Pramod Thomas is a senior correspondent with Asian Media Group since 2020, bringing 19 years of journalism experience across business, politics, sports, communities, and international relations. His career spans both traditional and digital media platforms, with eight years specifically focused on digital journalism. This blend of experience positions him well to navigate the evolving media landscape and deliver content across various formats. He has worked with national and international media organisations, giving him a broad perspective on global news trends and reporting standards.
THE son of a British man held in an Indian jail for more than five years awaiting trial on Tuesday (2) criticised the government over its response to the case.
Arms dealer Christian Michel, 62, has been detained in India since December 2018 after being extradited from the United Arab Emirates over a helicopter deal.
India's Supreme Court last month refused to intervene in the case, which has been linked with a Dubai princess who claims she was kidnapped, and has attracted international attention.
Rights experts have called for Michel to be freed, with the UN Working Group on Arbitrary Detention (WGAD) arguing his imprisonment lacked a legal basis.
It had also raised concerns that his extradition was "a de facto swap" for India's capture and return of an unnamed high-profile detainee to Dubai in March 2018.
Reacting to the latest court decision, one of Michel's sons, Alois, said the family had previously written to former prime minister Boris Johnson and the country's current leader Rishi Sunak about the case.
But he said they had not received a response from either, which Alois Michel branded an "intolerable attitude towards one of their own nationals".
The 26-year-old said they had also tried to lobby the Foreign Commonwealth and Development Office but had again failed to make headway.
"My father is now an example of the risks it represents to be extradited to India as one's rights may not be upheld," Alois Michel said.
"He has neither been tried nor has he been found guilty even after 63 months in incarceration, which exceeds the expected time for such condemnation, underlining the ridiculousness of this case."
Michel's detention has suspected links to Sheikha Latifa, the daughter of Dubai's ruler Sheikh Mohammed bin Rashid Al-Maktoum.
She was captured by Indian commandos at sea in 2018 after trying to flee the UAE.
In videos secretly sent to friends she has said she was abducted by her family, something her relatives have denied, insisting she is being cared for at home.
In 2022, she assured the UN rights chief Michelle Bachelet during a meeting in Paris that she was well and asked for "respect for her privacy," according to the High Commissioner.
Britain's Sky News television has previously acquired video of Michel -- filmed while he was in detention in Dubai -- in which he links his pending extradition to Latifa's case.
He was working in the UAE as a middleman and consultant for a subsidiary of the Anglo-Italian firm AgustaWestland, itself a subsidiary of aerospace and defence group Finmeccanica.
He was accused of arranging kickbacks to Indian officials to secure a deal to supply 12 helicopters in 2010.
India cancelled the deal in January 2014 amid allegations of bribery.
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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