THE BODY of a Sri Lankan national, who was lynched by a mob in Pakistan's Punjab province over allegations of blasphemy, was flown to Colombo on Monday (6).
The wooden coffin has the words ‘Human remains of late Don Nandasri P Kumara Diyawadanage. From Lahore to Colombo,’ transcribed on it.
A mob of more than 800 men, including supporters of Islamist party Tehreek-e-Labbaik Pakistan (TLP), attacked a garment factory and lynched its general manager Priyantha Kumara Diyawadanage and set him on fire on Friday (3) over allegations of blasphemy in Sialkot district, some 100 km from Lahore.
"Officials of the Sri Lanka high commission arrived here early Monday morning and the body was handed over to them at the Lahore airport by Punjab minorities minister Ijaz Alam. The body was transported on a Sri Lankan Airlines flight," a Punjab government official said.
Punjab police claimed to have arrested seven more prime suspects allegedly involved in the lynching of Diyawadanage, 49.
“A total of 131 suspects, including 26 main ones, have been arrested so far. The 26 prime suspects have played a key role in inciting the people, lynching Kumara and setting his body ablaze,” the Punjab police said in a tweet.
Some 15 prime suspects were presented before the Anti-Terrorism Court in Gujranwala where they were remanded in police custody for 15 days.
According to police, after killing Diyawadanage, the mob also wanted to kill the factory owner and set the building on fire.
“The mob wanted to set on fire the entire factory after lynching Kumara. A group of charged workers headed towards the residence of the factory owner to kill him, but timely action by police prevented further violence,” Sialkot district police officer Omar Saeed said.
Earlier, narrating the sequence of the incident, inspector general police (Punjab) Rao Sardar Ali Khan had said: “A mob of more than 800 men gathered and attacked the factory at 10 am Friday after reports emerged that Kumara had torn a sticker/poster inscribed with Islamic verses and committed blasphemy. They searched for him and found him on the rooftop. They dragged him, beat him severely and by 11.28 am, he was dead and the body was set on fire by the violent mob.”
Diyawadanage was working as the general manager in Rajko industries, which deals in sportswear, for the last seven years.
The incident sparked outrage across Pakistan with all sections of the society condemning it and calling for the culprits to be punished.
Prime minister Imran Khan on Sunday (5) announced Tamgha-i-Shujaat (civil award for bravery) for the victim's colleague, Malik Adnan, who tried to rescue him from the mob.
“On behalf of the nation, I want to salute (the) moral courage & bravery of Malik Adnan who tried his utmost to shelter & save Priyantha Diyawadana from the vigilante mob in Sialkot incl endangering his own life by physically trying to shield (the) victim. We will award him Tamgha i Shujaat,” Khan tweeted.
CCTV footage showed production manager Adnan, confronting the group of angry men all by himself and making desperate attempts to avert the flare-up and then trying to shield Diyawadanage from the mob.
The mob later overpowered Adnan and dragged Diyawadanage out on the road and tortured him with kicks, stones and iron rods, killing him on the spot. The mob had then set the body on fire.
According to the post-mortem report, nearly all bones of Diyawadanage were broken and his body was 99 per cent burnt.
Diyawadanage had gone to Pakistan in 2011 after he got a job as a mechanical engineer at an apparel factory in Faisalabad. After a year, he joined Sialkot's Rajco Industries as its general manager and was the only Sri Lankan national working in the factory.
He is survived by his wife and two sons aged 14 and 9.
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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