Temples in US to host week-long celebrations for Ram Mandir inauguration
The week-long celebrations across small and big temples in North America, will kick off on January 15 and culminate in the live telecast of the Ram Temple inauguration from Ayodhya
Temples in the US are preparing week-long celebrations in North America to honour the inauguration of the Ram Mandir in Ayodhya on January 22, 2024, a top official representing these temples has announced.
“It's our fortune and blessings to us that we are part of this phenomenon and the temple of our dreams is getting materialised after centuries of wait and struggle. Everyone's emotions in the US and Canada are very high. Shraddha (devotion) is built up and everyone is eagerly waiting to receive Bhagwan Shri Ram in his mandir,” Tejal Shah from the Hindu Mandirs Empowerment Council (HMEC) said on Monday (25).
Hindu Mandirs Empowerment Council (HMEC) is the apex body of more than 1,100 Hindu Temples in the United States.
The week-long celebrations across small and big temples in North America, she said, will kick off on January 15 and culminate in the live telecast of the Ram Temple inauguration from Ayodhya, she said.
The Ram Temple will be inaugurated on January 22.
Given the response so far, they expect thousands of Hindus to watch the inauguration ceremony, said Shah who has been heading the Hindu Mandirs Empowerment Council (HMEC).
"At the end of the event we will take a Sankalpa,” she said. “For us, it will be the 21st of January night 11 pm Eastern time. So, we will all join virtually on that night to celebrate Bhagwan Shree Ram's pran pratishta,” she said.
So far, several dozen temples have signed up for the curtain raiser event on January 15 for the Shri Ram Naam Sankirtan chanting by priests across North America. More than half of the temples have signed up for the main events on January 21-22, she said.
“Every week we see 100 plus mandirs registering for the events,” she added.
The January 15 event, she said, would begin with the chanting of Ram Nam Sankirtan by priests. Ram Nam Sankirtan is the chanting of 108 names of Lord Rama used in Valmiki Ramayana.
It will be followed by Bhajan recitation by renowned artist Vinod Krushnan from Atlanta who will be singing some popular new Bhajan of Lord Rama, she said.
On January 21, plans are afoot to lighten up the temples, live watching of the inauguration at these temples, and blowing of conch shells and distribution of prasadams.
Every participating temple will receive a certificate of participation and “Prasad” from Shree Ram Janam Bhumi Teerth Kshetra Trust, Shah said.
“We have created an exhibit “Ramayana Around the World” in commemoration of Pran Pratistha and the inauguration of the mandir at Shree Ram Janmaboomi in Ayodhya.
"This 26-poster exhibit shows the importance of Shree Ram and Ramayana in countries around the world,” she said, adding that the exhibit is available for display at the mandirs and local community centres.
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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