AN INVESTIGATION has been launched in the northern Indian state of Uttarakhand following media reports that private labs faked Covid-19 tests.
Private labs were hired by the Uttarakhand government to screen visitors for the virus ahead of the Kumbh mela Hindu festival.
The Bharatiya Janata Party (BJP) government of Uttarakhand was criticised for organising the festival that attracted millions of people, who went on to infect more people when they returned to their homes after the pilgrimage.
Unmasked visitors were seen at the large Kumbh gathering and days later several parts of India witnessed a peak of the second wave of the virus, with patients struggling to find oxygen cylinders and hospital beds.
'Fake names, mobile numbers, addresses used'
According to media reports, fake names, mobile numbers and addresses were used in more than 100,000 tests conducted during the Kumbh festival in the state in April.
Naga Sadhus (Hindu holy men) take a holy dip in the waters of the Ganges River on the day of Shahi Snan (royal bath) at the Kumbh Mela festival in Haridwar on April 12, 2021. (Photo by Money SHARMA / AFP)
Shahi Snan
At the time, officials insisted that every visitor was being screened for the disease and private labs in Haryana and Delhi were roped in to conduct a majority of the tests.
Last week, media reports claimed that the labs faked the reports to meet their quota of daily testing and that similar phone numbers and addresses were used in multiple Covid reports.
A spokesperson for the Uttarakhand government, Subodh Uniyal, told ANI news agency that orders have been filed to file a case against the labs that conducted testing at five places in Haridwar during Kumbh.
The Times of India newspaper conducted an investigation and reported on Thursday (17) that a private agency, contracted to carry out Covid testing for the Kumbh Mela, is now under the scanner for conducting 100,000 fake cases. It is alleged that the agency submitted fake office addresses to the Uttarakhand health department and listed phone numbers that are not in use.
Reports of fake Covid tests have also surfaced from Bihar state, where some primary healthcare centres have been accused of providing false data.
In Jamui, Sheikhpura and Patna, government hospitals listed phone numbers as ‘0000000000’ in Covid test reports. Officials have also been accused of taking bribe besides making fake Covid test reports.
In February, Bihar chief minister Nitish Kumar acknowledged the falsification of reports and said the health department would take action against those who were found guilty.
Separately, the Indian government on Wednesday (16) defended its action to increase the gap between two doses of AstraZeneca Covid-19 vaccine up to 16 weeks even though three scientific advisers said there was no agreement over the step.
On Tuesday (15), Reuters reported that the government raised the gap in May without the approval of the scientific group.
The AstraZeneca jab, made locally and branded Covishield, accounts for nearly 90 per cent of the 263 million doses that have been administered in India so far. The opposition has criticised the BJP government asking whether the decision to increase the gap was prompted by a shortage of the vaccine.
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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