Thousands of worshippers gathered to see Mirwaiz Umar Farooq lead Friday prayers for the first time in 218 weeks
By Eastern EyeSep 28, 2023
THE Indian government freed Kashmir’s chief Muslim cleric and influential separatist leader, Mirwaiz Umar Farooq, last Friday (22) after more than four years of house arrest.
The 50-year-old was detained along with other political leaders and thousands of residents when the government cancelled the region’s constitutional semi-autonomy and imposed federal rule in 2019. A months-long internet shutdown followed as India bolstered its armed forces in the region to contain protests.
Most detainees were subsequently released, but the Mirwaiz remained unable to leave his residence, down the street from his Jamia Masjid mosque in Srinagar.
Thousands of worshippers gathered to see him lead Friday prayers for the first time in 218 weeks, with women showering him with sweets and religious slogans resounding around the 14thcentury building.
Last week, a court asked authorities to explain his continued detention and he told the crowd that police informed him last Thursday (21) that officials had decided to release him.
“This period of my house arrest and separation from my people has been the most painful for me since my father’s death,” he said, breaking down. The mosque has historically been a centre of separatist politics and anti-India protests.
“God willing, you might think our spirit is low. No, our spirit is high,” the Mirwaiz said, calling the constitutional changes by prime minister Narendra Modi’s government “unacceptable”.
Modi “said about Ukraine that this is not the time for war. He is right. Disputes and disagreements should be resolved by talks rather than using power or unilateralism.”
He called for the release of “numerous political prisoners”.
Heavy security, including counter-insurgency police and commandos, were deployed around the mosque last Friday.
“Our beloved and our king of hope has returned to this mosque after so long,” regular worshipper Bashir Ahmed said after the prayers. “How can I not be weeping with joy?”
Since the imposition of direct rule in Kashmir, authorities have curbed media freedoms and public protests. Moves aimed at bringing “peace and prosperity” to the region also allowed Indians from elsewhere to buy land and claim government jobs in the territory, a policy denounced by critics as “settler colonialism”.
Armed clashes between Indian soldiers and rebels demanding independence for Kashmir or its merger with Pakistan have significantly reduced. But September saw an uptick in violence leaving at least 14 dead, including eight security personnel.
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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