Music maestro Ustad Rashid Khan has died at the age of 55. The musician had been battling cancer, and on Tuesday, he breathed his last at a hospital in Kolkata.
Ustad Rashid Khan is the great-grandson of the legendary Ustad Inayat Hussain Khan Sahab, the founder of the Rampur Sahaswan Gharana. He's also the nephew of Ustad Ghulam Mustafa Khan.
He not only immensely contributed to Indian classical music but also weaved magic in Bollywood with his soulful songs such as 'Aaoge Jab Tum O Saajana' from the Kareena-Shahid starrer Jab We Met and Allah Hi Reham in the Shah Rukh Khan starrer My Name is Khan.
As a pall of gloom descended on the music world after his death. Lyricist and screenwriter Prasoon Joshi described Khand as a legend and “a voice through which the divine spoke to us”.
“Rashid Khan's demise is an irreparable loss to the world of music. Fortunate are those who heard him perform. He was an unparalleled treasure. We will meet in the afterlife," he said.
Music director Pritam said losing Rashid Khan Saab is a huge loss for the world of music.
Singer Sonu Nigam also expressed deep grief over the demise of the music maestro.
Taking to Instagram, the singer wrote, “My dear respected elder brother and the pride of classical music of our country Padmabhushan Ustad Rashid Khan Sahab. Who goes like this, brother? All alone. Saddened beyond words. May Allah grant you janat-ul-firdaus. You'll be missed always. Om Shanti.”
Reacting to the news, singer Harshdeep Kaur wrote on X, "Extremely sad news... Ustad Rashid Khan Ji passes away... this is a huge loss to the world of music. He will always be remembered for his excellence in music and his voice will reverberate in our hearts forever Rest in Peace #RashidKhan Saab."
Veteran Bengali singer Haimanti Shukla recalled how they would sing together while travelling to a place in the same vehicle.
"Rashid bhai was a sweet person who was very popular among contemporary artistes. He would wait to get my ‘bhai phonta’ (bhai dooj) every year," Shukla said as her voice choked.
Young Bengali singer Suvamita described Khan as a father figure whose death will be a great loss to the music world.
Another national award recipient singer Iman Chakraborty said, “I cannot imagine Ustadji is no more. This is not the age to die. He had such a mellifluous voice!”
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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