A boiler explosion at a Bangladeshi garment plant near the city of Dhaka killed 10 people and injured dozens, emergency workers said on Tuesday (4), the latest industrial tragedy to hit one of the world's biggest garment producers.
The blast, late on Monday (3), occurred at a plant operated by local Bangladeshi firm Multifabs while maintenance work was going on, company and fire brigade officials said.
The explosion at the boiler, located in a tin-roofed shed, partially damaged a nearby three-storey factory building.
"I heard a big bang when I was having tea outside," factory driver Hafiz Mostafa said, as dozens thronged the factory site and firefighters moved rubble in search of missing persons. "I saw windows, doors, glasses, machinery and a section of the wall of the building go flying."
Families scoured the scene for missing people. The plant had been shut for 10 days for Eid holidays at the end of the Muslim holy month of Ramadan and was being readied to resume operations on Tuesday, when the accident occurred.
"We're looking for my brother. We checked all the hospitals, but have not found him," said Nazim Uddin, whose brother Ershad Ullah worked as an electrician at the plant for the last decade.
Multifabs has many clients in Europe, its website says.
The company started operating in 1992 and reached $70 million in exports in 2016. Its top buyers include fashion chain Lindex, which is part of Finland's Stockmann, German supermarket chain Aldi, and Rexholm of Denmark, Faruqui said.
The company said the plant was functioning well and the six-year-old boiler, procured from Germany, had just been serviced.
"The boiler was running well," Mahiuddin Faruqui, Multifab's chairman said. "After servicing when workers were trying to restart it, it went off."
Firefighter Faruk Hussain said a body had been retrieved from the rubble in the morning and that the search was still on for more victims.
Bangladesh's roughly $28 billion garment sector, the biggest in the world after China, employs 4 million people and generates about 80 per cent of the country's export earnings.
It came under scrutiny after the collapse of the Rana Plaza factory complex in 2013 that killed more than 1,100 people, and a fire at a garment factory in 2012 that killed 112 workers.
The Rana Plaza disaster sparked demands for greater safety and put the onus to act on foreign companies sourcing clothing from Bangladesh.
A spokeswoman for Stockmann said it was investigating the disaster, but was still seeking more information.
She said Stockmann is a member of the industry body Business Social Compliance Initiative (BSCI), and that said Multifabs had cleared a BSCI audit in May 2016 that was valid for two years.
Lindex said Multifabs was one of its main suppliers and said it was monitoring the situation.
The Multifabs site hurt by the blast made 100,000 garments a day, generated around $6 million of revenue a month and employed about 6,000 workers, said Mesba Faruqui, factory and operations director in the family-run business.
Two international coalitions were formed after Rana Plaza to help fund improvements to building and fire safety at thousands of garment factories across Bangladesh.
One of the coalitions, signatories to the Accord on Fire and Building Safety in Bangladesh, inspected the Multifabs site in 2015 and noted among numerous concerns that Multifabs' boiler was not separated by fire-rated construction.
As of last week, however, the Accord's updated corrective plan on the facility listed that issue as having been corrected.
But the coalition itself does not inspect boilers, which are monitored by the Bangladesh government.
Bangladesh's chief boiler inspector Mohammad Abdul Mannan said his department had inspected the Multifabs' boiler a year ago and that the next inspection had been due this month.
Sulav Chowdhury, chief executive of the Bangladesh Knitwear Manufacturers and Exporters Association, of which Multifabs is a member, said the industry had gone through a "huge shift" since the Rana Plaza disaster.
"There has been structural change, and we've worked hard for it," he said. "So I'd say this is a stray incident."
Still, critics say more work needs to be done.
"There is still an enormous amount to be done to improve safety in the Bangladeshi garment industry" said the IndustriALL Global Union, a signatory to the Bangladesh Accord and a member of the Steering Committee.
It added that union signatories to the Accord would demand that it be expanded swiftly to include boiler safety
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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