INTERNATIONAL salvage experts and Indian vessels on Thursday (27) joined a desperate bid to extinguish a huge blaze on a container ship off the Sri Lankan coast as fears grow that the vessel could cause a devastating oil spill.
Strong Indian Ocean winds have hampered efforts to douse the inferno on the Singapore-registered X-Press Pearl that has now been burning for eight days.
Three Indian coastguard vessels bolstered the firefighting operation while the owners said they have called in experts from Dutch salvage specialists SMIT to help.
A Sri Lankan military helicopter on Wednesday (26) dropped fire-retardant chemicals on the 186 metre-long ship as the blaze spread.
The X-Press Pearl was carrying nearly 1,500 containers, including 25 tons of nitric acid, when the fire broke out close to Colombo port.
Sri Lanka's Marine Environment Protection Authority (MEPA) now fears the vessel could break up and spew oil onto beaches.
"The fire is covering the length of the vessel. The hull may not be stable for us to tow the ship away from our waters," MEPA chairman Dharshani Lahandapura said.
The vessel, now anchored, is carrying 278 tons of bunker oil and 50 tons of marine gas oil, she said.
Lahandapura said a large quantity of oil now threatened to leak and hit the nearby tourist and fishing region of Negombo, 40 km (25 miles) north of the capital.
"Given the very rough seas and the heavy monsoon winds, it is not possible to lay booms around the ship to contain a spill," she said.
"Our best option is to clean the beach and we suspect any clearing operation will take a few weeks, if not months."
The fire is believed to have started when a container of nitric acid began to leak, she said, and authorities are investigating reports that the crew knew about the issue before entering Sri Lankan waters.
"If the problem was addressed at that time, we wouldn't be having to deal with this crisis," the MEPA chief said.
Experts have played down the risk from the acid as it is neutralised by seawater.
Sri Lankan soldiers were deployed Thursday (27) to clean Negombo beach as debris from eight containers that fell into the sea after the explosion washed ashore.
Police arrested eight people scavenging for plastic raw materials and cosmetics that washed up for violating coronavirus lockdown regulations.
They also seized two trucks used to transport polyethylene found on the beach. Officials said the vessel was carrying 28 containers of plastic for manufacturers in Sri Lanka.
The 25 crew members on the X-Press Pearl were evacuated on Tuesday (25) following the explosion. Two suffered minor injuries, the owners said, and one, an Indian national, has tested positive for Covid-19.
The ship was on its way to Colombo from Gujarat in India. The vessel is anchored 14 km (7.5 nautical miles) offshore and can be seen from Negombo.
In September last year, an oil tanker caught fire off Sri Lanka's east coast after an engine room explosion that killed a crew member.
The fire on the New Diamond tanker took more than a week to put out and left a 40 kilometre (25 mile) long oil spill. Sri Lanka has demanded the owners pay a $17 million (£12 million) clean-up bill.
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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