Second Hindu monk arrested in Bangladesh. Photo Courtesy: Radharamn Das X page
A Hindu monk has been arrested in Bangladesh, days after spiritual leader Chinmoy Krishna Das was put behind bars, triggering massive protests by the minority community members in the South Asian nation.
The arrested Hindu monk was identified as Shyam Das Prabhu.
He was arrested without any official warrant, sources told Indian news channel NDTV.
Radharamn Das, Vice-President and Spokesperson, ISKCON Kolkata, shared an image of the arrested monk on his X handle and wrote: “Another Brahmachari Sri Shyam Das Prabhu was arrested by Chattogram Police today.”
Temples vandalised in Chittagong
At least three Hindu temples were vandalised by a group of slogan-shouting attackers in Chittagong on Friday, a Bangladeshi city which has been witnessing massive protests by minority community members over the arrest of former ISKCON member Chinmoy Krishna Das.
The attack occurred around 2:30pm at the Harish Chandra Munsef Lane, where the Shantaneshwari Matri Temple, the nearby Shoni Temple, and Shantaneshwari Kalibari Temple were targeted, reported bdnews24.
Temple authorities told the news portal that a large number of slogan-shouting mob threw brickbats at the temples which damaged the Shoni Temple and the gates of the other two Hindu temples.
Police told bdnews24 website that the damage to the temples was minimal after the confrontation between the two sides, with both groups throwing brickbats at each other.
Tapan Das, a permanent member of the Shantineshwari Main Temple management committee, and a leader of the Harish Chandra Munsef Lane community, told bdnews24.com: “A procession of hundreds arrived after the Juma prayers. They started shouting anti-Hindu and anti-ISKCON slogans.”
“The attackers began hitting the main gate of the Shantaneshwari Temple, and threw brickbats. At the time, they vandalised the Shoni Temple and also attacked the Kali Temple. Several nearby shops were also targeted,” he said.
“We did not obstruct the attackers. When the situation worsened, we called the army, who arrived quickly and helped restore order. All the temple gates were closed before noon. The miscreants arrived unprovoked and carried out the attack,” he said.
Bangladesh is once again witnessing turmoil since Chinmoy Krishna Das was arrested recently, triggering massive protests by minority community members in the country.
Bangladesh has been struggling for the past several months since a massive anti-job quota demonstration forced former PM Sheikh Hasina-led government to topple, ending her new term prematurely and leaving the country amid a political crisis.
It is suspected that foreign hands were at play in orchestrating the unrest and planning her ouster.
Nobel laureate Muhammad Yunus-led government took charge of the country just three days after Hasina exited the country. Yunus, known for his closeness to the US Democrats, also accepted later in an event in America that there was “design and conspiracy” involved in the ouster of Sheikh Hasina.
India, Singapore’s joint military exercise concludes. Photo Courtesy: PIB
The 13th edition of Joint Military Exercise Agni Warrior (XAW-2024), a bilateral exercise between the Indian Army and Singapore Armed Forces, concluded at Field Firing Ranges, Devlali (Maharashtra) on Saturday.
The three-day exercise, which was conducted from November 28 to 30, witnessed participation by the Singapore Armed Forces contingent comprising 182 personnel from the Singapore Artillery and the Indian Army contingent comprising 114 personnel from the Regiment of Artillery.
“The aim of XAW-2024 was to maximise mutual understanding of drills and procedures to achieve jointness as a multinational force under the United Nations Charter,” the Ministry of Defence said in a statement.
The exercise showcased joint firepower planning, execution and use of New Generation Equipment by the Artillery of both Armies.
The event was witnessed by Lieutenant General Adosh Kumar, Director General of Artillery, Lieutenant General NS Sarna, Commandant, School of Artillery, and Colonel Ong Chiou Perng, Chief Artillery Officer, Singapore Armed Forces. The dignitaries appreciated the participating troops for displaying high levels of professional acumen and expertise.
The exercise involved extensive joint preparation, coordination, understanding of each other’s capabilities, procedures and evolution of common interface between Indian and Singapore Artillery procedures.
It marked the culmination of successful training by Singapore Armed Forces troops exposing them to intricacies of Fire Power planning.
