THE Indian high commission in London witnessed protests against India’s Citizenship Amendment Act (CAA) and the National Register of Citizens (NRC) on Wednesday (18).
Students and representatives from the diaspora and workers’ groups took part in the protest programme organised by the India Society of the School of Oriental and African Studies.
The protests were supported by other universities, institutes, including the London School of Economics (LSE).
The protesters raised famous Indian revolutionary slogans such as “Inqalab Zindabad”.
They waved placards against the Indian government’s move to impose the CAA.
Some groups and organisation have already been protesting against CAA in India.
India introduced CAA in a bid to protect the minorities who left Muslim majority countries to reach India due to religious persecution.
Accordingly, members of Hindu, Sikh, Buddhist, Jain, Parsi, and Christian communities, who have come from Pakistan, Bangladesh and Afghanistan till the end of 2014 following religious persecution there will become Indian citizens.
The Indian High Commission in London gave an explanation on CAA through a ‘Frequently Asked Questions (FAQs) on Citizenship (Amendment) Act 2019’ document, addressing the various aspects of the new act.
“There has been a misinformation campaign. The CAA does not affect any Indian citizen, including Muslim citizens,” the government has clarified.
"It has absolutely nothing to do with any Indian citizen in any way. The Indian citizens enjoy fundamental rights conferred on them by the Constitution of India. No statute, including the CAA, can abridge or take them away," it said.
Meanwhile, Harsev Bains, National Vice President of Indian Workers’ Association Great Britain (IWA-GB), said: "This hurriedly approved bill has at a stroke removed rights, especially from Muslim migrants. It undermines the basis of India’s secular democratic constitution.”
IWA-GB is an 80-year-old Britain-based diaspora group.
He further added: "We, as patriotic Indians, feel let down and angered that our great country, that led the way in diversity and tolerance, should act in such a manner. Refugees from all over the world have always been welcomed and accommodated in India. Never before has India introduced exceptions and exclusions based on faith.”
The protest in the British capital coincided with protests at universities across India since the Citizenship Amendment Bill was passed in the lower house of the Indian parliament last week.
The India Society of the University of Oxford was among the groups to organise protests earlier this week.
Their protest on Tuesday (17) was held outside the famous Radcliffe Camera at the heart of Oxford University.
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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