Pramod Thomas is a senior correspondent with Asian Media Group since 2020, bringing 19 years of journalism experience across business, politics, sports, communities, and international relations. His career spans both traditional and digital media platforms, with eight years specifically focused on digital journalism. This blend of experience positions him well to navigate the evolving media landscape and deliver content across various formats. He has worked with national and international media organisations, giving him a broad perspective on global news trends and reporting standards.
ALLEGATIONS of money laundering and attempts to destabilise Botswana made against ex-president Ian Khama are baseless, a British law firm said on Wednesday (19).
Khama, who ruled Botswana for 10 years from 2008, is accused alongside two others -- a former intelligence chief and a South African businesswoman -- of laundering more than $10 billion in public funds.
The money was intended to fund opposition political parties and stoke political unrest in the southern African country, according to Botswana prosecutors.
Khama fell out with his handpicked successor Mokgweetsi Masisi who he accused of authoritarianism in the run up to the 2019 elections.
"The results of our investigations are clear and conclusive: there is no evidence to support any of the allegations against President Khama," said Cherie Blair of the Britain-based international law firm Omnia Strategy.
During a virtual presentation of the findings Blair described the case as a "work of fiction" full of "glaring anomalies".
She said the case was based on an "affidavit where fake news, spurious allegations, clumsily manufactured evidence and baseless accusations inform a preposterous conspiracy theory".
Khama's co-accused, South African businesswoman Bridgette Motsepe, said she commissioned and paid for the probe.
But last year Khama was quoted in Botswana newspaper the Weekend Post as saying he had commissioned the investigation.
Blair she was under instruction to do this report "without fear or favour" and stressed that she would have revealed anything she had found, adding she would not risk her reputation as a lawyer by covering up adverse findings against the accused.
Khama, whose father founded the Botswana Democratic Party (BDP) that has ruled since independence from Britain in 1966, is yet to appear in court over the case.
Responding to the report, he bemoaned the "irreparable damage... on our longstanding reputation as stable and a clean democracy".
"The regime here has engaged in perjury by fabricating a false scenario of money laundering into offshore accounts by name individuals and institutions," Khama said.
"Our hard-earned reputation of good governance and respect for the rule of law has now been ruined as result of a very clumsy and irresponsible conduct and actions of a regime desperate to try and legitimise itself, tarnish the reputation of those targeted and settle petty political scores."
He said he would take legal action against the government for defamation and perjury.
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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