Both sides utilised niche technologies during the exercise and exchanged best practices as part of the joint training.
The National Gallery Singapore will feature over 200 artworks and artefacts across four sections in the first part of its new long-term exhibition, Singapore Stories: Pathways and Detours in Art in the revamped DBS Singapore Gallery, which will open on December 2.
Installation view. Singapore Stories: Pathways and Detours in Art. Photo: Connected to India
Speaking to Connected to India, Teo Hui Min, the Curator at National Gallery Singapore, calls it an “expansive exhibition”, which is “a wonderful way for not just Singaporeans, but tourists as well to really discover Singapore through art”.
The exhibition examines how artists created art while addressing themes such as colonialism, urban change, and globalisation — experimenting in both medium and expression and underscoring the dynamic evolution of Singapore art.
Installation view. Singapore Stories: Pathways and Detours in Art. Photo: Connected to India
It’ll feature masterpieces and new artworks from the National Collection, alongside loans from private and institutional collections.
The first part of Singapore Stories delves into Singapore’s art history from the 19th century to the 1960s, tracing pivotal historical moments, including colonialism, and Singapore’s independence and urban development. This section celebrates key artists who embraced innovation, experimentation, and a search for identity during these transformative years. Featured artists include Chen Wen Hsi, Georgette Chen, Cheong Soo Pieng, Dora Gordine, Liu Kang, Annaratnam Gunaratnam, S. Mahdar, P. Ramlee, and more.
Asked about the works of the Ten Men Art Group, which is one of the prominent features of the exhibition, Hui Min told Connected to India’s Himanshu Verma that it was a strategy for the National Gallery to “also think beyond the national borders of Singapore”.
“For us, particularly at the National Gallery, we are very conscious of the role in which the neighbours around us have been so central to the way our own identities have been formed,” the curator said.
The Ten Men Art Group was the brainchild of Yen Chi Wei. It was an informal grouping of artists whose common interest was to participate in field trips to various places in the South East Asian region. The group organised a total of six trips to the Malayan peninsula, Java, Bali, Thailand, Cambodia, Sarawak, Sabah, Brunei and Sumatra between 1961 and 1970. Of its members, only Yeh Chi Wei and Choo Keng Kwang went on all six trips followed by Lim Tze Peng and Seah Kim Joo who participated in most of them. Even though named Ten Men Art Group, their membership had increased to sixteen in its fifth outing.
Dr. Eugene Tan, Chief Executive Officer and Director of National Gallery Singapore, says, “The Gallery reaches a significant milestone with its 10th anniversary in 2025. This date also marks a decade since we launched Siapa Nama Kamu? Art in Singapore since the 19th Century, which introduced Singapore’s modern and contemporary art to both local and international audiences.”
Our new exhibition, Singapore Stories: Pathways and Detours in Art, builds on this foundation to expand the narrative and deepen public appreciation of Singapore’s art, artists, and artistic heritage. This preview offers a glimpse of our upcoming long-term exhibition, which will expand to fill the entire second level of the Gallery’s City Hall Wing in July 2025 – just in time for Singapore’s 60th birthday celebrations.
– Dr. Eugene Tan, Chief Executive Officer and Director of National Gallery Singapore.
Installation view. Singapore Stories: Pathways and Detours in Art. Photo: Connected to India
The first part of the exhibition is divided into four sections and opens with Market of the Tropics. This section portrays 19th-century Singapore as a vibrant hub for trade and cultural exchange. Visual depictions of Singapore in prints, paintings, and photographs emphasise Singapore’s colonial-era economic potential as a trading port and marketed its cultural diversity and image of a quiet fishing village as a tourist destination. Visitors can see rare posters that promoted the industrious railways connecting the region which served to entice tourists and market commercial exports such as tinned pineapples.
Installation view. Singapore Stories: Pathways and Detours in Art. Photo: Connected to India
The second section, Community and Self, explores how local artists in Singapore embraced innovation and stylistic experimentation to tell diverse stories of individuals and communities. A unique feature of this section is a spotlight on moving images, showcasing Singapore’s vibrant local film industry. Visitors can sit on refurbished cinema seats and immerse themselves in excerpts from some of P. Ramlee’s most beloved films, such as Pendekar Bujang Lapok (1959). Such films, with their comedic tones, entertained audiences while exploring themes of class dynamics and the clash between tradition and modernity, offering an engaging blend of escapism and subtle commentary on urbanisation, poverty, and relationships.
