Iran denies link with Rushdie's attacker, blames writer
In 1989, Iran’s then-supreme leader, the Ayatollah Ruhollah Khomeini, issued a religious decree, or fatwa, ordering Muslims to kill Rushdie for what he deemed the blasphemous nature of “The Satanic Verses”.
Iran on Monday denied any link with the attacker of British author Salman Rushdie but blamed the writer himself for "insulting" Islam in the novel "The Satanic Verses".
"We categorically deny" any link with the attack and "no one has the right to accuse the Islamic Republic of Iran," said foreign ministry spokesman Nasser Kanani in Tehran's first official reaction to Friday's stabbing.
"In this attack, we do not consider anyone other than Salman Rushdie and his supporters worthy of blame and even condemnation," he said at his weekly press conference in Tehran.
"By insulting the sacred matters of Islam and crossing the red lines of more than 1.5 billion Muslims and all followers of the divine religions, Salman Rushdie has exposed himself to the anger and rage of the people."
Rushdie, 75, was left on a ventilator with multiple stab wounds after he was attacked at a literary event Friday in upstate New York.
The prize-winning writer had spent years under police protection after Iranian leaders in 1989 called for Rushdie's killing over his portrayal of Islam and the Prophet Mohammed in the novel.
The suspected assailant, 24-year-old Hadi Matar from New Jersey, was wrestled to the ground by staff and audience members before being taken into police custody.
He was later arraigned in court and pleaded not guilty to attempted murder charges.
In 1989, Iran's then-supreme leader, the Ayatollah Ruhollah Khomeini, issued a religious decree, or fatwa, ordering Muslims to kill Rushdie for what he deemed the blasphemous nature of "The Satanic Verses".
The fatwa was never officially lifted and several translators of the novel were attacked.
Deeply inflammatory
The attack on Rushdie comes at a sensitive moment in Iran's talks with major powers on reviving a 2015 nuclear deal abandoned by the United States in 2018, in return for the re-lifting of crippling US sanctions.
The foreign ministry spokesman Kanani on Monday stressed the position that Rushdie, not Iran, was to blame for the attack against him.
Commenting on the novel, Kanani said that "the anger at that time at this inappropriate action was not limited to Iran and the Islamic Republic.
"Millions of people in Arab, Islamic and non-Islamic countries reacted with anger.
"Condemning the action of the attacker on the one hand and absolving the action of the one who insults sacred and Islamic matters on the other is completely contradictory."
More than 30 years after its publication, the book and its author remain deeply inflammatory in Iran.
Iranians at Tehran's book market, when asked by AFP on Saturday to comment on the attack, did not openly condemn the stabbing, which has sparked outrage in the West.
The ultra-conservative Kayhan newspaper, whose director is appointed by current supreme leader Ayatollah Ali Khamenei, greeted the attack.
"Bravo to this courageous and duty-conscious man who attacked the apostate and depraved Salman Rushdie in New York," it said.
With the exception of reformist publication Etemad, Iranian media followed a similar line, also describing Rushdie as an "apostate".
One state-owned paper in Iran said that the "neck of the devil" had been "cut by a razor".
US Secretary of State Antony Blinken on Sunday condemned Iranian state media for having "gloated" about the attack, saying that "this is despicable".
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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