THE “darker side” of the British Empire continues to be ignored in the UK, academics have warned.
They have highlighted a lack of awareness about the impact of the British Raj in India after research found 30 per cent of people in the UK believe Britain’s colonies were better off for being part of an empire, a higher proportion than the other major colonial powers.
Britons were also more likely to yearn to still have colonies more than the people in France, Italy, Spain, the Netherlands, Belgium, Germany or Japan, the YouGov poll found.
People quizzed aged over 64 were more than twice as likely to be proud of empire than those aged 18-24.
Experts believe the views are based on “myths” about the British rule as some teachings focus only on the positives.
Dr Rina Arya, professor of visual culture and theory at the University of Huddersfield in Yorkshire, told Eastern Eye: “This doesn’t surprise me for a number of reasons. National identity and the question of what it means to be British is more precarious now than it has been for a long time.
“Many hold on to the idea of empire as a sign of an idealised past, ignoring the realities of what actually went on. This story is based on myth.
“The darker side of the history of the empire, such as the bloodshed caused and mass exploitation, is often overlooked or at least marginalised in favour of its gifts.”
She added: “For the older generations, empire represented the peak of Britain’s glory. For many younger generations their understanding of the history of empire is patchy and disconnected from the history of migration, which is problematic, and goes some way to explain the attitudes to Brexit.
“In general, Brexit has generated a sense of flux about what it means to be British and the empire is something tangible that people hold on to without necessarily having to evaluating its impact.”
March marked 90 years since the historic Dandi March in Gujarat to protest against the British salt tax.
Dr Meera Tiwari, a reader in international development at the University of East London, said a similar study in 2014 showed that 52 per cent of Britons thought the British Empire was good for the colonies.
She told Eastern Eye: “A drop of almost 30 percentage points in those who hold the same views today sends both positive and worrying signals.
“Positive, because clearly the historical awareness is becoming more widespread through several efforts in the literature and academia for the decolonisation of knowledge.
“But worrying because a third of the those surveyed remain oblivious of the impacts of the empire on the Indian subcontinent in particular.”
She added: “The Inglorious Empire [book by Shashi Tharoor] provides a comprehensive evidence-based analysis of the enormous economic and social loss the subcontinent was subjected to while the colonial masters rapidly syphoned the riches.
“The true history of the empire leaves no room for doubt regarding who lost and who benefited.”
It comes after a report by the Runnymede Trust last year found there is not enough teaching about empire in schools, despite the curriculum stating young people should learn about “how Britain has influenced and been influenced by the wider world”.
Researchers called on the government to make the teaching of migration and colonial history in secondary schools mandatory and to provide teachers with practical support and resources to equip them to give lessons on the topics.
It found that 78 per cent of teachers surveyed wanted training on teaching migration and 71 per cent on teaching about Britain’s colonial past.
In the latest research, Scotland was the only part of Britain where more respondents thought the Empire was “something to be ashamed of” rather than “something to be proud of”.
And only the Netherlands appears to be more positive about its imperial history than the UK. Half of Dutch respondents said it was something to be more proud of rather than ashamed.
Ross Greer, a member of the Scottish Parliament for the Green Party, said: “The British Empire killed tens of millions. Many, many more were tortured and abused. It was a project of occupation, theft and genocide, underpinned by white supremacy. The UK desperately needs to learn our own history, not some mythical alternative.”
Lisa Nandy MP, who lost to Sir Keir Starmer for the Labour leadership, last month pledged to remove references to empire in the honours system.
Under her proposal, the Order of the British Empire would become the Order of British Excellence.
Nigel Biggar, professor of moral and pastoral theology at Christ Church college, Oxford, who has previously defended the Empire, said the fact that only 32 per cent said empire was something to be proud of meant that “if the post-colonialists really want to hound imperial flag-wavers, they should go after the Dutch”.
He added: “Public post-colonialists like to claim that we British suffer from selective amnesia over the British Empire: we remember the good bits and forget the bad bits.
“[But] are most Britons really not aware of our involvement in slavery during the 17th and 18th centuries? … When the largest segment (37 per cent) report that they think it ‘neither something to be proud nor ashamed of’, they could mean that they’re perfectly aware of the Empire’s moral ambiguity.”
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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