British Museum fires staffer over theft of valuable historic artifacts
The famous public museum dedicated to human history, art, and culture, also has several ancient Indian artefacts on display including a gallery devoted to ‘India: Amravati’ sculptures
The British Museum, a prominent tourist destination in London renowned for its vast collection of valuable artifacts, has taken the decision to expel an employee, pending legal action, following the discovery of theft of several treasures from a storeroom.
The famous public museum dedicated to human history, art, and culture, which also has several ancient Indian artefacts on display including a gallery devoted to ‘India: Amravati' sculptures, said on Wednesday (16) it has launched an independent review of security after items from the collection were found to be missing, stolen or damaged earlier this year.
The matter is also under investigation by the Economic Crime Command of the Metropolitan Police.
"We called in the police, imposed emergency measures to increase security, set up an independent review into what happened and lessons to learn, and used all the disciplinary powers available to us to deal with the individual we believe to be responsible,” said George Osborne, Chair of the British Museum.
The former UK chancellor of the exchequer laid out the museum's priority as threefold: to recover the stolen items; to find out what could have been done to stop this; and to do "whatever it takes", with investment in security and collection records, to make sure this doesn't happen again.
“It's a sad day for all who love our British Museum, but we're determined to right the wrongs and use the experience to build a stronger museum,” he said.
According to an official museum statement, the majority of the items in question were small pieces kept in a storeroom belonging to one of the museum's collections. They include gold jewellery and gems of semi-precious stones and glass dating from the 15th century BC to the 19th century AD.
None had recently been on public display, and they were kept primarily for academic and research purposes, the museum said.
“This is a highly unusual incident. I know I speak for all colleagues when I say that we take the safeguarding of all the items in our care extremely seriously. The museum apologises for what has happened, but we have now brought an end to this – and we are determined to put things right,” said Hartwig Fischer, Director of the British Museum.
“We have already tightened our security arrangements and we are working alongside outside experts to complete a definitive account of what is missing, damaged and stolen. This will allow us to throw our efforts into the recovery of objects,” he said.
An independent review will be led by former trustee Sir Nigel Boardman, and Lucy D'Orsi, Chief Constable of the British Transport Police (BTP), who will conduct the “painstaking job, involving internal and external experts” to look into the matter and provide recommendations regarding future security arrangements at the landmark institution.
They will also kickstart a "vigorous programme" to recover the missing items.
“The British Museum has been the victim of theft and we are absolutely determined to use our review in order to get to the bottom of what happened, and ensure lessons are learnt.
"We are working alongside the Metropolitan Police in the interest of criminal justice to support any investigations,” said Boardman.
The museum is consistently ranked among the top visitor landmarks in the UK capital, attracting over 6 million people annually.
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.”
By clicking the 'Subscribe’, you agree to receive our newsletter, marketing communications and industry
partners/sponsors sharing promotional product information via email and print communication from Garavi Gujarat
Publications Ltd and subsidiaries. You have the right to withdraw your consent at any time by clicking the
unsubscribe link in our emails. We will use your email address to personalize our communications and send you
relevant offers. Your data will be stored up to 30 days after unsubscribing.
Contact us at data@amg.biz to see how we manage and store your data.