The International Cricket Council (ICC) will make a presentation to the Los Angeles Olympics organisers later this month in its bid for the sport to return to the Games after a gap of 128 years, sources told Reuters.
Cricket has been shortlisted for potential inclusion at the 2028 Los Angeles Games along with baseball-softball, flag football, lacrosse, breakdancing, karate, kickboxing, squash and motorsport.
Teams would play Twenty20 cricket -- the sport's shortest international format which has inspired the lucrative Indian Premier League and similar franchise-based competitions in other countries.
The host city can include any sport but needs the approval of the International Olympic Committee (IOC).
The governing body is likely to take a final decision at the IOC session in Mumbai next year, said one of the sources who had direct knowledge of the matter.
Twenty-eight sports feature in the initial programme announced by the 2028 Games organiser in December. Read full story
Cricket has not been played at the Olympics since its maiden appearance in the 1900 Games at Paris, where Britain beat a team of mostly English expatriates representing France by 158 runs to win gold.
Despite initial obstruction from the powerful English and Indian cricket boards, the game has started to gain entry to multi-sports gatherings around the world.
Women's Twenty20 is being played at the ongoing Commonwealth Games in Birmingham and cricket will also be part of the delayed Asian Games in Hangzhou next year.
It will also feature in the Africa Games in Ghana and the Southeast Asian Games in Cambodia next year.
Considering cricket's low profile in the United States, many believe it has better chances of making the cut for the 2032 Olympics in Australia.
The ICC, however, is determined to grow the game in the United States - which is cricket's third largest broadcast market after India and Britain due to the Indian and Pakistani diaspora. It believes the 2028 Olympics would make the perfect showcase.
Olympic sports remain in cricket's shadow in the sub-continent, so the ICC has based its bid around cricket's unrivalled popularity among the region's billion-plus fans.
Women's Twenty20 has already proven a big hit on its Commonwealth Games debut with record 150,000-plus tickets sold.
"Being in multi-sport games, whether it is the Commonwealth Games or the Asian Games or the African Games, putting cricket into these multi-sport events is good for the growth of our game," ICC chief executive Geoff Allardice told reporters last week.
Allardice was merely echoing the sentiments shared by several former players.
"Great to see T20 cricket in Commonwealth Games. Next destination - Olympics," tweeted former India player Mohammad Kaif.
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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