Monday Muse

Interview: British Museum Curator Dr Sushma Jansari

Interview

Dr Sushma Jansari

14 July 2025

Interview

Dr Sushma Jansari

14 July 2025

Dr Sushma Jansari is the first ever permanent South Asia Curator of South Asian heritage to work at the British Museum. The author of ‘Chandragupta Maurya: the creation of a national hero in India,’ Jansari, who was raised in Leicester, was previously Lead Curator at the Manchester Museum South Asia Gallery. Jansari is also the Vice Chair of the Roald Dahl Museum, and is the founder of The Wonder House podcast. Her current exhibition at the British Museum – ‘Ancient India: living traditions’ – has received rave reviews. Here, Jansari tells us more about the exhibition, which explores the shared origins of Hindu, Jain and Buddhist figurative art in the ancient and powerful nature spirits of the subcontinent.

THE WICK: What does a typical Monday look like for you?

Sushma Jansari: My day starts bright and early with the school run and walking Maurice the dog with friends. When the weather is as gorgeous as it is now, he loves jumping in the river and having a cooling swim while I look on enviously! After that, it’s time to head to my desk which is a bright space decorated with prints, postcards, polaroids and knickknacks that connect with whatever project I’m working on. Right now, with Ancient India: living traditions in full swing, there are images of Lakshmi, Ganesha and a Jain tirthankara as well as a large bunch of fresh flowers that I replace every week. I tackle my inbox and prepare for the week on Sunday evenings, so Mondays are a more leisurely start to the week with meetings, catch-up coffees, and often a slot for writing – which I love.

TW: Where did your passion for visual arts and culture begin?

SJ: I’m from Leicester which is home to a lot of great museums. My Mum would regularly take me to New Walk Museum, and Jewry Wall Museum which also has the remains of a Roman bathhouse onsite. The wonder of seeing ancient objects – made by and for people – that were sometimes many thousands of years old, and which had somehow miraculously survived the passage of time, has never left me. As a curator, I now get to hold and shape displays around some of the most spectacular objects ever created and write about them – this is such a privilege and joy! It’s so important to welcome children into these spaces and make sure they feel comfortable and confident. With Ancient India: living traditions, families and children are an important audience and it’s wonderful to see them enjoying the immersive, colourful displays and chatting together.

TW: You are the curator of South Asia at the British Museum, where Ancient India: living traditions is currently on view. Why do you think the role of a curator, especially in a historical institution like the British Museum, remains so vital today?

SJ: As the first ever permanent South Asian origin curator of South Asia at the British Museum, I recognise how important it is to work in genuine partnership with diaspora communities. It is no longer enough to present objects ‘to’ people, but vital to explore together what holds meaning and purpose. With Ancient India: living traditions, we collaborated with a community advisory panel comprising practicing Hindus, Buddhists and Jains. Beginning with open and honest conversations, we radically changed what is possible for an exhibition. For example, we discussed the possibility of using vegetarian and vegan materials – and the museum committed to doing this as far as possible. All the exhibition paint, textiles and even the exhibition book are vegan. We worked with the retail team to source goods from British South Asian and South Asian businesses and charities for the giftshop. Our partnership is ongoing: we are currently organising visits of sacred objects from the museum’s collection to places of worship next year. This is the tip of the iceberg of what we achieved together, and I’m so proud to have brought this change to the museum’s practice.

TW: Ancient India: living traditions focuses on three major world religions: Jainism, Buddhism, and Hinduism. Why this exhibition and why now?

SJ: Traditional displays of ancient South Asian devotional art tend to focus on just one religious tradition or region in a very art historical way that has little emphasis on the meaning of such devotional images to people’s lives today. I wanted to turn this approach on its head. Instead, I thought it was important to show the shared origins of Hindu, Jain and Buddhist figurative art in the ancient and powerful nature spirits of the subcontinent. It was vital to integrate provenance fully into this story, and meaningful community partnership – and we did. Every object had provenance information on its label, and we included films showing contemporary devotional practice among UK-based diaspora communities. At a time when society, and the world at large, feels increasingly fractured, this approach felt even more important and relevant.

“It is no longer enough to present objects ‘to’ people, but vital to explore together what holds meaning and purpose.”

