FOR most students, life at university can be about acquiring an academic qualification or two, making friends and enjoying new experiences.
But those looking for a bit more could try the University Officers’ Training Corps (UOTC), an Army Reserve unit which enlists university students who can go on to train as the next generation of army officers, if they so desire.
Students learn valuable skills – to help further their career within the army as well as in civilian employment – and also enjoy sports activities such as canoeing, kayaking, gliding, mountaineering, skiing and sub-aqua diving. There are opportunities to travel abroad, too.
Pebbles Ace-Acquah, 21, a student at the University of Reading, from Kent, said the UOTC had changed her student experience for the better. She told Eastern Eye, “I think UOTC rounds you out in a way that university by itself just doesn’t. You get to know yourself so much more, including how you react under stress, what you’re like as a leader, and your strengths and weaknesses in this regard. At the same time, there are excellent staff members who want to help you develop any way they can.”
Disha Seechurn, 20, from London’s Brunel University, said her confidence improved and she became more disciplined following her time in the UOTC. “Working at events such as Fresher’s Fairs helped to increase my confidence in public speaking and talking to new people,” Seechurn said. “As someone who always used to be late, my punctuality has definitely improved too.”
The UOTC can be a pathway for future army officers as both regulars (full-time) and reserves (part-time). Although there are no requirements to join the Army after graduation, approximately 35-40 per cent of the Regular Army Commissioning course is made up of those who have attended the UOTC.
Gevish Kuma Kheddo, 19, said his goal was to join the services as an engineer, while Ace-Acquah said she was “definitely” considering an armed forces career.
Jordan Berry, 21, from Dorset, said the course helped him improve his skills relating to organisation, planning, time management, self-discipline, communication, leadership, and teamwork. “These (skills) are all transferrable and will have a positive impact in a cadet’s life whatever they go on to do,” he said.
Berry, an economics, politics, and international relations student at Royal Holloway, University of London, said he was still weighing up his options, but insisted there were “lots of different (career) pathways”. He is due to engage with the Army Officer Selection Board (AOSB) in Westbury, which, if successful, will give him a ‘job offer’ to join as a full-time officer after university.
“This offer has an expiry date of five years, so it would be an excellent way of keeping my graduate options open,” he said. “I’m confident that if I joined full time, I would want to attend the Royal Military Academy Sandhurst and commission as an officer.
“However, I am also considering the reserves. The demands of my civilian career would be the determining factor in whether I became an officer or a private.”
As well as providing individuals with valuable training and travel opportunities, participants are also paid for their service based on the time they choose to commit. Seechurn said it was a “big bonus” of the scheme.
“You learn skills for life, and you’re not committed to anything so if it’s not for you, then you can leave at any point,” she said. “You have the opportunity to participate in amazing activities such as ski trips, sailing or diving, while getting paid at the same time.”
All training is designed to fit around the academic calendar, which means that studies will always have priority. “There are no required hours, so attendance is flexible,” Seechurn said.
One of the key themes of the time students spend in the UOTC is ‘Make Friends for Life’. The UOTC conducts social events and cultural activities, such as fancydress balls and formal dinners.
For Ace-Acquah, the friendships from the UOTC were “one of the best things about (the experience)”. In many ways, she said, the relationships had been “more meaningful” than university friendships. “Knowing someone for a year in UOTC can feel like 10 years,” she said. “As you have periods of living with them, and you see them in practically every state – from dressed to the nines for annual dinner to an unwashed mud beast on exercise – you become closer much more quickly.”
Seechurn said she was still in contact with friends from UOTC, even those who had already graduated and left the corps. “The relationships you share are capable of being light-hearted, they lift your mood, particularly during tough times, but can also be personal.”
Ace-Acquah said her experience also helped clear up any previous misconceptions as she learned more about life in the military. “It has broken any preconceived notions I had about women in the army, or what kind of person I was expected to be in order to join as an officer.”
However, Berry acknowledged the experience was perhaps not for everyone, such as those who preferred not to be pushed physically or step out of their comfort zone. “If you thrive in a high-pressure environment, enjoy the outdoors and have a ‘carpe diem’ mentality, it is definitely to be recommended as you will be surrounded by students of a similarly driven mindset,” he said. “I can think of plenty of people I know at university who wouldn’t enjoy it at all – but that’s the beauty of it.”
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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