GENERAL (Gen) Manoj Mukund Naravane on Tuesday (31) took over as the 28th Chief of Army Staff, helming the 1.3 million-strong force at a time India faces evolving security challenges such as cross-border terrorism and an assertive Chinese military along the border.
Gen Naravane, who was serving as vice chief of the Army, succeeds Gen Bipin Rawat, appointed the country's first Chief of Defence Staff, a post created to bring in operational convergence among the three services.
As Army chief, Gen Naravane's priorities are expected to be to implement long-pending reforms of the Army, contain cross-border terrorism in Kashmir and bolster the operational capabilities of the force along the northern border where China has been ramping up its military infrastructure in Tibet.
Before being appointed vice chief, the alumnus of the National Defence Academy and the Indian Military Academy headed the Army's Eastern Command that takes care of India's nearly 4,000 kilometre border with China.
With Gen Naravane taking charge, all the three services heads, including Navy Chief Admiral Karambir Singh and Indian Air Force Chief RKS Bhadauria, are now from the 56th course of the National Defence Academy.
In his 37 years of service, Gen Naravane served in numerous command and staff appointments in peace, field and highly active counter-insurgency environments in Jammu and Kashmir and the Northeast.
He also commanded a Rashtriya Rifles battalion in Jammu and Kashmir and an infantry brigade on the eastern front. Besides, he was part of the Indian Peace Keeping Force in Sri Lanka and served as India's defence attache at the Indian Embassy in Myanmar for three years.
He was commissioned into the 7th battalion, the Sikh Light Infantry Regiment in June 1980.
The general is a decorated officer who has been awarded the 'Sena Medal' (Distinguished) for effectively commanding his battalion in Jammu and Kashmir.
He is also a recipient of the 'Vishisht Seva Medal' for his services as the Inspector General Assam Rifles (North) in Nagaland and the 'Ati Vishisht Seva Medal' for commanding of a prestigious strike corps.
The outgoing Army chief thanked all the army personnel and their families for extending full support to him in his three year tenure.
After a farewell Guard of Honour, Gen Rawat, who paid respects to fallen soldiers at the National War Memorial, also expressed the hope that the Army will rise to greater heights under its new chief.
Asked whether the Army is better prepared now to face the security challenges facing the country he said, "Yes, we are better prepared."
"I express my gratitude to all soldiers who have stood steadfast under challenging circumstances, performing their duties, keeping the traditions of our armed forces. My special compliments to our soldiers on northern, western and eastern borders who are braving tough winter and icy winds, steadfastly in guarding our country," he told reporters.
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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