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.
OLYMPIC great Mo Farah was illegally trafficked to Britain at the age of nine from Djibouti and forced to work as a child servant, he has revealed, saying his real name is Hussein Abdi Kahin.
The distance runner was flown to the UK from the east African country aged eight or nine by a woman he had never met, given the name Mohammed Farah, and then made to look after another family's children, he tells a BBC TV documentary "The Real Mo Farah" to be aired Wednesday.
Farah, who completed the 5,000m-10,000m double at both the London 2012 and Rio 2016 Olympics, has previously said he came to the UK as a refugee from Somalia with his parents.
But in stunning revelations the 39-year-old now says his parents have never been to the UK -- his father was killed in civil unrest in Somalia when Farah was four years old and his mother and two brothers live in the breakaway state of Somaliland, which is not internationally recognised.
"The truth is I'm not who you think I am," says Farah. "Most people know me as Mo Farah, but it's not my name or it's not the reality."
The woman who flew with him to the UK told him he was being taken to live with relatives and to say his name was Mohamed as she had fake travel documents that showed his photo next to the name "Mohamed Farah".
Farah, the first British track and field athlete to win four Olympic golds, said his children motivated him to tell the truth about his past.
"I've been keeping it for so long, it's been difficult because you don't want to face it and often my kids ask questions, 'Dad, how come this?' And you've always got an answer for everything, but you haven't got an answer for that," he said.
"That's the main reason in telling my story because I want to feel normal and don't feel like you're holding on to something."
'Get out and run'
Farah's wife Tania said in the year leading up to their 2010 wedding she realised "there were lots of missing pieces to his story" but she eventually "wore him down with the questioning" and he told the truth.
When he arrived in the UK, Farah says the woman who accompanied him took a piece of paper from him that had his relatives' contact details and "ripped it up and put it in the bin.
"At that moment, I knew I was in trouble," he says.
Farah says he was forced to do housework and childcare "if I wanted food in my mouth", and was told: "If you ever want to see your family again, don't say anything."
"Often I would just lock myself in the bathroom and cry," he says.
Farah's physical education teacher, Alan Watkinson, noticed how the youngster's mood changed when he was on the running track.
"The only language he seemed to understand was the language of PE and sport," says Watkinson.
Farah says it was athletics that enabled him to escape.
"The only thing I could do to get away from this (situation) was to get out and run," he says.
Farah eventually told Watkinson the truth and he informed local authorities.
It was Watkinson who applied for Farah's British citizenship which he described as a "long process" and on July 25, 2000 Farah was recognised as a British Citizen.
"I often think about the other Mohamed Farah, the boy whose place I took on that plane and I really hope he's OK," said Farah.
Farah was praised on Wednesday for telling his story.
"We applaud @Mo_Farah for his bravery in telling his heartbreaking story," tweeted Britain's Refugee Council charity.
"He underlines the human reality at the heart of so many stories like his," it added. "And the desperate need for safe and humane routes for people seeking asylum."
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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