THE UK government announced changes on Wednesday (5) to Covid travel rules for England, scrapping the need for visitors to have pre-departure tests and quarantine on arrival until they have tested negative.
The new arrangements under which arrivals will be able to take a lateral flow in the first two days after travel rather than a more expensive PCR test come as official data showed one in 15 people in England were infected with coronavirus in the last week of 2021.
Britain, already among the worst-hit countries in Europe by the pandemic with a virus death toll of nearly 150,000, has seen a fresh surge in cases due to the arrival of the Omicron variant in late November.
Updating lawmakers after daily case numbers crossed the 200,000 threshold in recent days, prime minister Boris Johnson said travel curbs beefed up last month to contain the strain were now ineffective.
"Now Omicron is so prevalent, these measures are having limited impact on the growth in cases while continuing to pose significant costs on our travel industry," he told MPs.
"So I can announce that in England from 4:00 am on Friday (7) we will be scrapping the pre-departure test, which discourages many from travelling...."
Johnson noted only those testing positive on lateral flow devices would be required to then do a further PCR test "to help us identify any new variants at the border".
However, he also announced testing rules for the general population in England without symptoms would be eased to help mitigate the fallout from the record infection levels.
Asymptomatic people who test positive will no longer require a confirmatory PCR test from January 11.
Instead, those who receive a positive result on a lateral flow device will be required to self-isolate immediately, without getting the PCR confirmation.
"Balanced approach"
The Office for National Statistics (ONS) earlier released its latest infection survey, showing more than one in 20 people had Covid-19 in the week ending on December 31 in Britain - its highest infection rate recorded during the pandemic.
An estimated 3.7 million people had the virus, up from 2.3 million the previous week, according to the ONS, which is seen as one of the most reliable counts as it randomly samples the population.
The unprecedented levels were the highest in London where as many as one in 10 people had it.
"#COVID19 infection rates continued to increase across all age groups in England... with the highest rates still seen in school-age children and young adults," the ONS said.
In Scotland, Wales and Northern Ireland, where devolved governments have reimposed some restrictions in recent weeks, rates were slightly lower at between one in 20 and one in 25 people.
Despite the unprecedented numbers, Johnson has opted not to introduce tougher restrictions in England, arguing the rising levels of hospitalisations and serious illness do not yet require more measures.
He has instead turned to so-called "plan B" measures - mandating mask-wearing in most settings and advising people to work from home if possible - while ramping up the vaccine booster programme.
"This government does not believe we need to shut down our country again," he told MPs.
"Instead we are taking a balanced approach, using the protection of the boosters and the Plan B measures to reduce the spread of the virus."
But other UK regions have tightened rules, with devolved governments in Edinburgh, Cardiff and Belfast all rolling out post-Christmas curbs on socialising and large events.
Scottish first minister Nicola Sturgeon said on Wednesday (5) the measures there, which have included closing nightclubs and limiting the size of gatherings, would remain in place until at least mid-January.
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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