The central section of the exhibition, Imagining Nation, invites visitors to reflect on what defines Singaporean art. It highlights works that explore themes of belonging and identity during a period of rapid societal change in the 1950s and 1960s. Art became a medium for negotiating personal and collective identities and reflected the everyday lives of those who made Singapore home. An example is Georgette Chen, whose iconic artwork Self-Portrait (1946) embodies her personal journey and the determination she brought to the significant contributions she would make to art in Singapore. Other key works such as Liu Kang’s Working at the Brick Factory (1954) and Chua Mia Tee’s Workers in a Canteen (1974) foreground the image of the labourer, drawing attention to much-overlooked individuals who shaped modern Singapore.
Artefacts at the exhibition. Photo: Connected to India
Seeking Connections, the final section, explores how both physical travel beyond Singapore and exposure to diverse aesthetic sources shaped artists’ styles and enriched Singapore’s artistic landscape. A centrepiece of Singapore Stories, Chen Wen Hsi’s monumental Gibbons (1977), measuring five metres in length, stands as a striking example of this influence. In preparation for its display in the first section of the DBS Singapore Gallery, the artwork underwent a meticulous 15-month conservation process at the Heritage Conservation Centre, funded by the Bank of America Art Conservation Project. Chen Wen Hsi’s spirit of innovation, experimentation and relentless pursuit of artistic identity is emblematic of the drive of many Singaporean artists from the 1950s through to the 1970s. His evolving style is further highlighted in Oasis (1972), a playful exploration of abstract forms through vibrant colours and shapes.
Chua Mia Tee’s Workers in a Canteen,
1974. Oil on canvas, 88.5 x 126.5 cm. Gift of the artist. Collection of National Gallery Singapore. Photo: Connected to India
Karen Ngui, Head, DBS Foundation and DBS Group Strategic Marketing and Communications, says, “DBS has been a key part of Singapore’s story since 1968, when it was established as the Development Bank of Singapore to fund the nation’s development, and this sense of purpose continues to make us who we are today. We’re thankful for avenues like the DBS Singapore Gallery that preserve these meaningful chapters of Singapore’s journey, and are proud to support its mission to bring local art history to more in the community and pay homage to the artists who have shaped it over the years.”
The full exhibition will open in July 2025. The new long-term exhibition boasts a broader footprint and new spaces across Level 2 of the Gallery’s City Hall Wing, including a new project space for smaller, more agile narratives, and a digital immersive space. Admission is free for Singaporeans and Permanent Residents, while general admission will apply for other visitors.
Liu Kang’s Working At the Brick Factory, 1954. Oil on canvas. 97.8 x 128.6 cm. Gift of the artist’s family.
Collection of National Gallery Singapore. Photo: Connected to India
Seng Yu Jin, Project Director of Singapore Stories: Pathways and Detours in Art says, “This exhibition expands the narrative beyond just showing artworks to address themes such as class and labour, which were of great concern to the artists themselves. My team and I have tried to incorporate new entry points into visual culture, extending beyond painting and sculpture to include other disciplines such as graphic design, film, and literature. By including clusters of multiple works by individual artists, we bring focus to lesser-known artists and provide the room to rediscover familiar ones. For instance, we showcase Chen Wen Hsi’s versatility in representational and abstract styles through his oil and ink works, including Gibbons and Oasis.”
At just 25, Chennai-based musician Amrit Ramnath is making a splash in India’s music scene with his multi-faceted work — composing for films, playback singing and independent music. Son of renowned Indian singer Bombay Jayashri, Amrit will be in Singapore to mark his debut performance in the city-state at The Esplanade Recital Studio on the 8th of December.
Amrit Ramnath. Photo courtesy: Collected
Ahead of the event, a part of his 100,000 Dreams Tour, Amrit spoke exclusively to Connected to India’s Sudipto Maity, sharing various aspects of his musical journey, his mother’s near-fatal brain hemorrhage in 2023 and how he flipped the gloom into something productive.
