THE disproportionate number of people from Asian and black communities who have died from coronavirus is a “tragic episode of systemic failure”, a senior NHS leader has said.
In an exclusive interview with Eastern Eye, Lord Victor Adebowale claimed racism “clearly played a role” in the rising death rates within ethnic minority groups. The peer added that the initial figures related to BAME patients affected by the virus were “alarming, but not surprising.”
People from Bangladeshi and Pakistani communities were about three and-a-half times more likely to die with coronavirus as their white peers in England and Wales. Those of Indian origin are two and-a-half times as likely, the Office for National Statistics (ONS) said last week.
The government review led by Public Health England (PHE) into the high number of BAME deaths and chaired by Professor Kevin Fenton is due to release its findings at the end of May.
Lord Adebowale is the chairman of the NHS Confederation, a membership body which represents over 500 members across health and social care. He is also the former chief executive of social care enterprise Turning Point.
Reflecting on the BAME death rates and subsequent response, he said: “In a crisis, like this one, the true values and the true priorities of the country become apparent. And it strikes me that what we’re seeing is a really tragic episode of systemic failure.”
Asked if racism was a factor in the death rates, the peer admitted that “it clearly plays a role”.
“It cannot have escaped the attention of anyone ... (that the) people who appear to be leading the response to Covid-19 are mainly white, and the people dying are mainly black,” he said.
Although stressing he was not criticising the ability of those who had been chosen to lead, he warned a lack of diversity in decision making could mean mistakes being made.
The failures, he said, related to factors which included severe health and socio-economic inequalities in BAME communities, as well as experience and outcomes relating to mental health, cancer, diabetes and poverty.
“In that context, (the impact of Covid-19 on BAME groups) is sadly not unexpected,” Lord Adebowale, who was one of the first group of people to be appointed as people’s peers in 2001, said.
Although he acknowledged that progress had been made, greater action still needed to be taken.
Last month, the British Medical Association (BMA) reported that BAME doctors are twice as likely not to complain about safety in the workplace as they have far greater fear of facing recriminations or reprisals. In response, Lord Adebowale said a listening culture needed to be created, in which ethnic minority NHS staff felt free to express their concerns.
“That’s part of the culture that we need to change,” he said. “The way to resolve that is to open up listening channels and co-design some of the solutions with the people who are likely to be most affected by it.”
He stressed this response should also apply to workers outside of the NHS, including employees in care homes.
Protective personal equipment (PPE) should also be designed with some medical staff’s religious needs in mind, Lord Adebowale suggested.
Last month, it was reported that a Sikh doctor was moved off the front line after he refused to shave his beard in order for the FFP3 mask to fit. “We should respect the needs of people who wear religious garbs,” he said.
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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