LONDON-born director Asif Kapadia has said he feels “honoured” after becoming one of the newest members of the prestigious Academy Awards.
Kapadia, who grew up in east London, is one of several acclaimed Asians in the film world who have been invited to join the organisation which bestows the Oscars in LA each year.
The multiple award-winning filmmaker joins 682 others selected for the body’s “Class of 2016”, including Slumdog Millionaire actress Freida Pinto and veteran Indian actress Sharmila Tagore in a bid to increase diversity.
The bold move follows criticism at the lack of ethnic minorities at this year’s ceremony, which was held in February.
All 20 stars in the main acting categories at the Oscars were white for the second year running, prompting calls to boycott the glitzy event and an angry social media backlash under the Twitter
hashtag #OscarsSoWhite.
If all those invited take up their membership, the percentage of males would drop from 75 per cent to 73 per cent, and the numbers of white members will drop from 92 per cent to 89 per cent. The 283 new international members represent 59 countries.
Currently, more than 6,000 professionals in the industry form the academy’s voting board, with an average age of 63. Responding to the news, Kapadia, who picked up an Oscar for his documentary about musician Amy Winehouse earlier this year, told Eastern Eye: “I’m really honoured to be a member of the Academy.”
Other prominent stars who have been invited to become members include Indian-Canadian director Deepa Mehta, who made Midnight’s Children and Water, Pixar animator Sanjay Bakshi, known for his work on The Good Dinosaur, producer Anish Savjani, and animator Sanjay Patel.
Almost half of those selected to join the board are women and nearly as many are black and Asian. Rising young stars John Boyega of Star Wars and Harry Potter actress Emma Watson are part of the the record number of invitees, as well as Swedish Oscar winner Alicia Vikander and musician Mary J. Blige.
The new invitees are 46 per cent female and 41 per cent ethnic minorities, the Academy said, adding that the roster boasts 28 Oscar winners and 98 nominees. The youngest prospective member is 24 and the oldest 91.
“This class continues our long-term commitment to welcoming extraordinary talent reflective of those working in film today,” Academy president Cheryl Boone Isaacs said in a statement.
“We encourage the larger creative community to open its doors wider, and create opportunities for anyone interested in working in this incredible and storied industry.”
The Academy’s board of governors has vowed to double the number of female and ethnic minority members in the next four years.
Beginning in 2016, voting status for all new members will last just 10 years, to be renewed only if they have been active in movies during that time.
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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