AN EXHIBITION in London hopes to enlighten Britons on migration as Brexit and immigration continue to divide public opinion.
No Turning Back features seven pivotal migration moments that have helped shape Britain into the multi-cultural country it is today.
The Migration Museum, which has been established at The Workshop space in south London, is a project designed to increase knowledge and appreciation of migration and the turning points that have had an impact on the UK.
Sophie Henderson, director of the Migration Museum Project, said that as the EU referendum and immigration are “the topics on everybody’s lips,” the exhibition is a reminder that migration has been a constant occurrence throughout British history.
“We’ve bookended a look at various turning points in Britain’s history when the country has taken a divisive turn from a migration point of view,” Henderson said. “Each of these has got contemporary relevance and we’d like people to look at the current migration debates in the context of what has gone on before.”
From the exhibition’s first pinpointed moment in 1290, when the entire Jewish population was expelled from England, to the first East India Company voyage to India in 1607, the project aims to educate on how migration has always existed and been part of a larger conversation within the country.
In the aftermath of the referendum, it was reported that hate crimes surged by 41 per cent. Data from the Home Office showed 1,546 racially or religiously aggravated offences were documented in the fortnight up to and including the day of the referendum on June 23, 2016.
Henderson said the exhibition aims to allow people to have a “slower and more leisurely think” about migration “in a different kind of place and with a different kind of context to the newspaper and politicians’ arguments”.
“People tend to talk about migration topics like Brexit in abbreviated terms and sometimes those arguments can be polarised and heated. We’d like to think about those kinds of issues in a different kind of way; in a more leisurely and informed way and with a greater backdrop and creative context,” she added.
Highlights from the show include All that I Am, a modern take by British Asian artists Amrit and Rabindra Singh, (also known as The Singh Twins) on a traditional Indian miniature painting. It tells the story of their Punjabi father and his journey to Britain following the Partition of India.
Mumbai-born artist Hormazd Narielwalla’s work Bands of Pride is a response to the pieces of yellow felt that Jews were required to wear prior to their expulsion in medieval England.
The UK premiere of Humanae, a global project by Angélica Dass in which she attempted to photograph every possible shade of human skin, is also on display.
Henderson said the display is not aiming to make a statement, but is simply trying to “provoke” audiences into thinking for themselves in regard to migration.
“I hope it will really pique people’s interests and provoke them into asking questions and researching in their own minds these important issues a little bit more deeply,” she said.
No Turning Back: Seven Migration Moments that Changed Britain is on until February 25, 2018 in Lambeth, London. Free admission. migrationmuseum.org
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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