As Covid-19 numbers in India reached unimaginable highs in the last week of April, countries and organizations around the world scrambled to provide aid. Planeloads of ventilators, medicine and oxygen equipment landed in the capital of the country last week but the relief appears to yet to reach the ailing.
By May 2, Sunday, India had reportedly received some 300 tonnes of supplies on 25 flights. However, the cargo was reportedly lying in the hangar of Delhi International Airport for a long time as unnecessary bureaucracy, human error, and time-consuming protocol appeared to delay the disbursal while hospitals continued to plead for provisions.
Logistical Nightmare
It came to light that the government of India did not have protocols in place before receiving the aid, and had to quickly come together with guidelines on allocation and coordination.
Once the shipment landed in India, its distribution turned out to be a huge problem. Aid is usually received here by the Indian Red Cross Society, which is responsible for taking it through customs, according to the government's statement. The shipments are then handed over to another agency, HLL Lifecare, which handles the goods and subsequently transports them across the country.
Since supplies are arriving in various forms, authorities have to "unpack [and] repack" them before they can be dispatched, further slowing the process.
“In many cases, the items received are not as per the list, or the quantities differ, which needs reconciling at the airport,” the government said.
Only when the paperwork is updated with the correct details, authorities can move forward with the distribution.
What Is Happening Now?
The Indian government has strongly denied there is a delay, issuing a statement on Tuesday evening, saying it had introduced a "streamlined and systematic mechanism" for distributing the supplies. Nearly 4 million donated items, spanning 24 categories, have already been distributed to 38 health care facilities across the country, the Health Ministry said in a statement.
Despite the logistical challenges, the Indian government says it is "working 24x7" to send supplies to strained areas.
Workers load 300 tonnes of medical aid to be flown in a three-flight cargo Qatar Airways aircraft convoy directly to destinations in India, at Qatar's Hamad International Airport in the capital Doha on May 3, 2021. (Photo by KARIM JAAFAR/AFP via Getty Images)
Punjab is reported to have received 100 oxygen concentrators and 2,500 doses of the life-saving drug Remdesivir. The air force airlifted the "first batch" of 450 oxygen cylinders from the UK to Chennai (Madras) in southern Tamil Nadu state on Tuesday.
However, the lack of information regarding the supplies continues to prevail in the country. Some healthcare officials claim there has been little to no communication from the central government on how or when they would receive supplies.
"There's still no information about where it is being distributed," BBC quoted Dr. Harsh Mahajan, the president of the Healthcare Federation of India, as saying. "It seems people don't know - I've tried two or three places and been unable to find out.”
This alleged lack of clarity about the relief distribution effort is raising questions, even in foreign donor countries. On Friday, during a US state department briefing, a reporter demanded "accountability for the US taxpayers' money" being sent to India. He also asked if the US government was tracking the aid's whereabouts.
The BBC UK also asked the UK's Foreign, Commonwealth, and Development Office if it had any knowledge of where the country's aid, including its shipments of more than 1,000 ventilators, had been distributed.
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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