India is exploring the possibility of importing cheetahs from northern Africa, officials announced on Wednesday (27). This decision comes in response to concerns that cheetahs from Namibia and South Africa, currently residing in India, have developed a winter coat in the Indian summer.
According to the officials, one of the significant challenges faced during the first year of managing cheetahs in India was the unexpected development of winter coats by some cheetahs during the Indian summer and monsoon, in anticipation of the African winter (June to September).
Even African experts did not anticipate this, a senior forest official said. The winter coat, combined with high humidity and temperatures, caused itching, leading the animals to scratch their necks on tree trunks or the ground.
This scratching resulted in bruises and exposed skin, where flies laid their eggs, leading to maggot infestations and, ultimately, bacterial infections and septicemia, resulting in the deaths of three cheetahs, the official explained.
"Considering that cheetahs in northern and northeastern Africa, which are in the northern hemisphere, might be better suited to Indian conditions, this idea is under consideration. However, we are yet to examine the status of cheetahs in this part of Africa, including their populations, health conditions, breeding cycles, etc.," said an official associated with the cheetah project on condition of anonymity.
Several international experts, including those in the UK and the US, have imported cheetahs from northern Africa and have recommended that India do the same, the official added.
SP Yadav, the head of Project Cheetah and Additional Director General (Forests) in the Environment Ministry, said, "The idea of importing cheetahs from northern Africa in the future has been discussed, but the next batch will come from South Africa."
He said that India intends to import cheetahs that do not develop thicker winter coats, as this is a primary factor behind severe infections in some cheetahs and the deaths of three of them. This issue had prompted authorities to capture and bring all the cheetahs back to the enclosures for treatment.
A third official said the idea of importing cheetahs from countries other than Namibia and South Africa is at a nascent stage and requires a lot of deliberation and work.
He added that all the cheetahs in Kuno are currently in larger enclosures and will be released in the wild soon.
Historically, cheetahs were found in parts of northern Africa, but their populations in this region have significantly declined, and they are now considered extinct or nearly extinct in many northern African countries.
Currently, the few remaining cheetahs in northern Africa are primarily found in small and isolated populations, mainly in protected areas and national parks. Some of the countries where cheetahs are still found, though in smaller numbers, include Algeria, Egypt, Niger, and Mali.
Project Cheetah, India's ambitious initiative to reintroduce cheetahs after their extinction in the country, marks its first anniversary on September 17.
The initiative began last year when prime minister Narendra Modi released a group of cheetahs brought from Namibia into an enclosure at Madhya Pradesh's Kuno National Park. Since then, the project has been closely watched by conservationists and experts worldwide.
Twenty cheetahs were imported from Namibia and South Africa to Kuno in two batches - one in September last year and the second in February.
Since March, six of these adult cheetahs have died due to various reasons. In May, three of the four cubs born to a female Namibian cheetah succumbed to extreme heat. The remaining cub is being raised under human care for future wilding.
Despite initial setbacks and difficulties that prompted a decision to recapture the animals and bring them to the bomas, officials emphasised that these experiences are being used to reassess strategies before the cheetahs are released in the wild once again.
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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