Queen Elizabeth II's reign encompassed to a large degree Britain's declining global influence, from an empire that once bestrode the world to a middle-ranking economy.
During her time as queen, the footprint of her monarchy shrank dramatically. However, at her death, she was still head of state of the United Kingdom and 14 Commonwealth countries or realms, from Canada and Jamaica to Australia and New Zealand.
Ceremonial
At her coronation in 1953, Elizabeth II was crowned queen of seven independent countries: the United Kingdom, Canada, Australia, New Zealand, South Africa, Pakistan and Ceylon, which later changed its name to Sri Lanka.
The numbers grew as decolonisation accelerated and British colonies and dependencies became new Commonwealth realms.
Some decided to keep her as head of state, others did not.
Where she remained queen, the role was largely ceremonial, and her duties were carried out by one of her governor generals -- a viceroy who effectively acts as head of state.
She was the queen of each newly independent country in its own right, not merely because she was the British monarch previously.
At her death, she was head of state of Antigua and Barbuda, Australia, The Bahamas, Belize, Canada, Grenada, Jamaica, New Zealand, Papua New Guinea, Saint Kitts and Nevis, Saint Lucia, Saint Vincent and the Grenadines, Solomon Islands, Tuvalu and the UK.
These countries are distinct from the broader 54-state Commonwealth of nations that have historical ties to the United Kingdom but did not necessarily choose to have the queen as head of state.
Over her entire reign, she was head of state of 32 countries in total.
Seventeen of those decided to cut ties at some point after becoming independent. They were:
Barbados 1966-2021
Ceylon (Sri Lanka) 1952-1972
Fiji 1970-1987
The Gambia 1965-1970
Ghana 1957-1960
Guyana 1966-1970
Kenya 1963-1964
Malawi 1964-1966
Malta 1964-1974
Mauritius 1968-1992
Nigeria 1960-1963
Pakistan 1952-1956
Sierra Leone 1961-1971
South Africa 1952-1961
Tanganyika 1961-1962
Trinidad and Tobago 1962-1976
Uganda 1962-1963
At the peak, she was queen of 18 countries at the same time, between 1983 and 1987. Since then, Fiji (1987), Mauritius (1992) and Barbados (2021) have become republics.
When Rhodesia -- Zimbabwe today -- unilaterally declared its independence from Britain in 1965, it proclaimed its allegiance to the queen before declaring itself a republic with a president in 1970, although its status was never recognised internationally.
Being the queen of New Zealand also meant she was the head of state of the Cook Islands and Niue, which are associated states that form part of the wider realm of New Zealand.
Britain has 14 overseas territories, including Bermuda, the Falkland Islands, Gibraltar and British Antarctic Territory, over which she also ruled.
Her shortest reigns were in Kenya, Tanganyika -- now the major part of Tanzania -- and Uganda, which each lasted exactly a year between independence from Britain and becoming a republic.
During her time on the throne, eight referendums were held on becoming a republic, three of which passed: Ghana (1960), South Africa (1960) and The Gambia (1970).
Barbados declared itself a republic without holding a referendum.
Those that did not pass were a first referendum in The Gambia (1965), two in Tuvalu (1986 and 2008), Australia (1999) and Saint Vincent and the Grenadines (2009).
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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