Pramod Thomas is a senior correspondent with Asian Media Group since 2020, bringing 19 years of journalism experience across business, politics, sports, communities, and international relations. His career spans both traditional and digital media platforms, with eight years specifically focused on digital journalism. This blend of experience positions him well to navigate the evolving media landscape and deliver content across various formats. He has worked with national and international media organisations, giving him a broad perspective on global news trends and reporting standards.
BBC News has launched a new ‘disinformation unit’ in India for uncovering, analysing and reporting the spread of fake news. A team of dedicated journalists will focus on highlighting false information, debunking viral social media content and looking into the way and reason for the spread under the new initiative.
They will also give the readers useful tips on how to identify fake news and prevent it from spreading more, a statement said.
The audience can also involve by reporting on any fake news they think needs to be investigated and can alert the disinformation unit.
The unit in India is an extension of the BBC’s commitment to combat misinformation and is part of the BBC global disinformation unit which features experienced journalists based in Africa and the UK.
Rebecca Skippage, editor of BBC Disinformation, said, “Disinformation is a global issue that disregards boundaries of languages, platforms, cultures and age-groups. Unchecked news can affect health, society and democracy. This new team of dedicated journalists will allow us to shine a light on misleading information and help people decide for themselves what to believe and what to mistrust.”
A new scheme named BBC Young Reporter India has also rolled out media awareness workshops in schools across India to train young people to think critically about the media they consume, understand the facts from fake and think before sharing potentially misleading and harmful information. The workshops are being delivered in partnership with teams from Internews and DataLeads.
The initiative will train 7,000 students across 100 schools in the country by year-end. Over 5,000 people have already attended the workshops in over 45 Indian cities.
Marie Helly, Head of BBC Beyond Fake News said, “The pandemic has shown the appalling damage that misinformation can cause. Fake cures, anti-vax messaging and conspiracy theories have been widely shared, often by people thinking they are doing the right thing as neighbours and friends. It is imperative that the next generation become responsible citizens who understand the difference between fact and fake and can think critically about the media they consume.
“Trust, accuracy and impartiality are at the heart of the BBC. I am delighted by the quality of the students and trainers who are working together with the BBC to counter the dangers of misinformation here in India."
Abhilasha S, principal, SRS English Medium School in Brahmavara in Karnataka, said, “The workshop actually helped the students to navigate and take right direction in the digital world. It has been a relevant training session to learn the skill of identifying the authenticity of the news which are at the fingertips of the students in the changed scenario.”
Meenakshi Duarah, the headmistress of Delhi Public School in Nazira in Assam, said: “The BBC Young Reporter workshop has been immensely enlightening and enriching for the students. The webinar was impactful enough to generate awareness amongst the students to be discerning users of social media. The students were exposed to a lot of significant things to be kept in mind while using social media.
“Apart from the students, the teachers who attended the webinar also found it beneficial for the students. The trainer was very well-informed.”
Krishna Sodhi, principal of New Lahoria Vidya Mandir School in Hisar, Haryana, said, “I liked the fact that the presenter showed real examples and addressed all the sections intently. The workshop was very beneficial for the students. I’m sure that it is going to help the students to spot fake news and prohibit them from sharing it any further.”
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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