AN AWARD-WINNING surgeon known for his work with Pakistani acid attack victims has commended the Hindi film Chhapaak, claiming it could “make a difference” in society.
The film, which features Bollywood star Deepika Padukone in the lead role, depicts an acid attack survivor coming to terms with her injuries. Since Chhapaak’s release last Friday (10), Padukone has garnered widespread praise for her portrayal of Indian activist and survivor Laxmi Agarwal.
Dr Asim Shahmalak, who has travelled numerous times to his native Pakistan to perform free surgery on acid attack victims, believes the film will have a positive influence on the issue. “These kinds of powerful messages coming through a big industry like Bollywood will have an impact and make a difference,” he told Eastern Eye. “I am glad they are using it to touch upon these kinds of incidents. Acid attacks are rife in south Asia and I really appreciate the efforts made by the makers of this film.”
Since he first travelled to Pakistan in 2013 to treat acid attack victims, Dr Shahmalak has helped 26 women and one man who suffered horrific scarring. He has performed numerous hair transplants including work on eyelashes and eyebrows. Every survivor had a story, he said, and each one was devastating.
Niaz Bano, 53, lost her left eye after having acid thrown over her following a row with relatives over her 16-year-old daughter’s wedding. Another woman, Fatima Muneer, a mother of two, was soaked in sulphuric acid following a family feud.
The youngest patient Dr Shahmalak has seen is a four-year-old girl. She had been doused in acid by a family member after she refused to go to school one morning.
“I have heard all kinds of stories and I can’t tell you how terrible I feel for (victims). They are scarred for life and do not feel accepted in society,” he said. “I can’t believe someone could do such a cruel act to another individual.”
Many survivors did not feel they were able to live normal lives, he explained. Some could not secure jobs as they were shunned by society because of their physical appearance and so ended up begging on the streets for money. “Some hide their faces by veils, even to their close family and friends,” Dr Shahmalak added.
Although acid attacks in Pakistan became illegal in 2010, sometimes carrying punishments of life sentences, Dr Shahmalak said many attackers still walked free. Some of those who suffered attacks faced social pressure or emotional blackmail, especially if the perpetrator was a family member, and they were too afraid to go to the police.
The surgeon undertakes annual voluntary trips to Pakistan where he meets patients and shortlists those who he can help. He then returns with his staff from Manchester’s Crown Clinic for approximately five days, performing hair transplants to a number of patients in need.
Despite being approached by more than 80 survivors requesting surgery, many have suffered from such catastrophic injuries that Dr Shahmalak is unable to treat them.
The father-of-two said it was heartbreaking to have to tell someone that he could not offer them help. “It is a shock for them,” he said. “They come with a hope and I want to give them that, to help give them their life back, but sadly, I can’t do that for a majority of patients.”
For his humanitarian work with acid attack survivors, the surgeon was recently honoured by prime minister Boris Johnson with the Points of Light award. It recognises outstanding individual volunteers or people who are making a change in their community and inspiring others.
Although he was “delighted and humbled” by the news, Dr Shahmalak stressed that he did not work with survivors in order to “reap any reward”. Having been brought up and educated in Pakistan, he wanted to give something back to the country he still felt deep ties to, he revealed.
“Since I left the country 30 years ago, I have never worked there,” he explained. “I wanted to do something for the society where I grew up. For me, it was about paying Pakistan back and that is why I decided to do this.”
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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