THE first ever conviction last month of a man for controlling his wife’s and daughter’s lives is an “important moment in the Asian community” to stamp out the practice, campaigners said.
Salamat Khan, 64, was found guilty of coercive control for making the lives of his spouse and daughter a “living hell”. He was given a year’s community service and an indefinite restraining order in August, while his son, Abbas Khan, was found guilty of controlling behaviour and assault.
The court heard that two of Khan’s daughters were not allowed out at night or to meet their friends in Oldham, Greater Manchester, after they both refused arranged marriages. The daughters were also banned from meeting their two sisters who had married men of their choice.
Rani Bilkhu, founder of the Jeena International charity, told Eastern Eye: “I am dealing with a number of such cases of coercive control and how immigration is used.
“One lady is in her 90s; her son is doing it. It is encouraging [the Oldham conviction] and a
positive outcome that will encourage organisations and victims to come forward.
“Coercive control is one of the most [common] tools being used in the Asian community.”
Home secretary Priti Patel held the first roundtable meeting on the Domestic Abuse Bill
in August.
There were 960 cases of coercive control between April 2017 and March 2018, according to
the Crown Prosecution Service. In north west England, 15 per cent of these cases involved people of south Asian origin.
Dr Roxanne Khan is director of the Honour Abuse Research Matrix Network and a senior lecturer at the University of Central Lancashire.
She told Eastern Eye: “This case throws light on the seriousness of this crime, and it should
hopefully encourage victims of coercive control in the Asian community to seek support.
“Sadly, this is an all too familiar story – one in which a domineering father, along with his
son, exerted extreme control over his wife and two daughters, after they rejected his efforts to force the younger women into marriage in Pakistan, and for their refusal to transfer properties to both him and his son.
“The judge’s words in passing sentence sends out a strong and important message – that the men’s coercive and controlling behaviour, referred to as a “living hell” and “toxic and oppressive regime”, is not a ‘soft’ form of abuse, but it is a criminal offence.
“Make no mistake, while coercive and controlling behaviours are often subtle, they are
highly destructive.
“There is a large volume of research that links this form of abuse with other serious crimes
such as stalking and domestic homicide. Hopefully, this case will start a much-needed conversation in the Asian community about coercive control and will encourage victims to seek help.”
Last year, a woman sued her ex-husband and former in-laws for abuse suffered during her marriage, the first known case involving a British Asian victim to emerge since laws tackling controlling behaviour were unveiled.
The unnamed victim from the West Midlands launched a legal case for compensation, presenting a claim for harassment and personal injury.
She also made a claim for her jewellery, money, and personal possessions to be returned due to the “emotional and psychological” abuse she faced during the six-month marriage.
The woman was given an out of court settlement under 2015 laws that made coercive control a criminal offence, which included emotional and psychological abuse.
Mohammed Shafiq, from the Ramadhan Foundation group, said the latest case in Oldham “is an important moment in the Asian community to recognise this problem, which has existed for many years.”
He said: “It is something people don’t want to talk about and address. It sends a powerful message that action will be taken for this [kind of] criminality.
“It is not uniquely an Asian community problem, it’s a societal problem. It comes from culture attitudes in India and Pakistan where women are seen as second-class citizens and are at the mercy of husband and father.
“Women and girls have aspirations and dreams, and they should be allowed to follow that. Parents should move with the times.”
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.