BRITISH ASIAN school leavers celebrated their GCSE results today (22), as it was revealed the pass rate and the percentage of top grades had increased this year.
The pass rate rose to 67.3 per cent in England, Wales and Northern Ireland. It has increased up by 0.4 percentage points since last year, figures showed.
This year’s results come after a string of reforms to the system – which saw the introduction of a new numerical grading system and tougher exams across England.
However, more than 800 students across the country achieved all 9s - the very top grade.
Data showed that 20.7 per cent of all exams were given grades 7, 8 or 9, which is equivalent to A or A*. This makes it the highest proportion since 2015.
At Queen Elizabeth’s School (QE) in north London, student Aqif Choudhury celebrated achieving a clean sweep of 9s in all of his subjects. He also received the top mark nationally for economics.
“I didn’t expect that, I thought that was the one exam that I’d done the worse in,” he told Eastern Eye. “I was surprised, but very pleased.”
The 16-year-old plans to stay on at QE for A-Levels.
The school also revealed that the proportion of grades at the equivalent of A*(Grades 8-9) has risen further to 79 per cent - a new school record. Almost 55 per cent of results were at the highest Grade 9.
At Hydesville Tower School (HT), Walsall, in the West Midlands, pupils celebrated as it was announced that 98 per cent of all papers achieved a “good pass” mark.
Speaking to Eastern Eye after receiving the results, HT student Zara Rasab said she was incredibly happy with her grades. She received 2 9’s, 3 8’s, 3 7’s and 2 6’s
“I didn’t expect those results, I wasn’t even sure that I was going to pass all of my subjects,” the 16-year-old said, admitting that she and her friends were crying with stress before the results were revealed.
In the upcoming term, she is due to take A-Levels in biology, chemistry and maths.
Fellow HT pupil Karn Dhanda achieved 2 9’s, 5 8’s and 3 6’s. The 16-year-old told Eastern Eye that he was nervous before going to collect the results, as he was unsure how he had fared in the exams.
The teenager plans to study maths, further maths, chemistry and physics at King Edwards’ Camp Hill Sixth Form in Birmingham.
“I’m keen to go into airspace engineering as a career,” he revealed, adding that his family has organised a celebration BBQ on Friday (23).
“My family are so happy and excited by my results,” he said.
At Middlesex-based John Lyon School, more than half of all students achieved at least three 9/8/A* grades, and 800 of the 826 total number of exams taken graded at 9-4/A*-C.
Students Rayaan Bhatti, who received nine 9/8 grades, and Keeran Annalingam, who achieved eight 9/8 grades and an A* in further mathematics, spoke of their delight at their achievements.
"It's been a rollercoaster journey but through hard work and perseverance I have achieved straight A* grades and a Scholarship to the John Lyon Sixth Form,” Rayaan said. “With a passion to study medicine in the future I know this dream is possible as I will have the close support of the teachers here for the next two years.”
Keeran added: "I'm so happy with my grades and I owe so much to my teachers - without them I definitely wouldn't have achieved what I have done.”
Meanwhile, Merchant Taylors’ School (MTS) in Northwood, Middlesex, saw 88 per cent of their students secure the equivalent of A or A* grades.
Headmaster Simon Everson noted the “exceptional” performances, in spite of GCSE exams becoming more challenging.
"They can be very proud of their efforts and we look forward to seeing how this talented year group fare in the sixth form," Everson said.
Elsewhere, the Haberdashers' Aske's Boys' School announced that students had obtained their best results on record for the top grade at GCSE. 73.4 per cent of all grades were 9, 8 and A*.
Habs headmaster Gus Lock praised the year group on their performances.
He said: “I congratulate the pupils, their parents and the dedicated staff on these exceptional results, which provide a firm foundation for further success in the Sixth Form and beyond. I look forward to welcoming the pupils back in September to start their Sixth Form studies.”
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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