A BRITISH INDIAN academic, who recently made history as the first woman of colour to become the head of Cambridge University's sociology department, believes it is high time to rectify the education system's "myopia" in viewing subjects such as imperialism and racism.
Manali Desai, a reader in Comparative and Historical Sociology and fellow of Newnham College, focuses primarily on social movements, ethnic and gendered violence and post-colonial studies. She has often also spoken out on the need to address issues related to colonialism and facing up to historical events.
“In Britain there’s a massive reluctance to address the colonial past and issues such as racism and anti-immigration are often justified by such myopia. At the same time, paradoxically, imperial nostalgia emerges in all sorts of places,” she said, indicating that “decolonisation” will remain an important aspect of her work.
“This has been a priority for the sociology department: we set up a working group with both staff and students in 2017 and it's been pushing for changes, not just in our curriculum but also in terms of the pedagogy we use.”
In her new role, she hopes to steer the sociology department at the university to contribute more to academic discussions and journals, and also to go out into the world and make an impact on public policy and contemporary debates.
“Sociology gives us the tools to be able to investigate and understand the world around us and so I think the department is a good place to be during periods of such upheaval,” said Desai, in reference to her appointment amid the coronavirus pandemic and global movements such as Black Lives Matter.
“We are living through a period of ferment and we are at a crucial juncture when fundamental questions about our very existence are at stake. The discipline of sociology has always tackled the big questions, be it climate change, war, poverty, and intersectional social inequalities.”
Desai describes herself as a “hybrid child of three different cultures”, having spent equal amounts of time in India, the US and UK. She grew up in India and the US before moving to Britain.
She completed her PhD in Sociology from the University of California, Los Angeles, where she trained as a comparative and historical sociologist.
Her work, which has a strong India focus, encompasses the areas of parties and political articulation, social movements, ethnic and gendered violence, and post-colonial studies.
Her current research as principal investigator on the £1.76-million GendV Project -- funded by the Economic and Social Research Council and Global Challenges Research Fund -- is a comparative qualitative work titled 'Gendered Violence and Urban Transformation in India and South Africa'.
“Our aim is to historicise and contextualise this violence, and examine violence as something that appears to connect the most intimate of affective relations with changes that are happening in the wider world,” she explained.
Notably, Desai’s first book, State Formation and Radical Democracy in India, 1860-1990, was a historical analysis of the emergence of two different welfare regimes in India. She has also co-edited other books and published her research in several leading journals.
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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