India’s growth rate will slow by up to half a percentage point due to the government’s decision to scrap high-value banknotes, the top finance ministry economist said on Tuesday, challenging independent estimates of a far bigger impact.
Chief economic adviser Arvind Subramanian rejected the view of the International Monetary Fund, where he used to work, that growth would be knocked a full percentage point lower by prime minister Narendra Modi’s shock decision in November to scrap 86 percent of the cash in circulation.
Modi launched the “demonetisation” drive to expose untaxed wealth and the proceeds of crime and corruption. Yet the measure - unprecedented in a stable, modern, peacetime democracy - has caused huge disruption to daily and business life in Asia’s third-largest economy.
It will also complicate the fiscal arithmetic in finance minister Arun Jaitley’s fourth annual budget, which he will present to parliament on Wednesday.
Presenting India’s pre-budget Economic Survey, which combines analysis and forecasts with a broader look at policy issues, Subramanian called demonetisation a “radical currency-cum-governance-cum social-engineering measure”.
He also maintained the currency squeeze was “less severe than is commonly perceived”.
‘SIGNIFICANT HARDSHIPS’
Still, Subramanian acknowledged that official GDP figures may not fully reflect the “real and significant hardships” experienced by the informal sector, in which an estimated nine out of 10 Indian workers are employed.
Without giving a figure for growth in the fiscal year that ends in March, Subramanian said it was likely to be between one- quarter and one-half percentage point below an earlier official forecast of around 7 percent.
Growth is expected to “return to normal” in 2017/18, when it is forecast in a 6.75-7.5 percent range, as cash liquidity is restored to the economy, according to the 335-page report.
By contrast, the IMF slashed its India growth forecast for the current fiscal year by a full point to 6.6 percent, handing the title of the world’s fastest-growing economy back to China, which reported 6.7 percent growth for 2016.
Subramanian pointedly declined to comment on whether there had been failings in the planning and implementation of the banknote ban. He expected that a shortage of new 500 rupee ($7.40) and 2,000 rupee notes to end by April.
The new notes are being issued to replace high-value ones scrapped overnight on Nov. 8.
NO LONGER IN DENIAL
Despite Subramanian’s cautious assessment, private sector economists said it was important he at least recognised that demonetisation had taken a toll on the Indian economy.
“This is perhaps the first acknowledgement coming from the government. Otherwise so far there has been a denial,” said Aneesh Srivastava, chief investment office at IDBI Federal Life Insurance Co in Mumbai.
Jaitley is expected in Wednesday’s budget to offer some tax “sops” to individuals to ease the pain of demonetisation, and ramp up public sector investment to offset weak consumption and private capital investment.
Such steps would seek to boost the electoral prospects of Modi’s Bharatiya Janata Party in a round of five regional elections that kick off this weekend, the most important in the battleground state of Uttar Pradesh.
The survey said government pay rises and muted tax receipts could put pressure on the fiscal deficit in the coming fiscal year. A sharp rise in prices could also cap the headroom to ease monetary policy, it added.
Senior officials say Jaitley may allow the federal deficit to overshoot an earlier target of 3 percent of GDP to create room for more public investment - a move against that ratings agencies such as Standard & Poor’s have warned against because of India’s high national debt.
Subramanian took a poke at the “poor standards” of the ratings agencies and included a factbox in his report that chided S&P for upgrading China despite its slowing growth and deteriorating debt metrics, while overlooking India.
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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