Nepal plane crash: Search continues for last missing person
Two days after the fatal crash, a woman’s body was found deep down in the Seti River gorge on Tuesday. With this, the bodies of 71 people who died in the crash have been retrieved.
The search for the last missing person in the Nepal plane crash resumed on Wednesday after rescuers on Tuesday pulled out one more body from the crash site where a Yeti Airlines aircraft carrying 72 people, including five Indians, had plunged in a river gorge in the resort city of Pokhara.
Two days after the fatal crash, a woman's body was found deep down in the Seti River gorge on Tuesday. With this, the bodies of 71 people who died in the crash have been retrieved.
The search for the missing person started early morning on Wednesday with the help of divers and four drones, rescuers have given up hope of finding the missing person alive, MyRepublica newspaper reported.
The Yeti Airlines aircraft took off from Kathmandu's Tribhuvan International Airport at 10:33 am on Sunday and crashed on the bank of the Seti River between the old airport and the new airport in Pokhara, minutes before landing.
Fifty-three Nepalese passengers and 15 foreign nationals, including 5 Indians, and four crew members were on board the Yeti Airlines aircraft when it crashed.
The five Indians, all from Uttar Pradesh, have been identified as Abhisekh Kushwaha, 25, Bishal Sharma, 22, Anil Kumar Rajbhar, 27, Sonu Jaiswal, 35, and Sanjaya Jaiswal.
As many as 48 bodies of the deceased have been brought to Kathmandu, the report added.
The dead bodies except that of the locals and those who could not be identified and those of foreigners were flown to Kathmandu on Tuesday afternoon.
The bodies of the 48 victims have been brought to Kathmandu via Nepal Army helicopters for post-mortem at Maharajgunj-based Tribhuvan University Teaching Hospital.
Superintendent of Police Dinesh Mainali of Kathmandu Police Range said the bodies will be handed over to the respective families only after the completion of an autopsy.
“Forensics experts are currently working to complete the autopsy of the deceased. After we get the autopsy report, we will hand over the mortal remains of the deceased to the respective family members,” he said.
Meanwhile, a team of experts from France arrived in Nepal on Tuesday to study the ATR plane crash of Yeti Airlines that took place in Pokhara on January 15.
A nine-member expert team from the company that manufactures the ATR aircraft has reached Pokhara.
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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