Before he flew to Thailand on a fake Bangladeshi passport and then crossed into Malaysia, Mohammed Imran was one of the most influential Rohingya refugees in Bangladesh. He headed an 18,000-strong camp and represented them on the big stage.
In late 2017, at the peak of a mass exodus of Rohingya Muslims into Bangladesh fleeing violence in Buddhist-majority Myanmar, Imran paid traffickers $4,720 to be smuggled into Malaysia in search of a better life.
Malaysia has become home to more than 100,000 Rohingya refugees, the second-highest number in the world after Bangladesh, with most braving the Andaman Sea on rickety boats or paying people smugglers for fake travel documents.
But Imran and nearly two dozen other Rohingya men in the Malaysian state of Penang said their hopes had been shattered because of a lack of jobs and harassment by police as they are deemed illegal immigrants.
They tell friends and family to stay in Bangladesh, despite the hostile conditions there, and some are thinking of heading back.
"I thought I would have a life here - basic things like freedom to work, freedom to move around without always worrying about being bullied by police," said Imran, 30, sitting cross-legged in a run-down apartment he shares with three other Rohingya men.
Representatives of Malaysia's police and home ministry did not respond to questions from Reuters.
Staring at a wall where his clothes hang from a rope, Imran recalled emotional conversations with his mother, who lives in Saudi Arabia, over fears she would never see her only son again.
Imran's two younger sisters live in the Bangladesh camps and he sends them money every month, saving little or nothing for himself after food and rent.
"Our future is so obvious here: we have no future. In Bangladesh you at least have your family and friends around, you speak and understand the language, you have a voice," said Imran, who volunteers as a mental health counsellor, making about $600 a month.
MENTAL TRAUMA
Many Rohingya spent months in jail after entering Malaysia but were released at the request of U.N. High Commissioner for Refugees (UNHCR), and now work odd jobs illegally.
Only a third of the adult Rohingya in Malaysia are employed, the UNHCR estimates.
Many suffer from post-traumatic stress disorder (PTSD) and depression, aid agencies and Rohingya say, as their chances of resettlement in a third country evaporate amid anti-refugee sentiment in countries such as the United States.
A UNHCR survey of 245 Rohingya in Malaysia in mid-2018 found about a fifth had moderate to severe mental health symptoms associated with depression and PTSD.
From January to April, a third of Rohingya patients presented at counselling with psychosomatic symptoms or chronic pain, medical NGO Médecins Sans Frontières (MSF) said.
"There's an indication of a sense of helplessness among the patients," MSF told Reuters.
Rohingya interviewed by Reuters said they live in fear of arrest, detention and deportation as Malaysia has not ratified the U.N. Refugee Convention.
A survey of 288 Rohingya construction workers in Malaysia published late last year found a quarter had been sent to jail at least once, and nearly half had bribed police.
Imran said he knew of at least 1,000 Rohingya who were ready to go back, but they know that means again paying traffickers and risking arrest.
"My brothers ask me sometimes if they should come," said Mohammed Irfan, who spent six months in jail after reaching Malaysia in 2013.
"I tell them if I could take the clock back, I would have never come here."
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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