THE UK on Sunday (8) eased travel restrictions for India by moving the country from its red to amber list, which means fully vaccinated Indian passengers will no longer be subjected to a compulsory 10-day hotel quarantine on their arrival in Britain.
The Department of Health and Social Care (DHSC) has confirmed that all arrivals from India who have been vaccinated in India, which is on the amber list as at 4am local time on Sunday (8), are required to isolate at home or their designated location mentioned on the compulsory locator form
While the requirement for a compulsory 10-day self-isolation in a government-approved facility at an additional cost of £1,750 per head will no longer apply, only travellers vaccinated in the UK or Europe would qualify for an exemption of the home quarantine requirement.
"We recognise there are a large variety of Covid-19 vaccines being administered worldwide and work is ongoing to determine which non-UK vaccines and certification solutions to recognise," a DHSC source said.
There had been some speculation over Covishield, the Serum Institute of India made Oxford/AstraZeneca vaccine, being considered within the wider UK-approved vaccines ambit.
However, the government has clarified that the India-made version of the Oxford/AstraZeneca vaccine so far approved by the UK's Medicine and Healthcare products Regulatory Agency (MHRA) is branded as Vaxzevria and that is the only one currently recognised under the exemption rules.
Under the legal rules for countries on the amber list of the UK's traffic light system, passengers must take a Covid test three days before departure and book in advance for two Covid tests to be taken upon arrival in England as well as complete a passenger locator form on arrival.
On arrival in England, the passengers must quarantine at home or in the place they have confirmed as their location for 10 days and take a Covid-19 test on or before day two and on or after day eight.
Under-18s and those fully vaccinated in the UK are exempt from the home quarantine, as well as those who have received both jabs in the EU and US.
Also exempt are those "fully vaccinated in the UK or under the UK vaccine programme overseas; under-18 on the day you arrive in England and resident in the UK or in a country with a vaccination programme approved by the UK; and part of a UK-approved vaccine trial."
All regularly scheduled international flights remain suspended.
However, under a bilateral agreement between the UK and Indian governments, a limited number of flights between India and the UK continue to operate.
Airlines have reported a massive surge in bookings soon after the announcement of India moving off the red list was made on Wednesday, a move overwhelmingly welcomed by the Indian diaspora in the UK hoping for India visits during the ongoing summer break in the country.
India has been on the red list since end-April when the Delta variant was at its peak, which meant an effective ban on travel except for returning British residents who had to self-isolate in a government-sanctioned hotel at a considerable additional expense.
The update of the travel list this week came alongside an announcement that the cost for solo travellers from destinations still on the red list staying at a quarantine hotel will go up from August 12, from £1,750 to £2,285 pounds. The charge for an additional adult sharing a room will increase from £650 to £1,430.
According to the government, this is to "better reflect the increased costs involved".
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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