Excerpts from the interview:
You grew up in a household surrounded by music and musicians. But tell us what it was like?
Growing up in a house full of music was incredible—it’s honestly the reason I have such a wide palette today. I was exposed to so many different styles, and it really shaped the way I think about music. There was always something playing, whether it was qawwali, Pakistani ghazals, classic Bollywood songs from the ’50s to the ’80s, or Carnatic music, which is such a big part of my foundation. At the same time, I was discovering artists like Radiohead (lots of Radiohead), The Beatles, and Michael Jackson. That mix of traditional and contemporary sounds just became part of who I am, and it’s definitely influenced how I approach making music.
Amrit, then a toddler, plays, as his mother, Bombay Jayashri, practices on the Veena. Photo courtesy: www.instagram.com/amritramnath
What’s your earliest memory of you singing or performing?
One of my earliest memories of singing or performing was in the 4th grade. I was part of a lecture-demonstration with my mom, which was such a special experience. Being on stage with her at that age, surrounded by music and the audience, was probably the first time I truly felt the magic of performing.
How big of an influence has been your mother, Bombay Jayashri, in your career and musical journey?
My mom has been the biggest inspiration in my journey—not just for her incredible musicianship but for the sheer relentlessness it takes to be an artist. Growing up, I saw firsthand the kind of dedication, discipline, and passion she brought to her craft every single day. It shaped my work ethic and the way I approach my own work. Even today, she’s the first person I go to when I need advice or want to bounce ideas. Her guidance and perspective are invaluable, and she’s been such a constant source of support and inspiration throughout my career.
Now, tell me, is the tag of being Bombay Jayashri’s son a heavy one? What are the benefits of it and what are the downsides?
It’s not heavy, and it’s never felt that way. Being Bombay Jayashri’s son is an incredible blessing. There are no real downsides, but of course, people tend to see you through the lens of the legacy you come from. That said, I’ve been working hard to carve out my own niche, and it’s been really gratifying to see that effort being recognised. Having access to the kind of musical world and opportunities she’s built has been such a privilege, and for me, it’s about making the most of that and creating something that’s uniquely mine.
Tell us about your 100,000 Dreams Tour. What’s the meaning or the story behind this name and how long did you prepare before finalising it?
Amrit, who has watched his mother perform at the Esplanade in Singapore, will have his first performance in the country on December 8. Photo courtesy: Collected
The name 100,000 Dreams came about because of what the EP stands for. At your lowest point, you imagine hundreds of thousands of different scenarios for how you might emerge from the struggle, but in the end, you’re faced with one lived reality. That’s what inspired the name 100,000 Dreams—capturing the contrast between the dreams we imagine and the reality we must confront.
I started working on the first song while I was in the hospital ICU with my mother, during a time when I didn’t expect it to turn into an EP. After a couple of months of her recovery, I began creating more intentionally, and the process stretched over five to six months, coming together disjointedly and yet organically.
You’ll be performing in Singapore on the 8th of December at The Esplanade Recital Studio. Have you performed in Singapore before? What are your memories like in the country?
I’ve never performed in Singapore before, so I’m incredibly excited! I have memories of me sitting behind my mom while she performed at Esplanade many years ago, and it’s surreal to now be on that stage myself. It hasn’t fully sunk in yet, but it’s going to be really special.
What’s your take on the music scene in Singapore?
The music scene in Singapore, I think it’s incredibly rich, especially in its little pockets of culture. People there take everything seriously in the best possible way and that extends to art and music. It creates a deep sense of cultural connection that I find very endearing. I’m looking forward to experiencing more of that during my performance!
You’re 25 and already a music composer. Not surprising considering the place you come from — Chennai. What’s so special about Chennai that it keeps on churning such talented young musicians? AR Rahman was 25 when he composed for Roja, Anirudh Ravichander started fairly young…
Twenty-five really seems to be the lucky number in this industry! Getting my break into music direction at that age was definitely a blessing. I think a big part of it is the intensity of Chennai’s culture. The city is so deeply embedded in its artistic roots, and the music scene there is pervasive — it draws people in. For me, the feeling of home is rooted in the environment of music my parents cultivated for me. There’s something about Chennai that attracts music lovers and musicians to move to the city; it’s a place where people come to connect with art and music, and that’s what makes it so special.
