TWO A-Level students have said they still feel unsure about their future after the government reversed its decision over the grading system on Monday (17) after a barrage of criticism.
Downing Street made a u-turn on assessing grade predictions via a mathematical model as it was revealed that results for almost 40 per cent of students taking the main school-leaving exams had been lowered.
Now, students will be awarded the grades their teachers had predicted for them based on past performance. Education secretary Gavin Williamson has since apologised for the distress felt by young people and their parents.
Musthakim Billahkarim, 18, and Rawdah Uddin, 17, received their A-Level results last week. They received lower grades than initially predicted. Although both students have welcomed the change by government, they have expressed uncertainties about the latest announcement.
Uddin, a student at Eastbury community school in Barking, east London, claimed many were still confused on how the grading system would work. “I asked my teachers but they admitted that no one really knew the details because the government had changed it so quickly,” she told Eastern Eye. “There aren’t enough details on how it will happen, if you have to appeal or if (your grades) will change automatically.
“People are still panicking and no one at my school knows anything about it.”
Billahkarim, a student at Swanlea School in Whitechapel, east London, missed out on an adjustment university place at University College London (UCL) after he was downgraded.
Now, his predicted grades mean that he would be able to enrol. However, Billahkarim is still uncertain if he will be accepted.
“After the u-turn, I was happy because I did receive an A* in maths that put me in a stronger position than before so I’m going to try to get in contact with UCL, to see if I can get a position,” he told Eastern Eye. “But I’m nervous with all the uncertainty and the sudden changes that have been made.”
On the initial grading system, Uddin said she felt “cheated”. She had applied to study English literature at Queen Mary’s university. Predicted an A* for the subject, the algorithm gave her a B grade. Although her offer was unconditional so her position at the institute was unaffected, she felt let down by the result.
“You can’t help but feel disappointed when you’ve put in so much work and effort,” she said. “Although it did not affect my university application, I was upset when I got downgraded – I knew if I could have sat the exam, I would have gotten a better grade but the algorithm brought it down.”
Billahkarim echoed similar thoughts. “Although (my results) were still good, it wasn’t what I was expecting,” Billahkarim said. “Considering the amount of work that I’ve put in, I was hoping for one or two A* grades. When I didn’t see one A*, I was just a bit disappointed.”
Despite the uncertainty, Billahkarim believes the government made the right decision in allowing students to be graded by their teachers. “Teachers are the ones who know their students and they have the fairest judgement,” he said. “It is the best decision they could have made and it has made more students feel better about the outcome.”
According to a recent YouGov poll, 75 per cent of respondents thought the government had handled the situation badly. Some 40 per cent thought Williamson should resign.
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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