AN INDIAN student was killed on Tuesday (1) in shelling in Ukraine, New Delhi said as it urged Moscow and Kyiv to secure safe passage for around 12,000 of its stranded nationals.
"With profound sorrow we confirm that an Indian student lost his life in shelling in Kharkiv this morning," Indian foreign ministry spokesperson Arindam Bagchi said on Twitter.
Naveen Gyangoudar, from Haveri in the south Indian state of Karnataka, had been studying in Ukraine for the last four years.
He was killed when he went out to have his breakfast, media reports said, quoting his family members.
His father Shekhar Gouda said his son would call him up “at least two or three times a day”, and his last phone call came on Tuesday (1) morning.
Bagchi said that the foreign secretary was "calling in the Russian and Ukrainian ambassadors to reiterate our demand for urgent safe passage for Indian nationals who are still in Kharkiv and cities in other conflict zones."
Kharkiv, Ukraine's second city, has been a target for Russian forces since president Vladimir Putin launched an invasion of the eastern European country on Thursday (24).
On Tuesday (1), the central square of the city near the Russian border was shelled by advancing forces who hit the building of the local administration, regional governor Oleg Sinegubov said.
Before Russia's invasion, there were around 20,000 Indians in Ukraine. Around 8,000 have since managed to leave the country, of whom some 1,400 have been flown back to India, according to officials.
According to Indian media, some Indian students are being prevented from crossing into neighbouring countries, with border guards reportedly refusing to let them pass and demanding money.
A view of the square outside the damaged local city hall of Kharkiv on March 1, 2022, destroyed as a result of Russian troop shelling. The central square of Ukraine's second city, Kharkiv, was shelled by advancing Russian forces who hit the building of the local administration, regional governor Oleg Sinegubov said. Kharkiv, a largely Russian-speaking city near the Russian border, has a population of around 1.4 million. (Photo by SERGEY BOBOK/AFP via Getty Images)
"I was standing near the Ukrainian border, awaiting my turn to enter Romania when I saw a few guards point guns at Indian students and start abusing them in their language," the Times of India quoted one student as saying.
"Students, who were already scared, started screaming in terror."
The Hindustan Times quoted Ishika Sarkar, a student in eastern Ukraine, as saying in a video that Indians in the area were in bunkers and running short of food.
"(We) have been asked to reach the western border, which is impossible for us because the connecting bridges have been blown up due to bombardment... but we are not getting any kind of help in Ukraine," he said.
Aruj Raj, a student in Kharkiv, told the paper that he has been in a hostel bunker with 400 other Indian students since Thursday.
"There is so much bombing happening outside. We can see street fighting through our windows. The city is still under curfew. It is impossible for us to step outside. We hardly have anything left to eat or drink," he said.
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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