SHAMIMA BEGUM, who left Britain to join Daesh (Islamic State group) and later had her British citizenship revoked, used to convince her school mates to join an Islamic group which is "going to heaven" and "was building a better place- a utopia". The revelation came recently from one of her classmates who attended Bethnal Green Academy around the same time.
Jon, who claimed to have studied alongside Shamima Begum, Amira Abase and Kadiza Sultana, has claimed that the girls were obsessed with this unusual Islamic religious group and tried to recruit other students too.
“They’d start talking about religion and try to rope people in,” Jon told My London on Friday (18). “They were really pressuring about it, there were like ‘you know, if you don't go to Islam you're going to hell, you're going to die'.”
Recalling the conversations, Jon added that the message that Shamima and Amira delivered was not about hate or violence, but a dream of a perfect society in Syria which is “growing" and is "the next big thing".
“They made it sound as if it was such a good place to be: You don't need to worry about money or whatnot, everything's there for you,” Jon said. “If you just study and learn religion, uphold the values of Islam, your life is sorted.”
The former 'Bethnal Green Academy' on February 22, 2019 in London, England (Photo by Dan Kitwood/Getty Images)
Jon also revealed that Amira wanted him to meet an Islamic teacher who could explain things about Daesh in more detail. The boy, who was 15-year-old at the time, admitted that he found the pitch appealing and also that the girls’ words often sounded like they had been scripted by adults.
Jon also recalled noticing matching pins on the lapels of the trio which was a black flag with white Arabic writing on it. Being a teenager at the time, he admittedly was not aware that there was a civil war going on tearing the middle eastern country apart.
“I never heard anything about ISIS violence,” Jon explained. “What you got pitched was a sunny, beautiful, idyllic place. As a kid you want that fairytale life.”
Once the girls left, a strict regime was installed in the school and everyone had to register with a police officer in the morning, Jon said. They were also banned from speaking about their classmates who had disappeared and the whole thing had a traumatising effect on the children who felt that they might be spied on.
Shamima was a 15-year-old schoolgirl when she travelled from London to Syria with two fellow pupils in February 2015. Britain’s interior ministry had revoked her citizenship on national security grounds after she was discovered heavily pregnant in a Syrian refugee camp in February 2019.
Shamima, now 21, is currently being held at the al-Roj prison camp, where she is still campaigning to be given a chance to return to the UK insisting that she was just a "dumb kid" who made a "mistake" when she ran off to Syria.
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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