BRITISH INDIAN World War II spy Noor Inayat Khan will get a “fitting tribute” with an exhibition on her life and times set to be launched on the eve of Women’s Day (8).
The Commonwealth War Graves Foundation (CWGF) will unveil the exhibition, titled ‘Noor Inayat Khan: A Woman of Conspicuous Courage’, at the Runnymede Air Forces Memorial in Surrey on Saturday (7).
The exhibition is planned as a celebration of the life and legacy of the war heroine, who was the daughter of Indian Sufi teacher Hazrat Inayat Khan, a descendent of the 18th century Mysore ruler Tipu Sultan, and American-born Pirani Ameena Begum.
“I am delighted that the Commonwealth War Graves Foundation is organising this exhibition as a permanent legacy to her bravery, which will ensure that her story continues to inspire the next generation,” said Shrabani Basu, author of Spy Princess: The Life of Noor Inayat Khan and chair of the Noor Inayat Khan Memorial Trust.
“It is a fitting tribute to a World War II heroine on International Women’s Day,” she added.
Khan, who was a British Special Operations Executive agent during the war, was captured and killed by the Nazis in 1944, at the age of 30.
She made history as the first female radio operator to be sent to Nazi-occupied France, armed with false documents and a pistol.
The exhibition was developed with the help of young women from the Girlguiding Association in Berkshire and Buckinghamshire, who turned Khan’s story into a learning resource.
“Noor’s story is an inspirational one and we believe it is important, as the custodians of the memorial on which her name is inscribed, to help give it greater prominence,” said Julian Evans, director of International and Community Engagement at the Commonwealth War Graves Commission.
“We hope that the exhibition will encourage more people to visit the Air Forces Memorial to explore the story of Noor and the 20,000 other members of the Commonwealth Air Forces who are commemorated here,” he said.
The CWGC commemorates the 1.7 million Commonwealth servicemen and women who died during the two World Wars, alongside an extensive and accessible records archive. It operates in more than 23,000 locations in over 150 countries, with the CWGF as its charitable arm.
Through the new exhibition, funded by the AIM Biffa Award History Makers Scheme, the public will also get to put their code-breaking skills to the test, and discover the scientific and technical skills of a covert wireless radio operator.
Jasmine Theti, a 15, of Girlguiding Berkshire and Buckinghamshire, said: “We must never forget her and the sacrifice she made. I loved learning the Morse Code; it was good fun.
“Although I wouldn't have liked sending messages in a cold Parisian park whilst looking over my shoulder all the time. Noor was an inspiration.”
As a young refugee living in London, Khan had faced prejudices throughout her life, even as she was trained as a secret agent.
The exhibition will uncover how Khan broke new ground with her “steely strength of will”, despite SOE assessors initially placing little faith in her abilities.
Gillian French, Biffa Award Head of Grants, noted: “It is extremely important that we continue to support projects like this that remind people of some of the inspiring people who came before us and who played such significant and courageous roles in our history.”
Visitors to the CWGC’s Runnymede Memorial in Surrey, about 23 miles from London, will be able to self-guide themselves around the iconic memorial in honour of more than 20,000 Air Forces martyrs, including Khan, who have no known grave.
Historical records show that despite being tortured and interrogated for 10 months, Khan did not divulge any sensitive information. Her last word before being shot dead was “Liberte”.
Khan was posthumously awarded the George Cross, and her sculpture was unveiled at London's Gordon Square Gardens in 2012. Last year, she became the first Indian-origin woman chosen to be honoured with a Blue Plaque at her wartime home in Bloomsbury, London.
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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