BANGLADESH has evacuated 10,000 Rohingyas from around refugee camps on the Myanmar border after monsoon landslides and flash floods killed at least 14 people, officials said on Wednesday (28).
After three days of torrential rain, the refugees, most of whom fled a military crackdown in Myanmar in 2017, were moved from hilly slopes around the Balukhali camp in Cox's Bazar, refugee commissioner Shah Rezwan Hayat said.
Tens of thousands of Rohingyas who could not find room in the camps have cleared forests on the surrounding hills and set up shelters that have since been met with landslides every monsoon season.
"We have brought some 10,000 Rohingyas to safe places after their shelters were hit by heavy rain and landslides," Hayat said.
At least six Rohingya are among the dead and several others were injured, officials said. The other dead are local villagers whose homes were buried.
Cox's Bazar district, where more than 850,000 Rohingya refugees are packed into 34 camps, has recorded more than 27 centimetres (10 inches) of rain since Monday (26), according to weather authorities.
About 7,000 local people outside the camps have also been moved to safety, officials said.
Mohammad Salam, a 30-year-old Rohingya, his wife and three children were among those moved.
"My house collapsed yesterday. I don't have anything. I have three children and they have started having fevers," Salam said.
The United Nations refugee agency said 2,500 shelters housing 12,000 Rohingyas have been affected by the floods.
"We are also aware of damage to facilities including health centres," Hannah Macdonald, a UN spokesperson, said.
Aid workers said a coronavirus lockdown in the camps, following a major spike in cases, has affected rescue work as authorities have halted what they consider non-essential visits.
About 740,000 Rohingya fled Rakhine state in Myanmar after security forces launched a clampdown in 2017 that the UN has said may amount to genocide.
Last month two Rohingya refugees were killed in separate landslides during heavy rain.
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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