The Wick Culture - Holding exhibition book in front of banners

The Wick Culture - Speaking about Ancient India living traditions at JLF 2025

The Wick Culture - At an event at No.10 with the Institute of Jainology 2025

The Wick Culture - Speaking at Parliament 2025 at Institute of Jainology event

TW: This show must have been a huge feat to coordinate given the objects on loan and the nature of the objects displayed. Which work are you most proud to have included?

SJ: We have been so fortunate to collaborate with international and UK-based organisations on Ancient India: living traditions. Given the truly incredible sacred works of art that have been loaned to us, it’s so hard to choose just one. If I was really pressed to select one, then I would go with the lintel from the Pitalkhora Caves, Maharashtra that bears the earliest known depiction of the goddess Gaja-Lakshmi (‘elephant Lakshmi’). She sits on a lotus and holds more of these flowers while elephants pour pitchers of water over her. The image so successfully conveys the message of abundance that, thousands of years later, that she is still shown in this way on contemporary popular prints and other works of devotional art. This is the first time this sacred image has been lent out and seen outside India, and we are very grateful to our colleagues and partners at CSMVS for this generous loan.

TW: Which emerging South Asian artist is on your radar?

SJ: There are so many talented British South Asian artists emerging on the scene in the UK and internationally that this feels like an exciting time in the arts and culture sector. What I personally find interesting – and what I have been collecting for some years now – is the work of British South Asian print and zine makers and illustrators, especially but not exclusively women artists. Among them, I think Aleesha Nandhra, Soofiya and Sunbul Aktar (The Night Press), are producing very current and thought-provoking work. There is so much insight to be gained into their lives, and a great deal that resonates with me and my own experiences, through these media which allow for immediate forms of expression. In terms of painters, I’m a huge fan of Laila Tara H’s work which is a completely different take on Indo-Persian miniature paintings. I’m fortunate to own some of her work and would gladly buy more. I’m also intrigued by Sid Pattni’s recent artworks that explore the impact of colonialism on Indian identity. I would love to own a piece of his work!

TW: You have your own podcast, The Wonder House. Who is your dream guest, dead or alive?

SJ: I set up The Wonder House as a platform for sharing innovative ideas for people-centred projects in the arts and culture sphere so that we are all empowered and inspired to learn and experiment – one conversation at a time. It has been an incredible experience and opportunity speaking to so many people from Sara Wajid and Zak Mensah co-CEOs at Birmingham Museums Trust, to Hilary Carty Director of the Clore Leadership Programme, as well as coaches such as Gaylene Gould, and Dan Vo who founded the LGBTQ+ tours at the V&A and so, so many other inspiring people. I had to pause the podcast while writing two books and curating the Manchester Museum South Asia Gallery in partnership with the British Museum, and of course Ancient India: living traditions. I’m thinking of starting it up again next year – so watch this space for the new theme and dream guest!

TW: You are the Vice Chair of Trustees of the Roald Dahl Museum and Story Centre. What book are you passing onto a loved one?

SJ: It’s a great privilege to hold a leadership role among a fantastic team of Trustees at the museum. Like a lot of people, I grew up immersed in Roald Dahl’s books and watching films made about them. While I have a soft spot for Matilda (I, too, loved my local library but sadly my magic powers never kicked in… still waiting!) it’s The Witches for me. It’s one that my 10-year-old daughter now also enjoys. We read it together, saw both films and, last year, went to see the brilliant stage production at the National Theatre. It’s a sign of a master storyteller that this story is a multi-layered masterpiece that transcends generations and is still as loved now as it was when it was first published. As a fan of horror, it has a bit of that too.

TW: Where is your favourite Culturally Curious culinary spot to have a South Asian meal after a private view in London?

SJ: Oo, I like this question! I love Sri Lankan food and if the pv is anywhere near a Hoppers, you’ll find me there chatting to friends about what we have just seen and sharing a meal. We usually order a range of dishes and cocktails and get stuck in! Naturally, hoppers are included!

TW: Who is your ultimate Monday Muse?

SJ: There are so many women I admire and learn from, that I can’t name only one. I’m fortunate to have mentors, supporters and advocates across and beyond the arts and culture sector, and we lift each other up. This network of support is invaluable.