Following the eruption of clashes in the British city of Leicester due to the defeat of Pakistan by India in the Asia Cup match on August 28, former Indian High Commissioner to the United Kingdom, Ruchi Ghanashyam said that the incident is very disturbing and a development of grave concern. "This is very terrible and disturbing. Though I would tend to see it more as a India-Pakistan issue or rather people of Pakistan origin largely would be involved. There is a large number of Muslims of Indian origin in the Midlands of England. And I have during my time in the UK had some very close interactions with several of them who are very attached to India. So, I don't see them or people from India being involved in such violence", said the former High Commissioner.
"Whatever has happened is a development of grave concern. And I hope that the UK authorities and the government in the UK look at this in a very, very serious manner", she added.
Recalling such violence in the past too, the former High Commissioner said that though she doesn't recall anything like this happening in the city of Leicester, such incidents had occurred in other parts such as London when the violent protests took place outside the Indian high commission in London in 2019 when Independence Day was celebrated.
"I have personally experienced this during my stay in the UK. On one occasion, over 5,000 people of Pakistani origin had surrounded the India House where our high commission was and it was several hours of loud sloganeering offensive behaviour, the frozen water bottles being hurled at the building, stones and rods being thrown due to which one of the windows of the high commission was broken and all kinds of rowdy behaviour was witnessed on that occasion as Indian origin people who had come to celebrate India's independence day were trapped between these two groups of protesters," the former envoy said recalling her experience in the UK.
She further said, "Moreover, the police are autonomous and I think to some extent the unruly elements take advantage of this and they flirt with the boundaries of law so that they create mayhem while remaining more or less within the boundaries of law or if at all, they reach it and they try to get away from it. That is something for the government of the UK to look at."
As per an official statement by the Leicestershire police, the violence erupted on Saturday evening after a group of men staged an 'unplanned protest.'
"Parts of East Leicester experienced serious disorder yesterday evening (Saturday 17 September) into this morning (Sunday) when large crowds formed after groups of young men began an unplanned protest," the statement read.
Officers tried to "engage" with a group travelling towards Green Lane Road and "sought to keep actions lawful but, regrettably, the situation led to disorder", the police said.
The statement said two men had been arrested, one on "suspicion of conspiracy to commit violent disorder", and the other on "suspicion of possession of a bladed article".
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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