Pramod Thomas is a senior correspondent with Asian Media Group since 2020, bringing 19 years of journalism experience across business, politics, sports, communities, and international relations. His career spans both traditional and digital media platforms, with eight years specifically focused on digital journalism. This blend of experience positions him well to navigate the evolving media landscape and deliver content across various formats. He has worked with national and international media organisations, giving him a broad perspective on global news trends and reporting standards.
Britain recruited a record number of international nurses in the last financial year to plug hospital staffing shortages, with as many as 10 per cent coming from so-called 'red-list' countries where health staff should not be actively recruited.
Britain has long hired from abroad to staff its state-run National Health Service (NHS), and its vote to leave the European Union in 2016 meant the number of EU staff has dropped sharply in recent years.
In the year to March, nearly half of the 52,148 nurses, midwives and nursing associates who joined the British register were internationally educated, according to the Nursing and Midwifery Council (NMC). Nearly 3,500 came from Nigeria, which is on the the World Health Organization's safeguards list.
The WHO has warned that poorer countries are increasingly losing healthcare workers to wealthier countries, and has flagged concern over active recruitment in some countries.
Jim Buchan, senior fellow at the Health Foundation, said the numbers arriving in Britain from red-list countries, notably Nigeria and Ghana, had gone up markedly.
"The requirement of (WHO) member states is not to actively recruit from these countries, but what the data can't tell us is how these nurses have come to be on the UK register," he said.
Caroline Waterfield, director of development and employment at NHS Employers said hospital trusts and others who hire staff in England's NHS have been told to work only with agencies that are accredited, vetted and not operating in red-list countries.
"The bit which has always been a bit more tricky is if individuals apply themselves," she said.
The rules do not stop individuals based in red-list countries applying for jobs in Britain, and while an agency may not actively recruit them, community links to people already in the country might mean people apply more from certain countries.
Paul Wanyonyi Simiyu is a nurse, originally from Kenya, who came to Britain four years ago. Kenya is on Britain's "amber" list, meaning any active nurse recruitment has to be through a bilateral agreement Britain has with Kenya.
Despite that agreement, Simiyu estimates 90 per cent of the recruitment of Kenyan nurses comes via direct applications to UK jobs, adding that there often aren't jobs for them in Kenya. He founded KenyanNurse to help train Kenyan nurses for English exams and advises them on how to process their registration.
"It's not against any international or national laws for me to tell a friend or anyone else, hey, there's a job somewhere overseas," he said.
Recently, Britain announced £15 million in funding to strengthen the health workforce in Kenya, Nigeria and Ghana, citing low staff numbers in their health systems and high unemployment among health workers.
Britain's health service has endured a tough winter, creaking under high demand, staffing shortages, strike action over pay and long waits for operations and ambulance visits.
It pledged in 2019 to have 50,000 more nurses in the NHS in England by next year, and health minister Steve Barclay said the government is on course to hit that target and would publish a new long-term workforce plan shortly. The Health Foundation estimates that NHS England has 43,000 nursing vacancies.
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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