Pramod Thomas is a senior correspondent with Asian Media Group since 2020, bringing 19 years of journalism experience across business, politics, sports, communities, and international relations. His career spans both traditional and digital media platforms, with eight years specifically focused on digital journalism. This blend of experience positions him well to navigate the evolving media landscape and deliver content across various formats. He has worked with national and international media organisations, giving him a broad perspective on global news trends and reporting standards.
Britain unveiled new sanctions against Russia on Friday (19), targeting imports of diamonds and other minerals in a bid to choke Moscow's ability to fund the war in Ukraine.
Before a G7 summit in Japan began, London said it would introduce "a ban on Russian diamonds", copper, aluminium and nickel, and sanction more entities involved in Moscow's "military industrial complex".
Russia's diamond trade is estimated to be worth $4-5 billion (£3.2-4bn) a year, netting the Kremlin much-needed tax revenues.
On Friday, European Council president Charles Michel said the bloc would target the lucrative trade in Russian diamonds, which he joked "are not forever".
EU member Belgium is among the largest wholesale buyers of Russian diamonds, along with India and the United Arab Emirates. The US is a major end-market for the finished product.
Meanwhile, sanctions on Russia's diamond trade weighs heavy on India's diamond hub of Surat, already reeling from supply cuts and falling demand.
Some 90 per cent of the world's diamonds are cut and polished in the bustling port.
A world away from the glamourous boutiques of New York or Tokyo, hundreds of thousands of craftsmen sweat over gemstones in around 4,000 workshops in the city, cutting and setting them into sparkling jewellery.
In total around a million people, including dealers and suppliers, are involved in the industry in Gujarat, India's westernmost state.
Russian mining giants such as Alrosa traditionally accounted for over a third of India's rough diamonds.
But supplies have shrunk in the months since Western sanctions cut Russia off from the SWIFT international payments network in March last year over its invasion of Ukraine.
At the same time, Indian exports of cut and polished diamonds have slumped with US and European firms refusing to buy diamonds sourced from Russia.
Rameshbhai Zilriya, president of the Diamond Workers Union Gujarat, said fresh sanctions would sound the death knell for the industry.
"Workers are already suffering because of Russian supply issues and a drop in demand. There have been widespread job losses and this problem will only get exacerbated now," he said.
"In the last 15 days eight workers have killed themselves. Now the situation will only become worse."
The diamond industry's most lucrative customers are Western firms required to comply with sanctions regimes.
Traders say the likes of Signet, Tiffany & Co, Chopard and Pandora are refusing to buy Russian stones.
Indian exports of cut and polished diamonds stood at $1.32bn (£1.06bn) in April, data from The Gem and Jewellery Export Promotion Council (GJEPC) shows -- a slump of 39 per cent, or more than $800 million (£644m), on a year earlier.
GJEPC chairman Vipul Shah said the industry would wait and watch what kinds of sanctions are imposed on Russian diamonds.
"Russia is one of our largest suppliers... Supply is going to be a constraint and we will be facing a big problem," he said.
The "immediate issue is of employment", he added. "It is going to be severely affected."
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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