PAKISTAN'S anti-corruption watchdog has established an anti-money laundering and terror financing cell to check financial crimes and illegal transfer of resources.
Paris-based Financial Action Task Force (FATF) placed Pakistan on the grey list in June 2018 and asked Islamabad to implement a plan of action to curb money laundering and terror financing by the end of 2019 but the deadline was extended later on due to the Covid-19 pandemic.
Pakistan's National Accountability Bureau (NAB) took action as the country struggled to get out of the FAFT grey list, the Dawn newspaper reported on Monday (5).
The move comes after the FATF retained Pakistan on its 'grey list' last month for failing to check money laundering, leading to terror financing, and asked Islamabad to investigate and prosecute senior leaders and commanders of UN-designated terror groups, including Hafiz Saeed and Masood Azhar.
The global body against money laundering and terror financing also asked Pakistan to work to address its strategically important deficiencies.
Pakistan will continue to remain on the "increased monitoring list", FATF president Marcus Pleyer said on June 25 after the decision had been taken at the conclusion of the FATF's virtual plenary. "Increased monitoring list" is also known as the 'grey list'.
A senior official told the newspaper that the Anti-Money Laundering and Combating the Financing of Terrorism (AML&CFT) cell would coordinate with the FATF secretariat and stakeholders to curb money laundering and terror financing.
The report said the main responsibility to investigate terror financing cases will lie with the Federal Investigation Agency (FIA).
According to a NAB official, Pakistan being a member of the United Nations Convention against Corruption (UNCAC), it was mandatory for the bureau to set up the cell to weed out corruption. He said NAB was operating with a three-pronged strategy of ‘awareness, prevention and enforcement'.
Pakistan has been scrambling in recent months to avoid being added to a list of countries deemed non-compliant with anti-money laundering and terrorist financing regulations by the FAFT, a measure that officials in Islamabad fear could further hurt its economy.
In February, the FATF gave a fourth extension to Pakistan to fully implement a 27-point action plan and ‘strongly urged' it to meet the remaining three conditions about terror financing investigations and the United Nations Security Council resolutions.
Noting that Pakistan has now completed 26 of the 27 action items given to it in 2018, Pleyer said last month the organisation has asked the country to take action against UN-designated terrorists.
The UN-designated terrorists based in Pakistan include Jaish-e-Mohammed (JeM) chief Azhar, Lashkar-e-Taiba (LeT) founder Saeed and its 'operational commander' Zakiur Rehman Lakhvi.
Azhar, Saeed and Lakhvi are the most wanted terrorists in India for their alleged involvement in numerous terrorist acts, including the 26/11 Mumbai terror attacks and the bombing of a Central Reserve Police Force (CRPF) bus in Jammu and Kashmir's Pulwama district in 2019.
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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