Pramod Thomas is a senior correspondent with Asian Media Group since 2020, bringing 19 years of journalism experience across business, politics, sports, communities, and international relations. His career spans both traditional and digital media platforms, with eight years specifically focused on digital journalism. This blend of experience positions him well to navigate the evolving media landscape and deliver content across various formats. He has worked with national and international media organisations, giving him a broad perspective on global news trends and reporting standards.
An Indian PhD student at the University of Cambridge has solved a 2,500-year-old Sanskrit grammatical problem which, ever since the fifth century BC, has baffled academics.
Rishi Rajpopat, 27, successfully cracked a law created by ancient Sanskrit language master Panini, who lived in India 2,500 years ago.
In order to support his theory, Rajpopat used a page from an 18th-century copy of a Panini Sanskrit text.
The Astadhyayi, or grammar of Panini, used an algorithm-like approach to convert a word's base and suffix into grammatically sound words and phrases.
Conflicts happen when two or more of Panini's rules often apply simultaneously. Scholars always believed that the 'metarule' of Panini suggests that when conflicts happen between two rules of equal strength, the rule that comes later in the grammar's serial order wins.
As a result, this assumption often led to grammatically incorrect results.
Rajpopat disagreed with the conventional understanding of the metarule. Instead, he contended that Panini intended for us to select the rule that applies to the right side of a word from those that apply to the left and right sides of a word, respectively.
Using this interpretation, he discovered that all the words produced by Panini's 'language machine' were grammatically sound.
“I had a eureka moment in Cambridge. After nine months trying to crack this problem, I was almost ready to quit, I was getting nowhere. So I closed the books for a month and just enjoyed the summer, swimming, cycling, cooking, praying and meditating," Rajpopat is reported to have said.
“Then, begrudgingly I went back to work, and, within minutes, as I turned the pages, these patterns starting emerging, and it all started to make sense. There was a lot more work to do but I’d found the biggest part of the puzzle.
“Over the next few weeks I was so excited, I couldn’t sleep and would spend hours in the library including in the middle of the night to check what I’d found and solve related problems. That work took another two and half years.”
According to him, Indian haven't fully understood what their ancestors achieved as some of the most ancient wisdom of the country has been produced in Sanskrit.
Rajpopat completed his Bachelors in Economics from St. Xavier’s College – Autonomous, Mumbai in 2016. He studied Sanskrit language, literature, and linguistics during high school and college years, and then spent a year at the University of Oxford pursuing a Masters in Pāṇinian Sanskrit linguistics.
He began a PhD in the same field at the University of Cambridge in 2017. Rajpopat speaks Gujarati (mother tongue) and Hindi/Urdu with native fluency, is proficient in Marathi, English and Sanskrit, can read Bangla and Punjabi.
“We’ve often been led to believe that we’re not important, that we haven’t brought enough to the table. I hope this discovery will infuse students in India with confidence, pride, and hope that they too can achieve great things," he pointed out.
He now wishes his latest discovery will make it possible to teach Panini’s grammar to computers.
Rajpopat's supervisor at Cambridge, Professor of Sanskrit Vincenzo Vergiani has hailed his achievement.
Prof Vergiani, said: "He has found an extraordinarily elegant solution to a problem which has perplexed scholars for centuries. This discovery will revolutionise the study of Sanskrit at a time when interest in the language is on the rise."
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.”
By clicking the 'Subscribe’, you agree to receive our newsletter, marketing communications and industry
partners/sponsors sharing promotional product information via email and print communication from Garavi Gujarat
Publications Ltd and subsidiaries. You have the right to withdraw your consent at any time by clicking the
unsubscribe link in our emails. We will use your email address to personalize our communications and send you
relevant offers. Your data will be stored up to 30 days after unsubscribing.
Contact us at data@amg.biz to see how we manage and store your data.