India's government on Saturday (21) approved the death penalty for child rapists, after the gang rape and murder of an eight-year-old girl and a series of other horrific sexual assaults caused nationwide outrage.
Prime minister Narendra Modi called a cabinet meeting to pass the measure Saturday on his return from the Commonwealth summit, a government official said.
Protests have erupted across India in recent days over the rape and killing of the young Muslim girl by a group of Hindu men in Jammu and Kashmir state, increasing pressure on Modi to take action.
The attack sent out the sort of shockwaves that shook the country after the equally horrific gang rape of a Delhi student on a bus in 2012, which made headlines around the world.
The cabinet approved the ordinance amending laws on sexual violence to allow for capital punishment for those convicted of raping children below the age of 12, the official said.
Minimum jail sentences for convicted rapists were also toughened.
"The ordinance will be sent to the president for his consent," the official said on condition of anonymity. The president's approval is seen as a formality.
The new decree requires trials involving child victims to be completed in two months after an arrest, unusually speedy for India where the wheels of justice turn slowly.
The order will remain in effect for a period of six months from the president's approval, or until parliament votes the changes into law.
In recent months, four Indian states have already introduced similar legislation in local parliaments to approve the death penalty for child rapists.
India has the death penalty for the most brutal murders and terror attacks. But the sentences are rarely carried out and are often struck down on appeal by higher courts.
India carried out its last hanging in 2015 of a 1993 Mumbai bombing convict.
- Public anger -
The recent protests began after police accused eight Hindu men of raping a Muslim girl in a bid to force her nomad community out of a Hindu-dominated area of Jammu and Kashmir.
Public anger boiled over after police last week made public how the girl was drugged, repeatedly raped while held captive for five days at a Hindu temple and then beaten to death.
India previously introduced tougher laws in 2013 after the brutal New Delhi gang rape.
The incident triggered weeks of street protests and global condemnation.
But sexual violence, including against children, remains unabated in India, with some 11,000 child rape cases reported in 2015.
A 2014 UN report said one in three rape victims in India was a minor.
On Saturday, police in central Madhya Pradesh state arrested a man over the rape and murder of a four-month-old girl.
The infant's blood soaked body was found on Friday in a building in Indore city hours after she went missing.
Police said the suspect was a distant relative of the victim and had targeted the child after an argument with her mother.
Activists say lax implementation of laws and snail-paced trials fuel the "rape culture" in India, with many accusing police of being slack in cases involving influential people.
Modi's government faced criticsm after one his party members in Uttar Pradesh was accused by a teenager of raping her.
The politician remained free for almost a year after police rejected pleas from the victim to file a rape case against the lawmaker.
He was finally arrested last week after the teenager tried to set herself on fire outside the residence of the state chief minister, triggering a wave of protests.
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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