Imran Khan was dismissed on Sunday as Pakistan prime minister after losing a no-confidence vote in parliament following weeks of political turmoil.
It was not immediately clear when a new premier will be chosen, but Pakistan Muslim League-N (PML-N) chief Shehbaz Sharif was almost certain to be picked to lead the nuclear-armed nation of 220 million people.
No prime mister has ever served a full term in Pakistan, but Khan is the first to lose office this way.
Acting speaker Sardar Ayaz Sadiq said 174 lawmakers had voted in favour of the motion, "consequently the vote of no confidence has passed".
Khan, 69, tried everything he could to stay in power -- including dissolving parliament and calling a fresh election -- but the Supreme Court deemed all his actions illegal last week, and ordered the assembly to reconvene and vote.
There was drama right until the midnight deadline ordered by the Supreme Court, with the speaker of the assembly -- a Khan loyalist -- resigning at the last minute.
In the end the session continued through to Sunday with a replacement.
"We will put a balm on the wounds of this nation," Sharif said immediately after the result was announced.
Khan, who was not present, lost his majority in the 342-seat assembly through defections by coalition partners and members of his own party, and the opposition had needed just 172 votes to dismiss him.
- Militancy on the rise -
Whoever takes over will still have to deal with the issues that bedevilled Khan -- soaring inflation, a feeble rupee and crippling debt.
Militancy is also on the rise, with Pakistan's Taliban emboldened by the return to power last year of the hardline Islamist group in neighbouring Afghanistan.
Tempers rose earlier when Sharif insisted a vote be held immediately -- as ordered by the Supreme Court on Thursday -- but Khan loyalists demanded discussion first on their leader's claims there had been foreign interference in the process.
Foreign minister Shah Mehmood Qureshi accused the opposition of leading the country down a dangerous path.
"History will expose all those, who set the stage for this move to topple the government," he said, to chants of "vote, vote" from the opposition.
Khan insists he has been the victim of a "regime change" conspiracy involving the United States.
He said the PML-N and the Pakistan Peoples Party (PPP) -- two normally feuding dynastic groups who joined forces to oust him -- had conspired with Washington to bring the no-confidence vote because of his opposition to US foreign policy, particularly in Muslim nations such as Iraq and Afghanistan.
He also accused the opposition of buying support in the assembly with "open horse-trading... selling of lawmakers like goats and sheep".
How long the next government lasts is also a matter of speculation.
The opposition said previously they wanted an early election -- which must be called by October next year -- but taking power gives them the opportunity to set their own agenda and end a string of probes they said Khan launched vindictively against them.
Local media quoted an election commission official as saying it would take them at least seven months to prepare for a national vote.
Publicly the military appears to be keeping out of the current fray, but there have been four coups since independence in 1947 and the country has spent more than three decades under army rule.
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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