The US has quietly reopened a nearly 15-year-old political asylum case against a convicted assassin of Bangladesh's "Father of the Nation" Bangabandhu Sheikh Mujibur Rahman, according to media reports.
The current government led by prime minister Sheikh Hasina has been persuading the US to extradite former Bangladesh Army officer MA Rashed Chowdhury, who is hiding in the United States.
Prime minister Hasina last year wrote to president Donald Trump seeking the repatriation of the fugitive, who along with other Army officers, was involved in the military coup that led to the assassination of her father in 1975.
US attorney general William Barr reopened the case of the political asylum of Chowdhury, the Dhaka Tribune reported last week, citing US-based news portal Politico.
Sheikh Mujib served as the first President of Bangladesh and later as the prime minister of Bangladesh from April 1971 until his assassination on August 15, 1975.
He was assassinated along with all but two of his family members by a group of Bangladesh Army personnel. His daughters – Sheikh Hasina and Sheikh Rehana – survived the massacre as they were abroad.
Twenty-three years after the assassination, Chowdhury, a former Bangladesh Army officer, and other fugitive convicts were sentenced to death by the High Court in 1998. The Supreme Court in 2009 upheld the lower court verdict, confirming the capital punishment of 12 people for killing Bangabandhu and most of his family members.
After Sheikh Mujib's assassination, Chowdhury was rehabilitated by previous governments in Dhaka led by the Bangladesh Nationalist Party (BNP). He was posted abroad as a diplomat.
He and his family fled to the US in 1996 from Brazil on visitor visas and later got political asylum in America, the Daily Star reported.
According to the Politico report published on Friday, Barr "quietly reopened" the "sprawling case that spans four decades and two continents.
"For almost 15 years, the case was closed. But now, thanks to Barr, it’s back," the report said.
On June 17, Barr directed the Board of Immigration Appeals to send Rashed’s case to him for review, making clear he would reopen the matter.
It would seem the Trump administration wants to hand over Chowdhury to Bangladesh by reopening the case, the Dhaka Tribune noted.
The document in which the attorney general made this move does not include Rashed’s name. It refers to “the matter of A-M-R-C," using Rashed’s full initials. And the details of the case described in Barr’s announcement match Rashed’s, it said.
However, a lawyer for Rashed confirmed that the case is of his client, the Dhaka Tribune report said.
Rashed's lawyers said they suspect foul play, and that if the US deports him to Bangladesh, he is going to be executed.
Barr's move is the first step in a process that could result in Rashed losing asylum and potentially facing deportation after more than a decade.
Shortly after the coup in 1975, the then Bangladesh government amended the Constitution to grant immunity to the coup's participants.
For two decades after the coup, he worked as a diplomat, stationed in Bangladesh’s embassies around the world.
In 1996, Hasina was voted to power as the prime minister. The next year, her government revoked the coup plotters’ immunity. Hasina launched a campaign to punish those involved in the killing of her father, Sheikh Mujib.
When Hasina was elected, Chowdhury was the top diplomat at Bangladesh’s embassy in Brazil — and was soon summoned home.
Fearing reprisal, he fled to the US with his wife and son on visitor visas.
Nearly 10 years after he arrived in the US, an immigration judge granted him political asylum, it said.
Of the 12 convicts in the assassination of Bangabandu, five -- Syed Farooq Rahman, Sultan Shahriar Rashid Khan, Bazlul Huda, AKM Mohiuddin Ahmed and Mohiuddin Ahmed -- were executed on January 27, 2010. Another killer, Aziz Pasha, died in Zimbabwe in 2001.
Those who remain fugitives are: Khandaker Abdur Rashid, Shariful Haque Dalim, Noor Chowdhury, Rashed Chowdhury, Abdul Majed, and Moslehuddin Khan.
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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