gallery of Modern Art. As a representation of Scottish cultural diversity, it depicts the contemporary Glaswegian Sikh experience through various events, objects and symbols which place the relationship between these two communities within the wider context of the ongoing historical and cultural links between Scotland and Punjab.

The central focus is a scene inside one of Glasgow’s most famous Indian restaurants, called Mr. Singh’s India. The name in itself epitomizes the way in which Diaspora Sikh communities have carried their cultural traditions with them wherever they have settled in the world, creating a home away from home which is secure in it’s own identity whilst in the midst of a new and, often, alien environment.

The restaurant provided the perfect example of Glasgow’s cross-cultural vibrancy - with its typical Raj style decor (reflected in one of the large gilded framed mirrors that hung in the restaurant), kilt wearing Sikh waiters and array of customers - ranging from Scottish sports and entertainment celebrities to Sikh boys in Scottish football stripes.

The artists dine with the Scottish freedom fighter William Wallace and his Punjabi counterpart Maharaja Ranjit Singh, both regarded within their respective communities as heroes whose military prowess was legendary. No less for the role they played in trying to consolidate the Scottish/Sikh clans as a way of keeping foreign (in particular, the conquering English/British armies) at bay.

Staking his claim for Scottish Independence Wallace sits on a chair beneath which lies the Stone of Destiny (the symbol of Scottish sovereignty and Nationhood that was removed from Scotland by the English King Edward I), which was returned to Scotland only in 1996. The site of his epic victory over the English army at Stirling and his monument are depicted top right.

Meanwhile, Mel Gibson’s Hollywood film version of Wallace appears as a street painting (created by the artists’ friend Rory Mc Beth). This alludes to the phenomenal impact that the character had in bringing about a significant revival of Scottish Patriotism - where Sikh youth, especially, identified as much with the character and story of Braveheart as did the Scots. It is significant in this respect that a young Sikh boy is shown donating money to the artist.

The Scottish Stag and Punjabi Lion lie peacefully together - symbolizing what is generally recognized as the close affiliation between two communities who are known for their entrepreneurial skills, humor, hospitality and feisty nature. The sense of camaraderie is reinforced by a reference to the long-standing Scottish/Sikh military connection (a view through the restaurant window reveals two Sikhs in Victorian regimental uniform and the facade of Glasgow’s military museum).

Beyond this, the Sikh standard flies alongside the Scottish flag - whilst, thistles and marigolds, the nationally recognized flowers of Scotland and India respectively decorate the border.

Elsewhere, the Scottish Sikh connection is made through the historical trade link that thrived under Maharaja Ranjit Singh who exported Kashmiri shawls to Scotland and then (according to some popular belief) sent Punjab families to teach local weavers the art of shawl making. The legacy of this relationship is represented by the Paisley Museum, with its characteristic clock tower in seen in the distant landscape (top left).

(The Scottish town of Paisley became famous for its production of Kashmiri or Paisley shawls). The Clyde riverbank (an important route for trade) symbolically forms the shape of a paisley. Exemplifying further still how Sikhs have contributed to the enrichment of Scottish culture, the artists wear traditional Punjabi clothes made from the Singh Tartan.

The Glasgow cityscape includes Gurdwaras (Sikh shrines), a Vaisakhi street celebration, Asian shops and Sikh families enjoying the city park. These represent the independent, strong identity and active life of Glasgow’s diverse Sikh community. As an established popular pass time for families in India, the recreational park scene also exemplifies how in one instance at least, cultural habits can translate with comparative ease when shifting between cultures.

At the same time the community’s willingness to interact with the wider Scottish community is represented by the Sikh Milap‚ centre adjoining the turreted Sikh Gurdwara (middle right) which caters for the needs of Sikhs and non Sikhs alike; the Sikh police volunteer; the Scottish bag pipers who lead the Kirtan Nagar (religious parade) and the various posters, newspaper paste ups and exhibition banners that amongst other things, relate to the Sikh contribution to the cultural life of Glasgow.