Pakistan cable car: Children rescued after 15 hours
The high-risk operation in the north of Pakistan was completed in the darkness of night after the cable car snagged early in the morning
By Eastern EyeAug 22, 2023
PAKISTANI rescuers pulled seven children and one man to safety after their cable car became stranded high over a remote ravine on Tuesday (22), ending an ordeal lasting more than 15 hours.
"It was a unique operation that required lots of skill," the military said in a statement.
The high-risk operation in the north of Pakistan was completed in the darkness of night after the cable car snagged early in the morning, leaving it hanging precariously at an angle all day.
"All the kids have been successfully and safely rescued," caretaker prime minister Anwaar-ul-Haq Kakar said in a post on Twitter.
"Great team work by the military, rescue departments, district administration as well as the local people."
A military helicopter rescue operation was called off as night fell after two children had been pulled to safety. Flood lights were installed and a ground-based rescue continued.
A security source said cable crossing experts had been trying to rescue the children one by one by transferring them on to a small platform along the cable.
Rescuers pull a boy attached to a harness to safety after being rescued from a stranded cable car in Battagram, Pakistan, on August 22. (Handout via Reuters)
Before the helicopter rescue was called off, TV footage showed one child being lifted off the cable car in a harness, swinging side to side, before being lowered to the ground.
The rescue effort transfixed the country, with Pakistanis crowded around television sets, as media showed footage of an emergency worker dangling from a helicopter cable close to the small cabin, with those onboard cramped together.
"An extremely difficult and complicated operation has been successfully completed by the Pakistan military," the military said in a statement.
"All stranded persons were safely evacuated and moved to a safe place... Civil administration and locals also actively came forward to participate in this operation."
A video shared by a rescue agency official showed more than a dozen rescuers and locals lined up near the edge of the dark ravine, pulling on a cable until a boy attached to it by a harness reached the hillside safely to cries of "God is great".
"It is a slow and risky operation. One person needs to tie himself with a rope and he will go in a small chairlift and rescue them one by one," said Abdul Nasir Khan, a resident.
One of the cable lines carrying the car snapped at around 7 am (0200 GMT) as the students were travelling to school in a mountainous area in Battagram, about 200 km (125 miles) north of Islamabad, officials said.
The cable car got stuck half way across the ravine, about 275 metres (900 feet) above ground, Shariq Riaz Khattak a rescue official at the site, told Reuters.
A helicopter rescues a person following a cable car with students stranded mid-air in Battagram, Pakistan, on August 22, in this screen grab obtained from social media video. (Umeed Sahar/via Reuters)
The helicopter rescue mission had been complicated by gusty winds in the area and the fact that the helicopters' rotor blades risked further destabilising the lift, he said.
"Our situation is precarious, for god's sake do something," Gulfaraz, a 20-year-old on the cable car, told local television channel Geo News over the phone. He said the children were aged between 10 and 15 and one had fainted due to heat and fear.
"Once everyone had been rescued, the families started crying with joy and hugging each other," emergency official Waqar Ahmad said over the phone.
"People had been constantly praying because there was a fear that the rope might break. People kept praying until the last person was rescued."
Syed Hammad Haider, a senior Khyber Pakhtunkhwa provincial official, said the gondola was hanging about 1,000 to 1,200 feet above the ground.
Cable cars that carry passengers - and sometimes even cars - are common across the northern areas of Khyber Pakhtunkhwa province and Gilgit-Baltistan, and are vital in connecting villages and towns in areas where roads cannot be built.
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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