The models walked with strength and poise on the catwalk, heads held high, faces etched with confidence, concentration and courage. With their vibrant clothes, the models exuberated an ethereal beauty that was riveting to watch.
But this was no regular fashion show with designer clothes and professional models. Eight acid attack survivors took to the catwalk in east London last Tuesday (10) to raise awareness of gender-based violence in Bangladesh.
Survivors' Runway was organised by ActionAid, an international charity that supports girls and women in the poorest areas of the world.
Among the women taking to the catwalk was Nurun Nahar, who works with ActionAid Bangladesh as a programme officer.
When Eastern Eye met Nahar at a rehearsal, she appeared a little shy. She was a young woman when she was attacked after rejecting a boy’s proposal in 1995. He, accompanied by 11 others, came to her house and threw acid over her body and face, causing serious injuries.
“Of course, I hate him,” Nahar said of her attacker. “But now I realise that he learned from society. It’s not only his fault. It is society that made him like that.”
Nahar endured years of surgery and treatment and the scars on her face and hands are obvious to see. But through the years of recovery, she kept her courage and confidence.
The 37-year-old, who recently completed a master’s degree in political science, said she hoped to let other acid attack survivors know there was hope.
“Your life is not over. You have a future. You will fight for it. It is not your fault, it is the fault of society and who did it to you,” Nahar told Eastern Eye. “You will survive and you will cope. You will make a good future. Your face or hands or eyes may be injured, but it is not the end.”
Another survivor who walked the runway in the Truman Brewery, Brick Lane, was 15-year-old Sonali who was only 17 days old when she was attacked by acid in 2002. Her scarring was so traumatic that it caused her soft, newborn skull to change shape.
Petite in height and frame, Sonali appears like a fragile doll – but her spirit is anything but delicate.
She has endured cruelty all her life because of her severe scarring: “Children used to be afraid of me. I never wanted to go to school. No one came to play with me. They stared at me,” she said.
The police in Bangladesh failed to take witness statements in relation to her attack, so the court dismissed the case and the perpetrators have never been brought to justice.
There are many similar stories. Acid attacks in Bangladesh peaked at 400 in 2002.
ActionAid has spent the past few years campaigning for regulations leading the government in that country to introduce legislation that helps control the sale, use and storage of acid.
Since stricter legislation came into force, acid attacks have fallen to under 100 per year.
A study of 90 cases in Bangladesh found that 80 per cent of the assaults were in the victims’ homes and almost 70 per cent of those attacked were female.
Bibi Russell, a former model and designer of clothes shown on the catwalk, was keen to join forces with ActionAid Bangladesh to help acid attack survivors fight for their rights.
She helped launch a similar event in Dhaka for International Women’s Day in March this year. The activist, who has also worked with girls caught up in child trafficking, described her efforts as a “tribute” to the survivors.
“There is so much to learn from [the survivors],” she told Eastern Eye. “You need to look at them. Look at their eyes. Look at how they’re performing. I could do a show in London with any models in the world, but I’m so honoured they’re doing my show.”
Farah Kabir, the country director for ActionAid Bangladesh, told Eastern Eye the project was used to bring the issue back “on the agenda”.
“[The show] would give the acid survivors an opportunity to feel dignified, feel respect but also draw the attention of the policy makers and the likes of me and you, so I had the idea of the fashion show,” she explained.
Kabir has been working with the charity for 11 years and said one of the key elements in organising the show was to “redefine beauty”.
“It was not just the face, it’s the person. It’s the character, it’s the personality, the courage. Imagine if you are going about in society where everybody looks at you, at your disfigurement, as something wrong,” she said. “It was not their fault. They have the courage to get up in the morning, face the world, so I really respect them.”
A day after Eastern Eye met the women, they took to the catwalk in an inspirational show.
Sonali, who had seemed like a tiny doll the previous day, was beaming with confidence and appeared taller than anyone else in the room.
Nahar’s nervousness appeared to have become a distant memory as she danced to the music, alone, smiling and moving her body to the beat.
The women and men affected by the vicious attacks suffered physical pain, but what the attackers could not take away was their dignity, strength and ultimately, their beauty.
“[The survivors] are brave, courageous and they’re strong and they can fight. They can change their lives. They are changing their lives,” Kabir said.
“Today they see themselves as being leaders. This is our achievement.”
To find out more and donate to ActionAid visit: https://www.actionaid.org.uk/donate
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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