Anirudh (right) with AR Rahman (middle) and Shankar Shanmugham. Photo courtesy: www.instagram.com/anirudhofficial
The movie industry in Chennai is also about partnerships between directors and composers or actors and composers. Rahman-Mani Ratnam, Suriya-Harris Jayaraj, Dhanush-Anirudh, Vignesh Shivan-Anirudh. Do you have any such wish to be a frequent collaborator with someone?
Amrit’s song Nyabagam, which he composed, produced and arranged, apart from co-singing with Sindoora Jishnu, for the film Varshangalkku Shesham, has over 10 million views on YouTube. Photo courtesy: www.instagram.com/amritramnath
I have a long list of people I’d love to collaborate with! Though not always set in stone, the film industry in Chennai has such a rich tradition of amazing partnerships, and I would love to work with visionary directors and talented actors. Some of the phenomenal directors I’d love to collaborate with include Mari Selvaraj, Vetri Maaran, and Mani Ratnam — they’ve all created such impactful cinema with their unique styles.
When it comes to actors, I’d love to work with someone like Siva Karthikeyan, whose versatility is impressive. Also, I admire a lot of the finest films coming out of Kerala, so directors like Chidambaram, Anwar Rasheed, and Shyam Pushkar would be incredible collaborators as well. There’s so much potential for fresh, meaningful collaborations in the industry, and I’m excited to see what the future holds!
Let’s now move to something sombre — your mother’s illness. It must have been a difficult period for the household. What was it like for you personally and what’s the lesson you took out of it?
My mother’s illness was a life-altering experience — it brought about a complete paradigm shift in how I looked at everything. The whole period was emotionally chaotic but in the midst of that, music became my place of solace. It was the one thing I could turn to when everything else felt uncertain. My art became my way of expressing what I was feeling, the rawness of the moment. It taught me how powerful music and art can be, not just for sharing emotions, but for healing as well.
What’s in the pipeline for Amrit Ramnath?
I’m currently directing the music for my first Tamil movie starring actor Siddharth — his 40th film, which is really exciting! I’m looking forward to the release of the album hopefully early next year. Alongside that, I’ve been working on a lot of independent music, and I’m excited to share that with everyone soon. There’s a lot in the pipeline, and I can’t wait for people to hear what I’ve been working on!
Ed Sheeran to perform in six Indian cities next year. Photo Courtesy: Ed Sheeran Instagram page
Internationally popular singer Ed Sheeran has confirmed he will perform in India next year and announced his upcoming show dates.
The announcement left his fans in India elated who will be looking forward to beginning their new year with a bang.
In his India leg of the tour, Shreen’s first concert will be held on January 30 in Pune.
His last concert in India will be held in Delhi on February 15.
Apart from India, He will also perform in Bhutan, Qatar and Bahrain.
Expressing his excitement over the upcoming tours, Shreen wrote on Instagram: “Coming back to India for my biggest ever tour of your beautiful country.”
“Also coming to play Bhutan for the first time, coming back to Qatar for the first time in a decade and playing that beautiful amphitheatre in Bahrain again. What a way to start 2025, can’t wait to see you all there,” he said.
The singer said ticket sales for the Indian concerts will begin on December 11.
The English singer, who is known for singing popular songs like ‘Shape Of You’ and ‘Perfect’, is expected to leave the stage of fire with his rocking performance in Pune (January 30), Hyderabad (February 2), Chennai (February 5), Bengaluru (February 8), Shillong (February 12), and Delhi NCR (February 15).
He will perform in the Bhutanese capital Thimphu on January 24.
He will create history by becoming the first international star to perform in the Himalayan country.
Book My Show, which is the official platform that will sell tickets for the show, posted on Instagram: ” The wait is over! @teddysphotos is bringing his tour to India!
Get ready for an unforgettable concert experience in Pune, Hyderabad, Chennai, Bengaluru, Shillong, and Delhi NCR!”
