The wife of a British-Bangladeshi man arrested over the south Asian country’s deadliest attack says her husband is innocent and unaware that his father has died while he has been in prison.
Sharmina Parveen told reporters on Tuesday (November 1) her family had also been “ostracised” since Hasnat Karim, 48, was named a suspect in the Dhaka cafe attack which left 20 hostages dead four months ago.
Sharmina, Karim and their two children were at the Holey Artisan Bakery in Bangladesh’s capital when five gunmen stormed the cafe on July 1. Eighteen foreigners died in the attack.
Military commandos brought the siege to an end the next morning, killing all five attackers and freeing more than a dozen Bangladeshi hostages including Sharmina’s family.
However, Karim was detained by authorities after video footage, which emerged hours after the hostages were shot and hacked to death, showed him strolling on the roof of the cafe with the attackers.
Sharmina insists her husband, a British citizen of Bangladeshi origin, was being used as a “human shield” by the hostage takers.
“I was there in the cafe with him. He was taken to the rooftop at gunpoint. He only followed their order to save his family… any responsible man would do the same,” she said.
Bangladesh has been reeling from a wave of recent attacks with targets including foreigners, rights activists and members of religious minorities.
Authorities have blamed a local Islamist extremist group for the cafe attack, rejecting claims by the Daesh (Islamic State) militant group that it was behind the carnage.
Since the deadly assault, security forces have killed at least 40 Islamist militants including a Bangladeshi-origin Canadian who police described as the mastermind of the attack.
Golam Mostafa, a lawyer for Karim, who is a former university professor, has said there is no evidence his client was involved. Police have interrogated Karim for several weeks but are yet to formally charge him.
Sharmina said Karim’s father, who had been receiving kidney dialysis, had died on Monday.
“My husband doesn’t know about his father’s death. I’m very scared to give him the news in the jail as his cardiac condition is very weak,” she said on Tuesday.
“The head of the family is gone. He was worried about his son till his last breath. It’s been a very difficult phase,” she added.
The 34-year-old said she was sent on “forced leave” from her job as a schoolteacher and that her family had been shunned since Karim’s arrest.
“My kids couldn’t go to school for more than three months as they were facing social ostracisation. Other kids bullied my eight-year-old son saying that his father is a terrorist,” Sharmina said.
“My colleagues and friends stopped contacting me. The situation is unbearable,” she said. (AFP)
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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