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.
AT A London sports ground, Maya Hassan looks on with pride as around 30 women, nearly all Muslims and from ethnic minorities, join a self-defence class that she organised in response to a wave of riots that saw violent, racist attacks on Muslims and migrants.
The 28-year-old martial arts expert said she wanted to help women of colour to learn how to deal with abuse and build connections and confidence after more than a week of unrest aimed at mosques, asylum seeker hotels and the police.
"It gives you a little bit more confidence," she said. "You kind of know what to look for, how to be socially aware, how to spot things and how to get out of a really bad situation."
Muslim and ethnic minority communities have expressed shock over the disorder which was sparked by false information online that the suspected killer of three young girls in a knife attack in Southport, northwest England, was an Islamist migrant.
Martial arts instructor Stewart McGill said he had seen more women signing up for classes since the unrest started. He told them how to defend themselves with tactics including kicks and impromptu weapons such as belts.
Maya, one of the organisers of the self defence classes lead by Stewart McGill, poses for a portrait, in London, Britain, August 10, 2024. REUTERS/Maja Smiejkowska
One attendee, Elza Annan, 24, said she felt more confident.
"I obviously don't want to have to use these techniques but it is useful and beneficial to have them ... especially because of recent events of far-right racists coming out and targeting people of colour," she said.
The riots have largely targeted migrants, Muslims, and Asian people, spreading fear through ethnic minority communities and casting a light on Britain's record of integration.
Tell MAMA UK, a group that monitors anti-Muslim incidents, said hate directed at Muslims had been growing in Britain for some time, and especially since Oct. 7 last year, the start of the conflict in Gaza.
Since the riots began, it had received more than 500 calls and online reports of anti-Muslim behaviour across Britain.
Sunder Katwala, director of the think-tank British Future, which focuses on migration and identity, said at its best, Britain is a "confident multi-ethnic democracy".
But he said successive governments had lacked a strategy for integrating different communities. While those arriving recently from Ukraine and Hong Kong were given government support, that did not happen to all.
The asylum system faced particular pressures, with a huge backlog of applications and some Britons concerned about pressure on housing, healthcare and education.
"With asylum you've got a visible lack of control, and that can feed into fear," he said.
The riots have largely stopped since thousands of anti-racism protesters turned out to protect potential targets such as immigration advice centres, mosques, and hotels housing asylum seekers.
Hassan, who wears a hijab and is a Swiss national of Somali origin, moved to Britain in 2008, partly because she felt it was more welcoming to ethnic minorities than many parts of Europe. She is considering organising more classes.
A similar event was planned for Manchester, northern England, and a campaign group, The Three Hijabis, held a large online conference call with Muslim women this week to discuss the psychological impact of Islamophobic violence.
Shaista Aziz, the group's director, said some women feared that the violence could unleash confrontations or abuse, prompting many to stay close to home.
"Today I advised a sister I dearly love to consider removing her hijab to stay safe as she travels through the Northeast ..." she said on X during the riots. "Across the country British Muslims are having these same conversations."
Prime minister Keir Starmer, who has ordered extra protection for the Muslim community, described rioters as "far-right thugs" and almost 800 people have been arrested, with some fast-tracked through the courts and jailed.
The anti-racism protests are likely to continue.
For Maki Omori, 23, who identifies as non-binary, Saturday's class would help prepare for counter protests.
"I found it really intimidating, thinking about how I would defend myself," Omori said. "I want to make sure that if something happens, I feel ready."
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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