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.
THE West Midlands Combined Authority (WMCA) launched the RACE (reporting action composition education) code on Friday(30) as part of Black History Month to help organisations ensure their boards and senior leadership roles reflect ethnic diversity after analysing more than 200 recommendations
The authority will help to trial the code in the West Midlands, working with others to shape the framework as it is finalised and rolled out as a free-to-download tool.
Andy Street, the Mayor of the West Midlands, said that the Leadership Commission was set up in 2017 to ensure ethnic diversity in boardrooms across the region.
“Evidence shows that a lack of diversity in leadership equates to organisations missing out on local talent and diverse perspectives, which could help them to be more adaptive in these challenging times. Therefore there is a moral and economic imperative for the WMCA to help the region address this issue," he said.
“By being an early adopter of the RACE Code, we have the chance to shape a tool which other organisations can then use to deliver the necessary change that our region needs.”
evidenced under-representation in leadership across the public and private sectors and called for widespread action to tackle the issue.
The RACE code activity will form part of the West Midlands Leadership Commission's new action plan which will be overseen by councillor Brigid Jones, deputy leader of Birmingham City Council.
Cllr Jones said that it is the duty of any board to ask what it can do to better represent the diverse makeup of our region and hear the voices which are not in the room.
Anita Bhalla OBE, co-chair of the West Midlands Leadership Commission, said that the new framework has the potential to drive the step-change in senior leadership across the region which our communities so markedly deserve.
The code has been developed by Dr Karl George MBE and a national steering group of experts in governance and racial inequality.
“Black workers with degrees earn 23.1 per cent less on average than white workers. In Britain, only 5.7 per cent of black people work as managers, directors and senior officials, compared with 10.7 per cent of white people," said Dr George who runs Birmingham-based the governance forum (tgf).
“The full and equal participation and progression of black people in senior leadership roles would bring huge benefits, socially, culturally and financially."
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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