AFGHAN forces clashed on Friday (16) with Taliban fighters in Spin Boldak after launching an operation to retake the key border crossing with Pakistan, as regional capitals stepped up efforts to get the warring sides talking.
Dozens of wounded Taliban fighters were being treated at a Pakistan hospital near the border after fierce overnight fighting.
"We have suffered one death and dozens of our fighters have got injured," Mullah Muhammad Hassan, who identified himself as a Taliban insurgent, said near Chaman in Pakistan, about five kilometres (three miles) from the border.
The fight for the border comes as a war of words heated up between Kabul and Islamabad after the Afghan vice president accused the Pakistani military of providing "close air support to Taliban in certain areas".
Pakistan strongly denied the claim, with a foreign ministry statement saying the country "took necessary measures within its territory to safeguard our own troops and population".
"We acknowledge the Afghan government's right to undertake actions on its sovereign territory," it added.
Residents of Spin Boldak, which fell to the Taliban on Wednesday (14), said the insurgents and the army were battling in the main bazaar of the border town.
"There is heavy fighting," said Mohammad Zahir.
The border crossing provides direct access to Pakistan's Balochistan province, where the Taliban's top leadership has been based for decades, along with an unknown number of reserve fighters who regularly enter Afghanistan to help bolster their ranks.
As fighting continued, Pakistan said on Thursday (5) it would hold a special conference on Afghanistan in Islamabad during the weekend, although Taliban officials had not been invited.
There were signs that official talks in Doha - which have stalled for months - could stutter back to life.
An aide to Afghan president Ashraf Ghani told the local media that his government had asked for the Islamabad conference to be postponed as negotiators were already heading to Qatar.
The Taliban have capitalised on the last stages of the withdrawal of foreign troops to launch a series of offensives across the country, capturing a swath of districts and border crossings, and encircling provincial capitals.
Foreign troops have been in Afghanistan for nearly two decades following the US-led invasion launched in the aftermath of the September 11 attacks.
They have appeared largely out of the picture in recent months, but fears are growing that government forces will be overwhelmed without their vital air support.
The speed and scale of the Taliban onslaught has caught many by surprise, with analysts saying it aimed at forcing the government to settle for peace on the insurgents' terms or suffer a complete military defeat.
An Afghan official said a local ceasefire with Taliban leaders had been negotiated for Qala-i-Naw, the Badghis provincial capital that saw fierce street fighting last week.
"The ceasefire was brokered by tribal elders," Badghis governor Hesamuddin Shams said.
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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