BHUBANESWAR, the capital of the eastern Indian state of Odisha and its largest city, reached a milestone over the weekend. According to its officials, the city has succeeded in vaccinating its entire eligible population.
For a city with a population of more than 1.1 million, it is not a small feat. Bhubaneswar, which is also called the ‘temple city’ of India because of the presence of several hundreds of temples there, had been hit by a deadly wave of coronavirus infections earlier this year that left its healthcare system in a shambles, like the rest of the country. Many people failed to get beds in hospitals despite desperately requiring treatment.
Ansuman Rath, a top official of the city, on Monday (2) said that all adult residents of Bhubaneswar – numbering around 900,000 – had received the first of the two doses of the vaccine by mid-June and the milestone “pushed up” their morale, The New York Times reported.
“When we achieved that, we thought we must quickly give the second doses too, as case load was high at that time,” he said.
Odisha has seen almost a million people getting affected by the coronavirus while over 6,000 have died. The state has administered just over 17 million vaccines so far. India has so far vaccinated 1,066 million of its people, according to government data.
Bhubaneswar's civic body called Bhubaneswar Municipal Corporation (BMC) has administered as many 1.87 million doses of vaccines till Monday. Out of them, 1.07 million have received the first shot while 0.8 have got the second one, PTI reported citing BMC officials as saying.
Under the 2011 Census of India, Bhubaneswar's population was around 0.84 million and now it is expected to be around 1.1 million. According to the civic officials, given the fact that the vaccines are given to only those over 18 years of age, the city has achieved its target of 100 per cent vaccination.
Special drives to encourage people to get vaccinated
Rath said the city authorities campaigned in its slums to overcome people’s vaccine hesitancy and set up a dozen walk-in centres in order to help people without access to mobile phones or the internet and even a proper identification to get vaccinated with help of officials.
The inoculation drive started in January in Bhubaneswar but the beginning was slow because of a short supply of the Covishield vaccine, the locally manufactured version of the Oxford-AstraZeneca vaccine. The local administration, instead, relied more on Covaxin, the other major Indian vaccine which is locally manufactured.
When the devastating second wave of the pandemic hit India, the capital of Odisha was also not spared. The city saw more than 1,200 new cases and 30-40 deaths daily during March and April. Currently, Bhubaneswar is reporting less than 200 new cases and 10 deaths a day.
India on Tuesday reported more than 30,000 new cases and the daily positivity rate remained less than five per cent.
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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