A Washington-based environmental advocacy group has apologised for its seven-year-old report which claimed five Asian countries were primarily responsible for polluting the ocean with plastic waste.
In its now-retracted report, titled Stemming the Tide, Ocean Conservancy had blamed China, the Philippines, Indonesia, Vietnam and Thailand for the bulk of ocean pollution.
The non-profit admitted that the 2015 report which also advocated incineration and waste-to-energy conversion as acceptable ways to tackle the plastic crisis, narrowly focussed on one region of the world.
Several Asian organisations called the report “waste colonialism” for ignoring the role of countries in the global north for overproduction of plastic and exporting plastic waste in the guise of trade.
Ocean Conservancy admitted in a statement that it “failed to confront the root causes of plastic waste or incorporate the effects on the communities and NGOs working on the ground.”
It said it was "wrong" to include "incineration and waste-to-energy as acceptable solutions to the ocean plastic crisis."
“We created a narrative about who is responsible for the ocean plastic pollution crisis” by focusing “so narrowly” on East and Southeast Asia”, the statement said.
The report also “failed to acknowledge the outsized role that developed countries, especially the United States” have been playing “in generating and exporting plastic waste to this very region”, the organisation said adding, “this too was wrong”.
While the report had blamed the five Asian countries, data showed that the third largest contribution to coastal plastic pollution came from the US, contrary to the previously held belief that it controlled pollution well.
Gaia, an alliance of 800 waste-reduction groups, has welcomed the apology saying it was “long overdue.”
“This unprecedented report retraction is an opportunity to interrupt decades of waste colonialism,” Gaia’s Asia-Pacific coordinator Froilan Grate told the Guardian.
“Ocean Conservancy is in a position to raise awareness among other organisations and policymakers about the false narrative propagated by the report,” Grate said, noting the harm caused by it.
Break Free From Plastic organisation’s Asia-Pacific coordinator Satyarupa Shekhar told the newspaper that Conservancy’s report had “diluted existing restrictions on incineration and opened the doors to false solutions and controversial techno-fixes to deal with the plastic pollution crisis”.
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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