Earlier this year, Ed performed in Mumbai where fans were left spellbound after the British star collaborated with Punjabi singer Diljit Dosanjh to perform jointly on stage.
MEA spokesperson Randhir Jaiswal said the US hasn’t communicated to India about case involving Adani Group and the U.S. Department of Justice. Photo courtesy: Video grab
India has not received any communication from the United States regarding the legal matter involving the Adani Group and the U.S. Department of Justice (DoJ), the Ministry of External Affairs (MEA) stated during its weekly briefing.
“This is a legal matter involving private firms and individuals and the U.S. Department of Justice. Obviously, there are established procedures and legal avenues in such cases which we believe would be followed. The government of India was not informed in advance on the issue,” MEA spokesperson Randhir Jaiswal told reporters in New Delhi, according to NDTV.
“We haven’t also had any conversation on this particular matter with the U.S. government,” Jaiswal added.
He explained that requests from foreign governments for services such as summons or arrest warrants fall under mutual legal assistance and are evaluated on their merits.
“We have not received any request on this case from the U.S. side,” the spokesperson reiterated.
“This is a matter which pertains to a private individual and private entities. The government of India is not a part of it in any manner at this point in time.”
The U.S. Department of Justice and the Securities and Exchange Commission (SEC) have filed an indictment and a civil complaint, respectively, in the U.S. District Court for the Eastern District of New York.
The Adani Group, however, has clarified that its chairman Gautam Adani, his nephew Sagar Adani, and senior executive Vneet Jaain are not implicated in any bribery allegations.
“Mr. Gautam Adani, Mr. Sagar Adani, and Mr. Vneet Jaain have not been charged with any violation of the FCPA in the counts set forth in the indictment of the U.S. DoJ or the civil complaint of the U.S. SEC,” the Adani Group stated, referring to the U.S. Foreign Corrupt Practices Act (FCPA).
The group emphasized that two of the five counts in the DoJ indictment—conspiracy to violate the FCPA and conspiracy to obstruct justice—do not mention the three executives.
The statement attributed “incorrect and reckless reporting” to a “flawed understanding” of the indictment by both Indian and foreign media outlets, which led to claims of corruption and bribery charges against the Adani directors.
The Adani Group also noted that the indictment relies solely on allegations that bribes were discussed or promised, without presenting evidence that Indian government officials received bribes from its executives.
Senior lawyer Mukul Rohatgi commented during a press conference, stating, “There’s no detail in the chargesheet about who has been bribed.”
The group further criticized the U.S. legal actions and media reporting, stating they have caused significant damage to the conglomerate.
“The ill-founded U.S. action and reckless false reporting have led to significant repercussions for the Indian conglomerate, such as international project cancellations, financial market impact, and sudden examination from strategic partners, investors, and the public,” the Adani Group said.
Indian, Sri Lankan Navies conduct joint operation to seize narcotics from fishing vessels in Arabian Sea. Photo Courtesy: PIB
Based on information received from the Sri Lankan Navy regarding probable narcotics smuggling by ‘Sri Lankan flagged’ fishing vessels in the Arabian Sea, the Indian Navy responded through a coordinated operation to localise and intercept the boats to seize 500 kg of narcotics (Crystal Meth).
“Extensive surveillance was undertaken by Indian Naval Long Range Maritime Patrol Aircraft and Remotely Piloted Aircraft, based on inputs from the Information Fusion Centre (Indian Ocean Region), Gurugram, and an Indian Naval ship was deployed to augment efforts,” read a statement issued by the Indian government on the operation.
Two boats were identified based on continuous inputs from the Sri Lankan Navy and aerial surveillance by IN aircraft.
“Subsequently, in a closely coordinated operation between the ship and the aerial assets, both boats were boarded by the ship’s boarding team on 24 and 25 Nov 24, leading to the seizure of approximately 500 kg of narcotics (Crystal Meth),” the statement said.
One additional IN ship was also tasked to augment the force level for the conduct of anti-narcotics operations.
The two boats, along with crew and seized narcotics, are being handed over to Sri Lankan authorities for further legal action.
The operation reaffirms the close partnership and bonds developed between the two countries and navies.
It also symbolizes the combined resolve of both navies to address regional maritime challenges, and ensure safety and security in the Indian Ocean Region.
