THE BBC’s new six-part crime drama, Virdee, which began transmission on Monday (10), is making history as it is the first of its kind, with a diverse British Asian cast. It is also very much author AA Dhand’s baby. The credits state that it was “created and written by AA Dhand”; is “based on City of Sinners by AA Dhand”; and Dhand is also its executive producer, along with Paul Trijbits.
The drama is named after its eponymous hero, Detective Chief Inspector Hardeep Virdee, a clean-shaven Sikh who prefers to be addressed as “Harry”.
He is played by Staz Nair, son of an Indian father “from Aanakkulam near Cochin in Kerala” and a Russian mother. Born in Moscow, he was brought over to the UK when he was two.
Staz Nair with Danyal Ismail in 'Virdee'BBC/Magical Society/Vishal Sharma
Harry’s decision to marry a Muslim has not gone down well with his father. Aysha Kala is very good as Saima Hyatt, as you would expect as she was named best actress in Eastern Eye’s Arts Culture and Theatre Awards (ACTA) last year for her performance in The Motive and the Cue at the National Theatre.
In fact, City of Sinners, set in Bradford – like all the novels featuring Virdee – was nominated in ACTA’s literature category in 2019. Dhand’s time has now come, but it has been a long journey for him to get the premiere the BBC organised for Virdee last Thursday (6) at St George’s Hall in Bradford. Alongside running a pharmacy, he began writing crime fiction in 2006. After 1.1 million words, for which he did not earn a penny, and “66 rejections”, his first Virdee novel, Streets of Darkness, was published in 2016, followed by Girl Zero in 2017, City of Sinners in 2018, and One Way Out in 2019.
Perhaps what Eastern Eye readers will find shocking in the opening episode is not so much the violent drugs war raging between rival gangs in Bradford, but the bigotry shown by Virdee’s father, Ranjit, who has disowned his son for marrying a Muslim (even though he now has a grandson, Aaron).
As both an empathetic mother and mother-inlaw, Sudha Bhuchar has been cast perfectly as Jyoti Virdee. The same goes for Kulvinder Ghir as Virdee’s father.
In 2019, Sudha and Kristine Landon-Smith, founders of the Tamasha Theatre Company, won an ACTA “for outstanding contribution to the creative industry”.
Many Asian viewers will probably consider Virdee’s father to be the real villain in the opening episode. When his estranged son attempts to make peace by visiting him at home for Diwali with food cooked by Saima, he asks Hardeep to go down like a dog and beg for forgiveness. When Hardeep does so, his father pours a bowl of curry over his son’s head. In a city with a serial killer on the loose, that may well turn out to be the most upsetting scene in the whole series.
There is another raw piece of dialogue when a young Indian woman confronts Saima and tells her she knew Harry before he ditched her “for a Paki”. Only Dhand could get away with dialogue like that on prime time TV. It is to Saima’s credit that she – first humiliated by her father-in-law and then by her husband’s ex – retains her poise. She merely tells the foul-mouthed woman that she might have had too much to drink.
There is an amusing exchange when an East European gangster, Novak Rexa (Lewis Goody), fears Virdee might rough him up in order to get information about a missing teenager.
“You can’t do this to me,” protests Novak. “This is England!”
Virdee corrects him: “This is Bradford.” This produced one of the loudest cheers of the evening at the premiere, where cast and crew were invited along with members of the public.
It is the family tensions that set Virdee apart from other crime dramas. Virdee is beholden to Saima’s wealthy brother, Riaz Hyatt (Vikash Bhai), who kept him out of prison at some point in the past. To discover the whereabouts of the missing teenager, Virdee turns to his brother-in-law for help. The only problem is that Riaz himself heads one of Bradford’s most notorious gangs. He owns a country estate with horses grazing in the fields – where the two boys had played as children.
“No bodies,” Virdee tells Riaz.
The latter agrees: “No bodies.”
But the body of Novak, who was being questioned by Riaz’s men, later turns up hanging from a tree.
Virdee has a junior partner, DSI Amin (Danyal Ismail).
Aysha Kala and Staz Nair in 'Virdee'BBC/Magical Society/Vishal Sharma
Bradford, where Dhand has grown up and where he feels most at home, is very much a character in the drama. A quarter of its population is from the ethnic minorities. Virdee has been shot in Bradford in such locations as City Park, Lister Park, Little Germany and the disappearing Kirkgate market, where the author spent his youth. Dhand relaxes by walking in the woods around Bradford. He considers himself a creature of the night, preferring Bradford after dark.
