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It might sound strange - a project bringing together vulnerable young Londoners, a firmly moral Indian artist, and a maverick Victorian explorer with a penchant for erotic literature. But Orleans House is making it work.

The scheme is part of Stories of the World - a strand of the Cultural Olympiad and the largest ever youth participation scheme ever held by museums. Young people from a variety of cultures are invited to explore, curate and market collections, telling stories about the objects that resonate with them.

Many of the young people are referred to Orleans House museum and gallery in Richmond by the council and its partners. They are defined as ‘hard to reach’ - some are in care, some have behavioural difficulties and some are Neet - not in employment, education or training. Other participants are young mums, disabled people or people who speak English as a second language.

The starting point is the museum’s collection of Sir Richard Burton artefacts. It was clear to staff that Burton, a nineteenth century explorer, enthused young people. Rachel Craddock, who co-ordinates Stories of the World for Orleans House, says: “He is a charismatic character they can get really excited about - he was quite racy.”

Burton fitted in beautifully with one of the Stories of the World themes - journeys. As a captain in the East India Company army, he learned to speak several Indian languages and took part in the sub-continent’s religions, leading his fellow officers to accuse him of ‘going native’. Later he became one of the the first Westerners to complete the Hajj or pilgrimage to Mecca - he dressed like an Arab and was such a skilled linguist that no-one guessed he was a white man. He defied the conventions of his day - he was an outspoken critic of colonialism, and he published the first English translation of the Kama Sutra, a book considered shockingly pornographic at the time.

Although Burton was progressive by Victorian standards staff did not feel this was enough to give a full picture of London’s links with other cultures. Miranda Stearn, acting head of art for Richmond Council, says:

“It’s easy to get young people fired up about him because it’s an old-fashioned adventure story. We wanted, however, to make sure we weren’t giving an unchallenged nineteenth century view of the world.”

So a wide range of artists from the parts of the world Burton visited have been brought on board. In particular, Orleans House intends to hold the first ever exhibition of the work of Indian artist Piyali Ghosh from January 29 to May 22. Her work will form part of the Journeys exhibition, alongside work by the young people.

Ghosh creates colourful canvases, reminiscent of Keralan murals which feature gods and goddesses in theatrical scenes. Her paintings have a fantastical, dreamlike quality - fish with human faces, a pack of dogs surrounding a car. Like Keralan murals, they have a particular palette of colours - yellow, green and red dominate. She tells a story in her paintings, usually with a strong political and moral message.

In an interview with artconcerns.net (http://www.artconcerns.net/2007september/html/interview_piyali.htm), Ghosh says:

“My designs are not merely patterns - they carry meanings. They are actually characters playing their respective roles. I see contemporary politicians as a reformulation of power hungry feudal lords. All of them lure the common people, make promises to fulfill their dreams, come to power and forget them. They plunge into the world of pleasure.”

She adds:

“We often forget the difference between need and greed. I have shown the veiled car with dogs craving for it, or the strong and the powerful over-powering the weak and making them victims of their desire.”

Sea snail picture by Jayme inspired by paintings by Piyali Ghosh

Ghosh says she is inspired by folk-tales and newspaper articles. Critics have picked up the influence of Indian children’s author Sukumar Roy. He wrote absurd stories and nonsense poems, typically featuring animal characters who behave strangely, and is often compared to Lewis Carroll.  Stearn says:

“Piyali plays with traditional folk tales but give them a twist - slightly sinister fairy-tale scenes with animal characters. Sometimes she puts herself in sometimes she doesn’t. It fits in with what we are asking the young people to do - think about journeys, imagine themselves in the situation and tell a story.”

Horse picture by Melissa inspired by paintings by Piyali Ghosh

It is hoped Ghosh will visit London in December and the youngsters will be able to visit her while she works. A ‘mini-project’ inspired by Ghosh has already taken place, in which a group created images of mythical creatures and narratives. Another artist referred to in the project is Gérard Quenam from Benin. Burton visited Benin, then called Dahomey, and was famously given a necklace rumoured to have been made of human bone. This necklace is in the collection and has exerted a macabre fascination on the Stories of the World participants. However, they have also been able to look at Benin from a contemporary art perspective by considering the work of Quenum.

Clay skulls by Laura English

Laura English, 21, is a long-term volunteer. She has created some clay flowers with skull-stamens inspired by the necklace. They will be used as tea-light holders eventually, she says. She joined the young mum’s group three years ago, and articulates the difference a museum can make to a young person:

“It’s influenced my daughter - I can bring her here and she’ll walk around as if she owns the place. I’ve got a five year old brother who hasn’t been brought up in this environment and so doesn’t feel the same way. This museum is my life - it’s my safe area. If I’m stressed I will just walk here and relax. I’ve learned the art side of things, but also the business side - it helps me think about my life more, I’m thinking of going to university. I wouldn’t have done that if it wasn’t for this place.”