AUTHOR Anita Anand admitted the challenges of revisiting the Amritsar tragedy for her new book, as she revealed that her grandfather “missed the firing by minutes”.
Saturday (13) marks 100 years since the massacre in Punjab where hundreds of innocent people were brutally murdered by the British army.
At Jallianwala Bagh, a large walled space in the city of Amritsar, soldiers on April 13, 1919, opened fired on thousands of men, women and children who had gathered there on the occasion of the harvest festival of Baisakhi as well as for a peaceful protest at colonial oppression in the state.
British estimates say 379 people died, but Indian sources believe the toll to be closer to around 1,000.
Anand’s new book, The Patient Assassin, chronicles the lead-up to the massacre and its aftermath.
Its titular character is Udham Singh, who allegedly survived the attack, and swore revenge on the men responsible for the atrocity.
“I wanted to understand why it had happened – it felt like some sort of a mission by the end”.
Anand, a BBC journalist, also analysed the lives of two of the men responsible for the incident – Brigadier General Reginald Dyer, whose men fired on the civilians in Jallianwala, and Sir Michael O’Dwyer, the lieutenant governor of Punjab.
Humanising the men and exploring their history was hard, Anand explained, and she almost felt disloyal doing it.
“They were the monsters of my childhood,” she recalled. “But no one is either good or bad. I needed to understand what made them who they were, and I had to distance myself from the names I grew up with.”
Anand uncovered O’Dwyer’s close relationship with his father and his Catholic upbringing in
County Tipperary, Ireland. She also found evidence that growing up, Dyer, known as ‘Rex’, was a sensitive child who was distraught when he accidentally shot a monkey and killed it.
“People have complexities and they have motivations. For me, it was sort of healing to understand these are not just bad men,” she said. “They are creations of their own time and background.”
The outlook on Singh was similar. The man who shot and killed O’Dwyer in 1940 for his part in the massacre was portrayed as a cold-blooded killer by the British; in India, however, he is seen as a hero.
Anand discovered his story was much deeper than the versions she had previously known.
“He was so much more than that,” she said. “Everyone was more than just their two-dimensional cartoon interpretations.”
As Anand was writing the book, she was given the contact details of Caroline Dyer, the great-granddaughter of the British officer. Hesitant to call, she said she held onto the number for weeks. It was only when she finished writing the book that she contacted Dyer.
Describing her as a “lovely woman, full of warmth,” the author recalled her being enthusiastic
to meet. They met at Anand’s home and shared tea and a brownie together.
“And when I say shared, that’s what we really did,” Anand said. “Caroline joked that she hoped I hadn’t poisoned the brownie, and I ate half to show her that I hadn’t.”
The two women spoke for hours. However, Anand found Dyer had very different ideas about what happened at Jallianwala Bagh.
For instance, she believed no children were present during the shooting and the people in the garden were armed with weapons. She even asked Anand if her grandfather was a rioter.
“Those sorts of things did make it hard to have a conversation,” Anand admitted.
Dyer asked if Anand wanted an apology, but told her that she would not be willing to give one.
However, she realised that was not what she wanted.
“I didn’t know until right then that I didn’t want her to apologise,” she said. “But what
I do want is for her to understand that I feel she needs to stop saying ‘this is what happened’,
because there are so many facts to the contrary.”
The pair hope to visit Amritsar in the future together, although Anand does not anticipate how
the trip will pan out. She would rather not hold any preconceptions, she admitted.
The author, whose previous work focused on Indian suffragette Princess Sophia Duleep Singh, is aware that not many British Asians fully understand the history of the Amritsar massacre.
However, she would like communities to learn as it is part of their link to the past.
“I am British, I am Indian, and yes, all of these things happened,” she said. “It is part of what makes us who we are.”
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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