Virdee opens with a “Bond-esque” chase across Bradford at night.
“I like working at night time, like walking at night, like driving at night,” Dhand told Eastern Eye.
Unlike Agatha Christie, who acquired her knowledge of poisons after working in a pharmacy, Dhand learnt about crime growing up in council property near Holme Wood, “the largest council estate in Europe”.
“If you grew up in a tough environment in a tough estate, you learnt about criminality,” he recalled. “There were no other brown people.”
As far as he was concerned, said Dhand, “Virdee is not an Asian crime drama – it’s a crime drama with a diverse cast. It’s heightened, elevated crime drama about murder, drugs, universal things that we’ve seen in crime dramas before. I call him ‘Harry’ (instead of Hardeep) because I was inspired by the dirty Harrys of this world when I was growing up. I don’t want it to be a south Asian crime drama. I want it to be a crime drama that encompasses the south Asian world.”
Luther, starring Idris Elba, is not seen as a black crime drama, he pointed out.
Sudha Buchar and Kulvinder Ghir
Virdee’s lead actor, Nair, has been searching for his Indian roots. Like his protagonist character in the drama, who was disowned by his family, Nair, too, was estranged from his father for 25 years. He has seen being involved in Virdee as “a unique opportunity to find my own relationship with my culture”.
Kala, meanwhile, talked about playing Saima, a nurse who saves the life of her father-in law when he is brought into hospital after suffering a heart attack. He is unaware that the woman he is praising to his wife is actually the daughter-in-law he has abused and rejected.
“Her religion is important to her, but it didn’t become her defining character,” said Kala. “I feel sometimes when we talk about religion and culture, especially in south Asian characters, it becomes the only thing they’re known for.
“Yes, Saima is a Muslim woman, but it’s just part of her character.”
Virdee is on BBC 1 on Mondays at 9pm and on iPlayer.
British-Bangladeshi prop maker Anika Chowdhury has designed a handcrafted glow-in-the-dark chess set celebrating heritage and identity.
The limited-edition set, called Glowborne, launches on Kickstarter in October.
Each piece draws from South Asian, Middle Eastern, and African cultural references, re-rooting chess in its origins.
The project blends art, storytelling, and representation, aiming to spark conversations about identity in play.
Reimagining chess through heritage
When Anika Chowdhury sat down to sculpt her first chess piece, she had a bigger vision than simply redesigning a classic game. A British-Bangladeshi prop maker working in the film industry, she grew up loving fantasy and games but rarely saw faces like hers in Western storytelling.
“Chess originated in India, travelled through Arabia and North Africa, and was later Westernised,” she explains. “I wanted to bring those forgotten origins back to the board.”
The result is Glowborne — a limited-edition, glow-in-the-dark fantasy chess set that blends craft, identity and cultural pride.
Anika Chowdhury says she has many ideas to further fuse craft and culture in future projects Glowborne
Crafting Glowborne
Each character in the set has been carefully designed to reflect cultural narratives: Bengali kings and pawns, Indian bishops with bindis, Arab knights, and African queens. Chowdhury sculpted each piece by hand, drawing on her prop-making training at the National Film and Television School.
Once sculpted, the pieces were cast in resin, painted, and finished with South Asian-inspired motifs filled with glow-in-the-dark pigment. “The characters glow both literally and metaphorically,” she says, “as a chance for them to take the stage.”
Cultural pride and visibility
For Chowdhury, the project is about more than gameplay. “Fantasy doesn’t need to fit into the Western mould to tell a great story,” she says. “South Asian, Middle Eastern and African stories are just as powerful, and they can transform something as traditional as chess by reconnecting it with its roots.”
She hopes Glowborne will resonate with South Asian and Eastern African communities as a celebration of identity and belonging. At the same time, she sees it as a bridge for wider audiences — chess enthusiasts, collectors, and design lovers who appreciate craftsmanship and storytelling.
A personal journey
Chowdhury’s career in film and prop-making has influenced her creative process, but Glowborne marks her first independent project. She created it outside her film work, after hours and on weekends.
“At 28, I finally feel like I’ve found my voice,” she reflects. “For a long time I felt pressure to hide my identity, but now I see my culture as a superpower. This project is about using art to express that.”
