Acid attacks on women have declined dramatically in Bangladesh in recent years as tough laws and the closer monitoring of chemical sales have cut down the grisly crime, officials and activists said Monday.
According to Acid Survivors Foundation (ASF), there have been just eight such attacks this year -- well down on the 494 cases reported in 2002 when new laws were enacted.
"It is a very good result, but our work hasn't finished yet," said Samanta Lal Sen, a prominent plastic surgeon and ASF trustee.
"We'll celebrate when the number of attacks will come down to zero," he said.
The crime first emerged in the 1990s, with scores of spurned or jilted men throwing sulphuric or nitric acid in the faces of women who rebuffed their advances to "spoil them" for anyone else.
Victims are left with severely disfigured faces, including damaged eyes and skin. In many cases, parts of the face are lost completely.
Survivors also face being made social outcasts -- especially in the rural areas of the conservative country that is home to 168 million people.
Officials and experts attributed the declining rate to a coordinated social, legal, and administrative campaign.
"The main reason is that we have enacted tough laws to fight the crime," Bangladesh's home minister Asaduzzaman Khan said.
In 2002 the state enacted a law that threatened the death penalty for anyone convicted of an acid attack.
According to ASF, since then at least 14 people have been sentenced to death, while nearly 700 others have been arrested and 338 jailed.
Minister Khan said a massive public awareness campaign and strict monitoring of the sale of dangerous chemicals also contributed to the decrease.
The government and local charities have also moved to remove the stigma for victims. Since its establishment in 1999, the ASF has worked with nearly 4,000 survivors of acid violence.
In one of the most recent attacks, a man was arrested in the Bangladeshi capital Dhaka for throwing acid at his ex-wife and her daughter.
Another survivor, Mosammat Jamila, said she was happy that the number of acid attacks had come down to single digits.
"I never want to hear that the life of another girl is ruined like me. I don't want anyone to go through the nightmares that I suffer," she said through tears.
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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