The majestic Aga Khan Museum, not far from downtown Toronto is a reflection of the unique multiculturalism of Canada. What an apt celebration of its cultural and social diversity, especially in presenting and sharing the rich expanse of artistic and creative development of Muslims. The transformative power of a museum, especially one such as this is significant, as it envisions a look into the historical richness of aesthetics of the past cultures of many Canadians, and draws from the contemporary arts of many a distant context; it also looks into the future by connecting the pool and expertise of local and international communities.

The Museum stands as an architectural marvel, different from the typical high rises and basic cube-like office buildings in North American suburbs. His Highness, the Aga Khan, suggested to its architect, Fuimihiko Maki, that the Museum should be designed around the concept of light. The building is designed ensuring the maximum entry of natural light to all parts through the course of the day. The approach to the main building is designed to reflect harmony through a symmetrical placement of square water ponds, trees planted in a grid like distribution in the surrounding gardens and park. An overall sense of tranquility prevails around the massive structure, which appears light, pristine in its minimalist form, enhanced by the glow of the Brazilian white granite in the facade.

Aisha Khalid’s striking red and black Persian style carpet titled, ‘Your way begins on the other side’ welcomes you in the main foyer. This six-metre long carpet comprises intricate patterns exploring the motif of the Mughal garden, with 1.2 million pins in the Gunga Jamini, or silver and gold traditional design combination of the subcontinent. Khalid has placed each pin by hand, replicating age-old traditions of embroidery. Like many of her contemporaries practising Pakistani miniature art, she inverts the notion of tradition by deconstructing and reconstructing. Instead of the handmade vasli paper, and a size that goes beyond the ‘miniature’ art of painting, Khalid’s carpet with sharp pins jutting out from one side, explores the notions of colonisation, marred by the politics of conflict.

This museum ties the historical richness of the past cultures of many Canadians to the expertise of local and international communities

“We don’t want to typecast; for us it is very important to explore diversity, not only in the visual arts but performing arts. What it depicts is a larger vision of Muslim culture and people realise that it lives and breathes day-to-day in many different countries,” explains Henry Kim, the Museum Director in a recent conversation. Khalid’s carpet was part of the Museum’s inaugural show titled, The Garden of Ideas, which was juxtaposed with a parallel show on largely Indian and Persian miniatures and court paintings from the 16th and 17th centuries. Thus, the Museum and curators navigate between the present and its past.

Kim remarks that their challenge is to be inclusive of all forms of art and locations, as they have brought in performers from Central and South Asia, the Middle East, East Africa, Indonesia, etc. He says that the perception in the Canadian public that the Islamic art is monolith, or only pertains to the Middle East has to be changed. So, creating this Museum was very much a way by which the public would gain a much better appreciation of both the history and cultural diversity, the different languages, different people that you encounter throughout the Muslim world. Canada was chosen because of the success of its integration of people, and in appreciation of its diversity.

The museum’s programming is designed to involve people of all ages and walks of life, with hands-on workshops such as on Islamic geometric art, self-portraits in miniature painting and many others. This outreach also combines an educational layer, such as the recent storytelling sessions on Mahmoud the Wanderer and Other stories from One Thousand and One Nights; concerts in the ‘Great Poet Series’ with performances by the Sufi singer Abida Parveen, in the World Music Series with dance and music from the subcontinent, ancient Anatolia and present day Turkey, the Balkans and West Africa scheduled for this summer; and lecture series, Islam and Muslims in the 21st century. There are parallel programmes in the adjoining Ismaili Centre, facing the main museum across its garden park, with pop-up events and musical performances. This year, the Museum will collaborate with Nuit Blanche, for an all night event through Toronto.

This museum tries to bring programming and lectures that have relevance to communities around the Toronto area. Henry Kim is pleased that the vast majority of people coming in are not Muslims, because they are seeing the stuff they have not seen before. He stresses on the importance for people to engage at the artists’ lens, not just in the way they look at it, but in the tactile, for which the exhibitions provide those interactive mechanisms in their permanent and temporary collections.

The permanent collection, a museum brochure informs, ‘is part of the private collection of his Highness the Aga Khan and his family, and showcases the breadth of Muslim civilisations from the 8th century to the present day; with more than 1,000 artefacts, such as rare manuscripts, paintings, ceramics, glass, scientific instruments and intricate metalwork’.

One can view in the pages of the Shahnameh of Firdousi, and enlarge the images on an iPad, which allows the viewer to revel in the detailing of each brush stroke. These elements are woven as you walk through the engaging displays of paintings and objects. There is currently a photographic exhibition A City Transformed, Images of Istanbul, Then and Now, curated with meticulous attention to powerful images as well as a strong researcher base pooled in with experts like Dr Gulru Necipoglu from Harvard University.

This contribution of the Aga Khan Foundation, especially in the field of arts and culture in Canada, as they state, connects cultures and promotes a greater sense of understanding of the contributions and diversity of Muslim cultures that form the Canadian mosaic.

Published in Dawn, Sunday Magazine, July 24th, 2016