Looking ahead
Launching this October on Kickstarter as a collector’s edition, Glowborne is only the beginning. Chowdhury says she has many ideas to further fuse craft and culture in future projects. “This is the proof of concept,” she says. “I can’t wait to create more stories that blend heritage, art and play.”
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The piece was originally one of nine works that appeared across London in August 2024
Banksy’s ‘Piranhas’ artwork, painted on a police sentry box, is being stored ahead of display at London Museum.
The piece was originally one of nine works that appeared across London in August 2024.
It will form part of the museum’s new Smithfield site, opening in 2026.
The City of London Corporation donated the artwork as part of its £222m museum relocation project.
Banksy’s police box artwork in storage
A Banksy artwork known as Piranhas has been placed in storage ahead of its future display at the London Museum’s new Smithfield site, scheduled to open in 2026. The piece features spray-painted piranha fish covering the windows of a police sentry box, giving the illusion of an aquarium.
From Ludgate Hill to Guildhall Yard
The police box, which had stood at Ludgate Hill since the 1990s, was swiftly removed by the City of London Corporation after Banksy confirmed authorship. It was initially displayed at Guildhall Yard, where visitors could view it from behind safety barriers. The Corporation has since voted to donate the piece to the London Museum.
Museum’s first contemporary street art
London Museum’s Head of Curatorial, Glyn Davies, said:
“With the arrival of Banksy’s Piranhas, our collection now spans from Roman graffiti to our first piece of contemporary street art. This work by one of the world’s most iconic artists now belongs to Londoners, and will keep making waves when it goes on show next year in the Museum’s new Smithfield home.”
Formerly known as the Museum of London, the institution closed its London Wall site in December 2022 as part of its relocation. It rebranded as the London Museum in July 2024, with £222m allocated by the City of London Corporation to support the move. The project is expected to attract two million visitors annually and create more than 1,500 jobs.
Part of Banksy’s animal-themed series
Piranhas was one of nine animal-themed works Banksy created across London in August 2024. The series also featured a rhino on a car, two elephants with interlocked trunks, monkeys swinging from a bridge, a howling wolf on a satellite dish, and a goat painted on a wall. Some of the artworks were later vandalised, removed, or covered up.
Preserving street art for the public
Chris Hayward, policy chairman of the City of London Corporation, said:
“Banksy stopped Londoners in their tracks when this piece appeared in the Square Mile – and now, we’re making it available to millions. By securing it for London Museum, we’re not only protecting a unique slice of the City’s story, but also adding an artwork that will become one of the museum’s star attractions.”
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The group have introduced fresh orchestral elements and added instruments to expand their live sound
The Shahbaz Fayyaz Qawwal Group return to the UK with a nationwide tour after viral success online.
The ensemble of brothers blend centuries-old qawwali traditions with fresh improvisations that connect with young audiences.
From Pakistan to the USA and UK, their performances have won acclaim for their electrifying energy and spiritual depth.
Fans can expect new instruments, reimagined classics, and the same message of love and harmony at this year’s shows.
From viral sensation to global stages
When a performance goes viral, it can change an artist’s career overnight. For the Shahbaz Fayyaz Qawwal Group, their stirring renditions of Bhar Do Jholi and B Kafara propelled them from local fame in Pakistan to global recognition, amassing millions of views across platforms. What set them apart was not just the power of their voices, but the way their music resonated with younger listeners who were hearing qawwali with fresh ears.
That viral momentum soon carried them beyond borders, leading to major performances in the United States and the UK. “It wasn’t just one track,” the group explained. “We revived older gems like Kali Kali Zulfon and Dil Pukare Aaja in our own style, and those went viral again, showing that qawwali still speaks across generations.”
Heritage, family and style
The Shahbaz Fayyaz Qawwal Group’s uniqueness lies in their roots. Composed of seven brothers and joined by fellow musicians from respected musical families, the ensemble was trained by their late father, himself a master of the art form. On stage, as many as 15 to 20 performers create a sound that is both deeply traditional and daringly modern.
Their shows are alive with improvisation. In the middle of a devotional track, harmonium player Shahbaz might suddenly weave in a melody from a contemporary Bollywood hit, while lead vocalist Fayyaz channels his energy into unrestrained movements and audience interaction. “When different styles meet, something new emerges,” they said. “That’s what keeps the music vibrant.”
