A NEW collection of historical treasures from the subcontinent has opened at the British Museum in London.
The Sir Joseph Hotung Gallery of China and South Asia underwent a major refurbishment
before welcoming visitors last Thursday (14).
Imma Ramos, a curator of the south Asia collection at the British Museum, showed Eastern Eye around the display, which includes a sitar that belonged to the late sitar maestro Pandit Ravi Shankar and a sari worn by suffragette Sophia Duleep Singh.
The gallery shows off an array of objects, some of which date back 1.5 million years.
“It was an incredibly exciting prospect because it involved choosing which objects
we wanted to display,” said Ramos. Having only worked at the museum for two years,
this is her first major exhibition.
Initially opened in 1992, the gallery has been regenerated to include previously unseen
light-sensitive material such as Mughal paintings of Hindu yogis and a new presentation
dedicated to the origins of Sikhism.
“The really exciting thing for us was that we could finally include light-sensitive materials.
We have a huge collection of south Asian paintings, textiles and popular prints and for the first time, we are able to show that material,” Ramos said. “That really allows us to bring the story right up to the present day.”
The gallery is brightly lit with various sections dedicated to south Asian history and culture, from resistance against British rule to the independence and partition of India.
Organised in chronological order, the exhibition allows visitors to follow a narrative that takes them on a journey from ancient times to contemporary Asia.
Each display has a “gateway” object that is chosen to encapsulate everything else in
the case. The idea was that visitors, who may not have a huge amount of time to spend on each item, could focus on one object that could summarise the section.
“That would be the star object,” Ramos explained. “It should stand alone as an important
item, but it should also try and capture the spirit of everything else around it.”
One such “star object” on display within the roots and south Asia diaspora case is a sitar owned by renowned musician Pandit Ravi Shankar.
The beautifully carved stringed instrument was gifted to the museum by Shankar’s wife, Sukanya, and his daughter, Anoushka, last month.
“We are using this sitar to talk about the south Asian diaspora because [Shankar] really popularised Indian classical music internationally. He brought it to the world,” Ramos said.
An acclaimed musician in her own right, Anoushka recently visited the museum to play
the instrument for the museum’s YouTube channel in a celebration of the gallery’s opening.
Other highlights include a shadow puppet display depicting freedom icon Mahatma Gandhi; a sword and ring once owned by Tipu Sultan, who ruled Mysore in south India; and a two-sided limestone relief from the Great Shrine at Amaravati.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
By clicking the 'Subscribe’, you agree to receive our newsletter, marketing communications and industry
partners/sponsors sharing promotional product information via email and print communication from Garavi Gujarat
Publications Ltd and subsidiaries. You have the right to withdraw your consent at any time by clicking the
unsubscribe link in our emails. We will use your email address to personalize our communications and send you
relevant offers. Your data will be stored up to 30 days after unsubscribing.
Contact us at data@amg.biz to see how we manage and store your data.