FROM trucks stuffed with carpets, bedding, clothes and even goats, around 200 Afghan refugees look beyond the horizon toward Spin Boldak in their country's south, waiting to return home from Pakistan.
Dreading another period of harsh rule after the Taliban's rapid takeover following the US troop withdrawal, thousands have been desperately trying to flee Afghanistan, with chaotic images emerging from the Kabul airport.
But some families want to repatriate to their homeland, saying the Taliban will bring stability to the war-torn nation.
"We emigrated from Afghanistan during bombing and hardships when Muslims were in trouble, now, praise be to Allah, the situation is normal, so we are returning to Afghanistan," Molavi Shaib said while waiting at the border.
Divided by a 10-foot-deep trench filled with barbed wire, the mountainous boundary separating Spin Boldak from Chaman in Pakistan's southwest sees thousands crossing the trade route every day.
As scores try to escape the Taliban rule, Pakistan has ramped up security at the border, making the process more stringent.
"People want to return but they are not allowed to cross, we request the Pakistani government to allow us to cross the border because there's no war, and peace has been established," Muhammad Nabi said.
"We have our household with women and kids waiting -- we want them to cross the border."
Pakistan has housed over two million Afghan refugees since the first wave of war broke out in Afghanistan over 40 years ago, with numbers fluctuating based on the conflict's intensity, but the country has said it is not in a position to take in any more.
Displaced Afghans have long complained about feeling unwelcome with little access to employment and citizenship rights.
Many have become pawns in a diplomatic blame game between the countries, which have accused each other of aiding militant groups.
With dust blowing over their belongings and children squeezed in between the furniture, dozens of trucks are parked in Chaman's barren fields, as returnees complete document checks and wait for their crossing to be approved.
On the back of one truck, a teenage boy holds a baby, surrounded by a hodgepodge of household goods including a bucket, a bed and a bicycle. Another boy sits next to him on a yellow cushion while a white goat can be seen milling about between them.
The returnees say they will have better lives in Afghanistan.
"I am returning to Ghazni, now peace has been established and we are happy that we are returning to our home. It's much better to go back and settle in," Wali Ur Rahman said.
His words are a jarring contrast to the images from Kabul airport where people have clung to the exterior of planes and at least one person has fallen to death off a departing jet.
Many of those trying to get out of Afghanistan fear reprisals from the Taliban after working for foreign governments that fought the militants during the 20-year war.
But Nabi said he was confident the end of the conflict would bring a brighter future.
"We migrated here to Pakistan because of the ongoing war in Afghanistan, now peace has been established," he said.
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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