BRITISH home secretary Priti Patel has slammed the critics of her government’s controversial immigration deal with Rwanda and the BBC’s “xenophobic” overtones in reporting the matter.
She was "taken aback" by the tone of BBC journalists' references to Rwanda after the agreement with the African country was announced, she told The Telegraph.
She said the corporation’s “undercurrent” was similar to the views expressed by opposition parties.
"When you hear the critics start to stereotype, start to generalise, first of all that's all very offensive. It's deeply offensive, and it's based on ignorance and prejudice, some of this, in my view. I could call them lazy and sloppy characterisations, but actually they're not. I heard plenty of that not long after the announcement was made”.
"There are always going to be critics, and we live in a free country," she said in an interview with the newspaper published on Saturday (23).
According to documents published by the government last week, Patel overruled reservations from officials about her plan to send thousands of asylum seekers to Rwanda.
The plan, unveiled by prime minister Boris Johnson, seeks to act as a deterrent to migrants who make illegal boat crossings to Britain from France.
It has drawn heavy criticism from political opponents and campaigners.
In an exchange of letters with Patel, the top official in the Home Office highlighted uncertainty over the scheme's value to the taxpayer.
The government has said it would contribute an initial £120 million to the scheme.
"I do not believe sufficient evidence can be obtained to demonstrate that the policy will have a deterrent effect significant enough to make the policy value for money," Home Office permanent secretary Matthew Rycroft said.
Patel acknowledged the concerns but stated her belief that without taking action to stop the crossings, both the monetary costs and the loss of life among those who attempt to navigate the busy shipping channel would rise.
"It would therefore be imprudent in my view, as home secretary, to allow the absence of quantifiable and dynamic modelling ... to delay delivery of a policy that we believe will reduce illegal migration, save lives, and ultimately break the business model of the smuggling gangs," she wrote.
Last year, more than 28,000 migrants and refugees made the crossing from mainland Europe to Britain, a fraction of the number arriving in other European countries, but enough to keep immigration a politically sensitive topic among some voters.
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UK music industry ‘failing’ South Asian artists, says new report
Oct 18, 2025
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.
Two-thirds of respondents said the lack of south Asians in senior roles at record labels, festivals, and streaming platforms remains the biggest barrier to career advancement.
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.
Viram Jasani www.easterneye.biz
“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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