India condemned the vandalization of Hindu temples in Australia and said that the matter has been raised with the Australian government in Canberra and asked for expeditious investigation against the perpetrators.
Responding to a media query regarding the vandalization and graffiti being written on Hindu temples, Ministry of External Affairs Spokesperson Arindam Bagchi said, "We are actually aware of the couples of temples that have been vandalised in Australia. We condemn these incidents. If I remember correctly, both of them are actually near Melbourne in Victoria. We strongly condemn this action. These actions have been publicly condemned by Australian leaders, community leaders, and religious associations there."
This statement came after the Shri Shiva Vishnu Temple in Australia's Carrum Downs was vandalised with anti-Hindu graffiti on Monday.
He also said, "Our Consulate General in Australia has taken the matter with the local police. We have requested expeditious investigation action against the perpetrators and of course measures to prevent such incidents in future. The matter has also been taken up with the Australian Government, both in Canberra and New Delhi. And we are looking forward to the action that we have requested."
The act came to notice on Monday, January 16 after temple devotees came for 'darshan' amid the three-day long "Thai Pongal" festival which is being celebrated by Australia's Tamil Hindu community, The Australia Today reported.
Usha Senthilnathan a devotee of Shri Shiva Vishnu Temple told The Australia Today, "We are a Tamil minority group in Australia, a lot of us came as refugees to escape the religious persecution."
On the evening of January 15 2023, Khalistan supporters tried to draw support for their referendum through a car rally in Melbourne. However, they failed miserably as less than two hundred people gathered out of an almost 60,000-strong Melbourne community, according to The Australia Today.
This came a week after the BAPS Swaminarayan Mandir in Australia's Mill Park was smeared with anti-India and anti-Hindu graffiti.
Patel, an onlooker who did not want to reveal his first name, shared how he witnessed the vandalised walls of the temple when he visited the site.
"When I reached the temple today morning all walls were coloured with graffiti of Khalistani hatred towards Hindus," The Australia Today quoted Patel as saying.
He added, "I am angry, scared, and dismayed by the blatant display of religious hatred towards the peaceful Hindu community by Khalistan supporters."
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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