Bangladeshi authorities urged the international community on Sunday (5) to back a controversial plan to relocate tens of thousands of Rohingya refugees from Myanmar to a remote island despite warnings it is uninhabitable.
Foreign minister A.H. Mahmood Ali called on representatives from 60 diplomatic missions and several United Nations agencies to take “meaningful measures” to relocate the refugees.
The scheme would see the Rohingya resettled on Thengar Char island in the Bay of Bengal, where Ali said the displaced would have “better access to humanitarian assistance”.
Some 232,000 Rohingya Muslims—both registered and unregistered—were already living in Bangladesh before more than 65,000 others began arriving in October, fleeing violence in Myanmar’s western state of Rakhine.
Most of those who fled to Bangladesh live in squalid conditions in refugee camps in Cox’s Bazar district, which borders Rakhine state and is home to the country’s biggest tourist resort.
Last week, Bangladesh established a committee comprised of state officials in coastal districts to oversee the plan, and ordered authorities to help identify and relocate undocumented Myanmar nationals to the island.
One local official criticised the idea, saying the 6,000-acre (2,430-hectare) island was “only accessible during winter and a haven for pirates”.
Bangladesh first mooted the idea of relocating the refugees in 2015 despite allegations that the island was still not ready for human habitation.
The idea sparked an outcry from Rohingya community leaders, while a UN agency said a forced relocation would be “very complex and controversial”.
During Sunday’s meeting, Ali told officials the Rohingya would only be relocated to the island after the government finished building the necessary infrastructure, including schools and roads.
“[The minister] requested the… UN and other international partners to render their support in the implementation of this relocation plan by providing assistance in developing the island and in transporting the Myanmar nationals,” read a foreign ministry statement, adding that the move was a “temporary arrangement”.
“Bangladesh would like the international community to take meaningful measures for repatriation of this population to their homes back in Myanmar,” the statement said.
Myanmar has long faced international criticism for its treatment of the Rohingya, who are denied citizenship and live in conditions rights groups have compared to apartheid.
Since October the Myanmar army has carried out a military crackdown in the north of Rakhine state that the United Nations has said has likely killed hundreds.
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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