LEADING lawyers have slammed the “atrocious” under-representation of ethnic minorities in the legal sector, as new findings showed BAME prospective barristers are less likely to get a pupillage than their white counterparts.
From 2013 to 2017, only 23 per cent of Bar Professional Training Course (BPTC) graduates from BAME backgrounds commenced pupillage – compared to 44 per cent of their white counterparts, a new report by the Bar Standards Board (BSB) found.
This was despite the candidates having the same grades as one another.
The figures come months after the BSB released a separate report in February which revealed that the overall percentage of BAME barristers at the Bar had only increased
by 0.3 percentage points compared to December 2017, and 0.8 percentage points compared to December 2016, to 13 per cent.
Sailesh Mehta, a barrister at Red Lion Chambers, said the latest findings did “not make pleasant reading for the next generation of barristers”.
“A profession that professes to espouse justice and fairness should not itself have unfair barriers to entry,” Mehta told Eastern Eye. “The difference between now and then is that the leadership and the rank and file of the Bar does want to level the playing field.
“It will take a little more time, but it will happen.”
Acknowledging that change does not come quickly, Mehta argued that it only came with “agitation and protest”.
“It should not be forgotten that the key drivers for change rarely came from the leadership of the Bar,” he added. “As always when there is unfairness, vested interests dug in to maintain the status quo.”
Lynne Townley is the chair of the Association of Women Barristers (AWB). Speaking to Eastern Eye on Monday (8), she said the statistics “came as no surprise”.
“BAME candidates are still atrociously under-represented at the Bar and, in particular, in senior legal positions,” she said, adding that the AWB ran a clinic with the Society of Asian Lawyers last year to encourage under-represented groups to apply to become Queen’s Counsel.
“At that time there were only 29 BAME women in silk in England and Wales,” Townley recalled.
“This has to change.”
According to Townley, the change needed requires a push from government and institutional levels.
“While there is a lot of positive talk about diversity, affirmative action needs to be taken and this needs to be borne out in the statistics,” she said.
“We need to see an increase not only in the number of BAME candidates bring offered pupillage, but in the numbers taking silk and also being appointed to the judiciary.”
A senior barrister, who wished to remain anonymous, echoed similar sentiments. Agreeing that the statistics were not surprising, she said there is a “tendency to rely on there being visible tokens and some statistical improvement”.
“That means no one has to dig deep and look at the whole issue from recruitment to retention and onwards to advancement and appointment,” the barrister told Eastern Eye. “I have been in this for many years and continue to be disappointed.”
However, she believes the Asian community needs to do more in order to make a difference.
“We should do more to help each other and others from nontraditional backgrounds,” she
urged. “This is something that has to be confronted.”
Responding to Eastern Eye on Monday, the BSB said they were concerned by the findings in relation to BAME students.
In light of the data, a BSB spokesperson said they were considering what more they could do
to encourage a more diverse Bar as part of the BSB’s Equality and Diversity strategy.
“We have established a Race Equality Taskforce to support our work in this area,” the spokesperson added. “We are already consulting stakeholders as to how we can ensure greater fairness in the recruitment and advertising process for pupillage.”
Other key findings revealed that BAME students in the Bar Professional Training Course had risen to 37 per cent, around six percentage points higher than in 2012-13. The number of female BPTC students had also increased from 52 per cent in 2011-12 to 56 per cent in 2017-18.
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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