A CAMPAIGNER living in a tower block that is covered in Grenfellstyle cladding has called for ministers to launch an urgent fund in order to get unsafe material removed from all homes.
Ritu Saha has spoken of her frustration at the battle that residents in the Northpoint block in south London have had to get the cladding replaced since 2017.
Saha, who is among residents carrying out night patrols to ensure their neighbours’ safety, is a member of the UK Cladding Action Group which is demanding action to make homes across the country safe.
June will mark two years since the blaze at Grenfell Tower, in Kensington, west London, which killed 72 people and injured many more. Since the fire, only 10 of the 173 private buildings found to have combustible cladding have been fixed while rows rumble on over who should foot the repair bill.
Saha, whose group is set to host a forum for MPs in May to discuss an action plan, told Eastern Eye: “The government’s tactic has been coaxing freeholders and developers into paying. Legally there is nothing they can do to make them fix the cladding.
“The cladding was passed fit at the time. Developers are laughing at the government. They are passing on the costs to leaseholders.
“The government should step up and say the buildings are unsafe and set up a fund to fix the problem on these buildings.”
Saha, who came to the UK from Kolkata in 2009, added: “It is incredibly frustrating. There’s been very little progress. It’s quite upsetting, as a lot of people lost their lives in this tragedy.
“I wouldn’t think this would happen in a developed country like the United Kingdom.
“None of this is our fault. We bought the flat in good faith.” Saha purchased the apartment in Bromley with her husband in 2015. Two years later, cladding similar to Grenfell was found on the building, with estimates of £3£4 million to get it removed. Residents have seen their service charges soar to pay for fire safely patrols, with some volunteering in the evenings and overnight.
Saha, a university administrator, said: “We put our life savings into buying it.
“All these flats are now worthless. We can’t sell, lots of banks are refusing to remortgage.
“Many residents are doing patrols from 7pmmidnight. My neighbour does midnight to 7am. The service charge increased for [fire safety patrols]. Many people fell into arrears due to these sums.
“We keep having the government say the priority is people are safe. [But] It is us residents paying through our nose and our time to ensure we are safe on patrols or paying fire wardens.”
Similar cladding to Grenfell has been used on 433 highrise residential and public buildings in England. Of the council and housing association blocks affected, 79 per cent have construction works under way or have been fixed, compared to 11 per cent of the private towers, according to figures published in March.
The government has set aside £400 million to fix social housing, but nothing for private homes.
Last year, communities secretary James Brokenshire wrote to around 60 building owners and developers, calling on landlords to pay towards replacing the unsafe materials. A few freeholders and developers have offered to pay, but most are refusing or are passing the cost onto the leaseholders.
Saha added: “Developers like Carillion don’t exist any more, they have gone into liquidation.
“Our developer didn’t have anything to do with the cladding put up, that’s their point of view.
“There are lots of families with little children and retired residents. A fire from the bottom would stretch to the top. We feel abandoned.”
Brokenshire has told leaseholders the government will fund councils to remove dangerous cladding, costs that they will recover from building owners. He said a “joint inspection team” being recruited by his department will explore how it can support the council to take action on Northpoint.
Earlier this month, Brokenshire told MPs: “A growing list of companies, such as Barratt, Mace and Legal & General, are doing the right thing and taking responsibility. In addition, warranty providers have accepted claims on a number of buildings. I urge all owners and developers to follow the lead of those companies and step up to make sure this work is done.
“This is a priority for me. I know the work needs to be advanced more quickly, and I am considering all other options if it is not.”
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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