UK audiences and the international journey
Having performed across the USA, the Middle East and Europe, the group describe UK audiences as particularly electric. “Each time we perform here, the atmosphere is charged. People don’t just listen – they become part of the performance,” they said.
Their repertoire often draws requests from fans who expect to hear viral favourites alongside traditional classics. “Sometimes, if organisers don’t allow us to perform songs like B Kafara or Dil Pukare Aaja, the audience won’t let the show continue. That’s the level of passion here,” they recalled with a laugh.
Keeping qawwali alive for new generations
While the roots of qawwali stretch back centuries, the group see their role as carrying the tradition into the present. By fusing tabla, harmonium and handclaps with newer instruments and arrangements, they appeal to younger listeners without losing the music’s essence.
“We want every audience to feel peace, harmony and love when they leave our concerts,” they said. “An artist should never belong to just one group of people – music is for everyone.”
What fans can expect this tour
This year’s UK tour promises new surprises. The group have introduced fresh orchestral elements and added instruments to expand their live sound. Fans can expect a mix of beloved classics, spontaneous improvisations, and the chance to hear qawwali reimagined for today’s world.
For Shahbaz Fayyaz Qawwal Group, the mission remains unchanged: to honour their heritage, embrace new audiences, and spread the universal message at the heart of their art. As they put it: “We look forward to growing together with our fans. Let’s celebrate qawwali as a tradition that belongs to everyone.”
This Navratri, the traditional rhythms of Garba are being paired with the timeless melodies of British folk in a new musical fusion that promises to bring fresh energy to the festival.
The piece blends the iconic Gujarati folk song Kon Halave Limdi Ne Kon Halave Pipdi with the classic English–Celtic ballad Scarborough Fair. It is performed as a duet by Gujarati folk singer Kashyap Dave and Western classical vocalist Vanya Bhatt, a graduate of Christ University, Bengaluru.
Rooted in Surat, Gujarat—the city where the British East India Company established its first factory in 1612—the collaboration connects two cultures centuries apart, showing how music can transcend time and geography.
“For me, Kon Halave Limdi captures the joy and energy of Garba,” said Vanya. “Pairing it with Scarborough Fair created a harmony that feels both new and familiar, perfect for global Navratri celebrations.”
Music producer Jimmy Desai called it “a rare and exciting blend.” He added: “It’s not often you hear operatic vocals flowing seamlessly over Garba rhythms. We wanted to preserve the essence of both traditions while making the music festive and universal.”
The English ballad, originally romantic, has been reworked with lyrics highlighting the camaraderie, joy and togetherness central to Navratri.
“The Gujarati melody instantly evokes community spirit,” said Kashyap. “Combining it with a British classic gives it cross-cultural appeal, making it suitable for celebrations anywhere in the world.”
The fusion, the team said, is more than just a song: it is a celebration of heritage, a bridge between East and West, and a musical thread tying hearts together during the festival of dance, devotion and community.
Woodcut prints that explore the fragile threshold between body, time, and transcendence
Inspired by Baul mystics like Lalon Shai and Shah Abdul Karim, as well as sculptural forms from Michelangelo to Rodin
Figures emerge from black holes and womb-like voids — trapped in time yet reaching for freedom
A visual dialogue between flesh and spirit, rootedness and flight
A bold continuation of South Asian metaphysical traditions in contemporary form
Paradox becomes the path: muscular bodies dream of escape through light, memory, and love
Expressionist in tone, haunting in imagery — a theatre of becoming
I imagine Tarek Amin (Ruhul Amin Tarek) has a singular vision as his hands work on his craft, his measuring eyes, the membranes of his fingers. They are mostly woodcut prints on the threshold of becoming, from darkened holes. A human figure dangling in space, yet not without gravitational pull, the backwards tilt of the head is like a modern-day high jumper in the fall position, the muscles and ribcage straining to keep the body's mass afloat. A clock is ticking away in the background of a darkened rectangle. Is it the black hole, the womb, or the nothingness from which the first murmurings of being, its tentative emergence into light, can be heard?
A clock is ticking away in the background of a darkened rectangleManzu Islam
This one is in the darkened inside of a clock, as if in the womb of time, but not quite trapped in the savage tick-tock of the metronome, for the body in its stylised repose is already stirring to take flight. Why else would the face turn away from the body in its sideways position and look beyond the dark hole, beyond the frame of time?
