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 morning after Diwali, the Hindu festival of lights, residents of New Delhi woke up under a blanket of toxic smog and breathed in the most dangerously polluted air of the year so far, after revellers, as usual, defied a fireworks ban.
New Delhi has the worst air quality of all world capitals, but even by its sorry standards Friday's reading was extra bad, as people paid the price for celebrating India's biggest festival in the noisiest, and most smoky way.
The Air Quality Index (AQI) surged to 451 on a scale of 500 - the maximum recorded this year - indicating "severe" conditions that affect healthy people and seriously impact those with existing diseases, according to the federal pollution control board's guidance.
The AQI measures the concentration of poisonous particulate matter PM2.5 in a cubic metre of air. In Delhi, a city of nearly 20 million people, the PM2.5 reading on Friday (5) averaged 706 micrograms, whereas the World Health Organization deems anything above an annual average of 5 micrograms as unsafe.
Airborne PM2.5 can cause cardiovascular and respiratory diseases such as lung cancer. And, in India, toxic air kills more than a million people annually.
"The firecracker ban didn't seem to be successful in Delhi, which led to hazardous pollution levels adding on top of existing perennial sources," Sunil Dahiya, analyst, centre for research on energy and clean air (CREA) said.
Every year, either government authorities or India's Supreme Court impose a ban on firecrackers. But the bans rarely appear to be enforced.
Making matters worse, Diwali falls in period when farmers in the Delhi's neighbouring states of Punjab and Haryana burn the stubble left after harvesting to prepare their fields for the next crop.
Stubble fires accounted for up to 35 per cent of New Delhi's PM2.5 levels, according to data from SAFAR's monitoring system, which falls under the federal Ministry of Earth Sciences
A rare spell of clear skies in October, due to intermittent rains and winds, had helped Delhiites breathe their cleanest air in at least four years.
But during winter months pollution levels surge in northern India, as lower temperatures and a drop in wind speed tend to trap pollutants in the air longer.
Sick of the lack of commitment to making the capital more livable, Ambrish Mithal, a doctor at the Max HealthCare hospital in New Delhi, vented his frustration over the deteriorating AQI readings.
"It's terrible for those with allergies and asthma. We will continue to squabble over reasons and are doomed to suffer," he wrote in a post on Twitter.
Indian governments are often accused of not doing enough to curb pollution, as they prioritise economic growth to lift living standards in the world's second-most populated country.
On Monday (1), prime minister Narendra Modi told the COP26 climate summit in Glasgow that India would achieve net zero carbon emissions by 2070, but some experts reckoned that target was at least two decades too late.
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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