Porters work at a metal market in Narayana in New Delhi, India. Photo Courtesy: ILO/Marcel Crozet
Pay packets around the world rose 1.8 per cent in 2023 and continued their positive trajectory in the first half of the year, rising by 2.7 per cent on the back of a strong post-COVID global recovery, the UN International Labour Organization (ILO) said on Thursday.
“If this trend is confirmed, it will be the largest gain in more than 15 years… however, this positive trend is not shared equally across regions,” said ILO Director-General Gilbert Houngbo.
Speaking in Geneva at the launch of ILO’s Global Wage Report, Houngbo noted that today’s global wage gains reflect a notable recovery compared with the 0.9 per cent decline in 2022, when high inflation – and higher prices – outpaced wage growth.
The trend for bigger pay packets is less marked in highly-industrialized economies, however, where wages “grew modestly” by 0.9 per cent last year, the ILO chief said. This contrasts with a bumper near-six per cent wage increase in emerging economies in 2023 after a 1.8 per cent rise in 2022 – a positive trend that has continued in 2024.
Despite this welcome development, prices remain too high for low-income households who have continued to struggle with the rising cost of living. “Inflation – albeit reduced – remains a harsh reality in many emerging and developing countries,” the UN labour agency chief noted.
Regional trends
From a regional viewpoint, average wages increased faster in Asia and the Pacific, Central and Western Asia, and Eastern Europe, compared to the rest of the world.
In 2022, Africa, Asia and the Pacific, and Central and Western Asia were the only regions that witnessed increases in average wages in 2022, while average real wages decreased in all other regions. Declines ranged from minus 0.8 per cent in Eastern Europe to minus 3.7 per cent in Northern, Southern and Western Europe, ILO said.
In 2023, wage growth was positive in most regions, with the exception of Africa, Northern America, and Northern, Southern and Western Europe.
In 2024 – except for African and Arab States, where average real wages remained stable – wages grew in all regions in 2024, from 17.9 per cent in Central and Western Asia, to 0.3 per cent in Northern America.
Productivity gains conundrum
Amid these gains, ILO pointed out that productivity increased “more rapidly” than wages in high-income countries from 1999–2024 (a 29 per cent output increase compared with a 15 per cent pay packet change). This discrepancy originated mainly between 1999 and 2006, then during the financial crisis of 2008 to 2009 and latterly as a result of the COVID-19 crisis.
According to ILO data crunched from some 150 countries, wage inequality – the difference between the lowest and highest-paid workers – has decreased in two-thirds of countries since the early 2000s, at an average annual rate of between 0.5 and 1.7 per cent.
“The most significant decreases occurred among low-income countries where the average annual decrease ranged from 3.2 to 9.6 per cent in the past two decades,” the UN agency explained.
Conversely, wage inequality has remained stubbornly persistent in wealthier countries, shrinking annually between 0.3 and 1.3 per cent in upper-middle-income-countries and 0.3 to 0.7 per cent in high-income countries. “Decreases were more significant among wage workers at the upper end of the pay scale,” ILO said.
The Indian life and health insurance markets are significantly underinsured compared to global standards, leaving a large portion of the population vulnerable to financial distress in the face of health crises or loss of life. The India Retirement Index Study (IRIS), an annual retirement study by Max Life Insurance and KANTAR, reported its findings recently. The survey aims to understand the retirement readiness of urban India, with insights into awareness, aspirations and challenges of consumers during retirement and its planning. India retirement index is the degree to which Indians feel prepared for tomorrow’s retired life on a scale 0 to 100. It is based on how prepared India is for a healthy, peaceful and financially independent post-retirement life.
Representational image. Photo courtesy: Unsplash
As per the survey’s fourth edition, southern India (48) stands behind eastern India (54) and western India (49), as well as the national average of 49. This score, however, places the region at par with northern India.
Rahul Talwar, EVP & Chief Marketing Officer, Max Life Insurance. Photo courtesy: Collected
Rahul Talwar, EVP & Chief Marketing Officer, Max Life Insurance, commented: “As highlighted by IRIS 4.0, South India continues its journey towards building holistic retirement readiness with a steady index score of 48 points. While there is stability, there is also a need for greater financial planning and health focus as showcased in the slender financial and health index movements. At Max Life Insurance, we are dedicated to addressing these gaps by empowering individuals with tailored solutions and insights that drive proactive retirement planning. Together, we aim to create a secure future for all.”