Even the figure deep in sleep in the primal bed of the darkened womb is not as lost to time as it first appears. The legs have already wriggled their way beyond the frame. Besides, the folds of the garment covering the lower body are billowing in the wind, as if responding to the summons of the beyond to take flight into the infinite. They are all over, these black holes that imprison even a tiny flicker of light. Staged almost as an expressionist theatre reminiscent of Ludwig Kirchner et al and the Bridge Group’s woodcut prints where dark areas, looming large, provide abodes for the likes of Nosferatu or the sinister zones of danger in a Hitchcock film, but always pointing to the lighted outside, the avenue of escape, even transcendence, as Tarek Amin tends to think.
Often bathed in metamorphic ochre and orange, these figures inspired by Bengal’s deep-rooted philosophers and mystical poets, such as Lalon Shai and Shah Abdul Karim, are swept along by their melodies of love and dread, which, despite being authorised in the name of an ineffable stranger, never fail to touch the very membrane of the soul. Perhaps that’s why Tarek Amin calls this series of artwork Echoes of Existence.
The body in its stylised repose is already stirring to take flightManzu Islam
In Ovid’s Metamorphoses, Narcissus, trapped in the mirroring surface of the water, stays deaf to Echo’s lovelorn calls. From Tarek Amin’s canvases, the echoes resolute not to take no for an answer insist on being heard, even though they speak in whispers.
What do these echoes speak of? Mostly of bodies, sinuous bodies toned and chiselled like Yukio Mishima’s, destined for a metaphysical journey. These journeys are fraught with dangers, as Mishima’s have been, imploding in a manic misadventure. Tarek Amin’s bodies, taken at once from the body-centred metaphysics of the Bauls (of which Lalon Shai and Shah Abdul Karim are preeminent figures), and from the long lines of sculptures from Michelangelo to Rodin and beyond.
Auguste Rodin looked at Michelangelo, who spurred him on his creative journey. But the Frenchman, being a workman and given to the sheer materiality of objects, the thingness of things which prompted Rilke to his poetic exploration of Dinggedicht (thing-poem), gave his figures ample volume, substance, and the rough edges of their emergence. Rodin’s bodies, weighed down by their dense matter, are rooted in places. They are too heavy to take flight. Analogous to Rodin, although working in a different medium, is the work of Bangladeshi painter SM Sultan. His embodied figures, mainly peasants bulging with muscle, know only work. Labouring in the fields, their muscles protruding all over their anatomy, creating fleshy mountains and slopes that even the likes of Arnold Schwarzenegger couldn’t dream of in their wildest imagination, is too heavy. They seem more likely to sink under their own weight than take flight. If there is an escape route for them, it is by digging deep, like Kafka’s moles.
Sure, bodies are houses of being, but some bodies are bent on dragging their being elsewhere. This, I sense, is the case in Tarek Amin’s work. Muscular bodies, bound by the sheer force of their materiality, and yet they want to fly elsewhere, it doesn’t matter how one names it: beloved, divine, or even God (Lalon imagines him as a strange neighbour in a hall of mirrors so close and yet aeons away). It seems we’ve ended up with a paradox. Rooted in bodies and yet looking for lines of flight. Imprisoned by the clock and yet wishing to melt it away as Salvador Dalí so theatrically wanted, or as Henri Bergson so patiently waited to experience his durée, as the cubes of sugar dissolved in water, which sent young Marcel Proust wild with excitement, thinking he had found the key to retrieving lost time.
Yet paradox is not a negative force. In carnival, particularly in the Caribbean one sees some figures in their limbo dancing, lowering themselves to almost ground level to pass the bar, while others elongate themselves on stilts to touch the sky. The high and the low, all at the same time, is the force that disrupts the habitual orders of things. It unleashes the forces of creation.
Tarek Amin’s bodies, then rooted in their flesh and chiselled muscles, and in dreams of escape with the melodies of Lalon Shai and Shah Abdul Karim are the figures of freedom. It will be a bumpy ride, but I wish them well.
Exhibition Title:Echoes of Existence
Artist: Tarek Amin Date: 20–27 June 2025 Venue: Spitalfields Studios, London E1
Manzu Islam is a British-Bangladeshi writer and academic, author of The Mapmakers of Spitalfields, Burrow, and Godzilla and the Song Bird. His fiction explores migration, racism, and cultural identity through vivid storytelling rooted in postcolonial experiences.