Key findings from the survey
As per IRIS 4.0 — which surveyed 2077 people across 28 cities between June and July, 2024, through self-administered digital study — 57 percent of people living in urban India believe that their retirement savings will be exhausted in only 10 years into their retirement. Only 24 percent are confident that their retirement savings will last for more than 10 years into retirement.
It further found that 31 percent of people in India are still not sure of the corpus required to sustain their current lifestyle after retirement.
With nerves no longer a concern for him, 18-year-old Indian Grandmaster D Gukesh will hold the psychological edge against a slightly shaken defending champion, Ding Liren of China, when the two resume their intriguing battle for the World Championship crown in the fourth round in Singapore on Friday, November 29.
D Gukesh was all smiles after his win against Ding Liren in the third game of the ongoing World Chess Championship in Singapore. Photo courtesy: @engchinan and @photochess via twitter.com/FIDE_chess
Having demonstrated better preparation and claimed his first victory in the third game on Wednesday, November 27, the teenager is expectedly upbeat and would be looking to just relax on the first rest on Thursday.
With a maximum of 11 games remaining under classical time control, the scores are tied at 1.5 each. This was after Liren won the opener with black pieces and the second game ended in a draw.
Ding Liren was put into pressure with a superb opening move by Gukesh in the third game. Photo courtesy: @engchinan and @photochess via twitter.com/FIDE_chess
Gukesh has clearly shown better preparation, while Liren’s calculation let him down in the third game. The match had started with Gukesh facing the Chinese in a French defence game with white pieces and his initial progress gave the Indian a huge time advantage, which he held till the end.
“It’s always nice to win a game, also for the first against such a strong opponent. I think it means more that I got a win in the World Championship, and a very important win,” a visibly pleased Gukesh had said after Wednesday’s game.
The youngster lost the opener, playing badly in a complicated middle game, but could take heart from the fact that his preparation had come good.
In the second game, which was his first white, Liren chose a solid variation in the Italian opening and Gukesh had no troubles whatsoever in equalising easily out of the opening itself.
The game ended in a mere 23 moves vide repetition, earning Gukesh a lot of respect for his flawless play with a slightly unfavourable colour.
Coming in to the third game ahead of the first rest day, Gukesh decided to put all his energy and his opening choice yet again made Liren spend more than half of the allotted time on the first 14 moves itself.
The Chinese later missed an easy equalising method on his 18th turn, but it was largely caused by the initial pressure exerted by the Indian.
📹 That moment when 🇨🇳 Ding Liren lost on time in Game 3 of the FIDE World Championship Match 2024.
18-year-old 🇮🇳 Gukesh D secured his first-ever win in a World Championship match and his first victory against the reigning World Champion Ding Liren! 🔥#DingGukeshpic.twitter.com/LfYXc6Iy7t
With scores level, it is unlikely that Liren will pull out all the stops in the next game. Instead, a more cautious approach is expected, as the Chinese champion will hope his skills hold up in crucial moments, avoiding a repeat of the previous slip-ups.
Gukesh, however, will be eager to ride the wave of his success as long and as far as possible. His first victory in the match must have provided a significant confidence boost for the Chennai-based player.
If he continues to surprise, particularly with the white pieces, he stands to reap the rewards in the coming games.
In the last world championship match that he won, Liren was trailing thrice but came back to even the scores against Ian Nepomniachtchi of Russia.
In fact, the only time he went ahead was on the final day when the tiebreaker decided the fate of the title.
Writing off Liren would surely not be wise given his fighting qualities, but it remains to be seen how he handles things against someone who is 14 years younger and quite evidently, very hungry for success.
“…the result of the game will maybe influence my emotions during the rest day,” the 32-year-old said candidly after Wednesday’s loss, and it remains to be seen how he pulls himself together.
Overall, the match seems interestingly poised after Gukesh’s victory and the chess buffs could not have asked for more in the first three games.
