MINISTERS have failed ethnic minority communities over tackling health inequalities, public health minister Andrew Gwynne told Eastern Eye as he promised the new Labour government will make more of an effort to engage with such groups.
His comments came as he attended an event in London last Sunday (8), when he and senior NHS leaders heard suggestions from members of the public on improving the health service.
The government has launched a ‘10-year health plan’ to get the NHS back on its feet and address disparities among patient groups.
Gwynne told Eastern Eye on Monday (9), “We need to break down barriers, whether those are cultural or linguistic, so that there is full opportunity for everyone to access health service.
He added, “I have said to officials in the Department of Health (and Social Care) that I do not accept the term ‘hard to reach’ communities.
“They’re only hard to reach because we have not tried hard enough. We have to do better at reaching out… and making sure that people have the right advice on healthcare and have access to services.” An NHS Race and Health Observatory review found racial discrimination, barriers to access healthcare and inadequate data collection all “negatively impacted” the health of the black, Asian and minority ethnic people in England.
Ethnic inequalities in health outcomes are “evident at every stage throughout the life course, from birth to death”, the survey found Gwynne revealed how he has seen first-hand the level of health inequalities among south Asians in Gorton and Denton, which he represents in parliament.
“My constituency boundaries in Manchester changed massively at the (July) general election. I went from having a constituency that was 98 per cent white, to one with very substantial Pakistani, Bangladeshi and Indian communities,” he told Eastern Eye.
“I have seen first-hand just how stark these inequalities are. Longsight and Levenshulme (areas in Manchester) have some of the worst inequalities I have ever seen in the 20 years I’ve been a member of parliament. “I feel an obligation to try and do my bit while I’m the minister for public health to really focus in on the health inequalities in the south Asian communities, not just the ones I represent, but across the country, because the ones I represent are very similar to south Asian communities in every town and city.”
Health inequalities among various ethnic groups were laid bare during the Covid pandemic, as these groups experienced higher infection and mortality rates than the general population.
The NHS Race and Health Observatory also highlighted ethnic inequalities in mental health care, maternal and neonatal health care, and the NHS workforce.
Rates of infant and maternal mortality, cardiovascular disease (CVD) and diabetes are all higher among black and south Asian groups than white Britons.
Gwynne said Labour was “serious about driving down these inequalities” as part of its 10-year health plan.
“On this 10-year plan consultation, we absolutely need more voices from the south Asian community, and that’s why people need to give us their ideas and make sure that their voices are heard in this process,” said Gwynne.
At the nationwide series of public events, members of the public are encouraged to share their experiences of the NHS and offer their suggestions to improve the health service.
Gwynne attended public sessions in Leicester last month and in London last Sunday (8), where he was joined by NHS England chair, Richard Meddings.
More than 100 people from across the city attended and discussed, among other issues, NHS waiting lists.
The latest available data shows a waiting list of more than 1.2 million in the London commissioning region – of these, 34,000 have waited more than a year.
More than 38,000 patients waited longer than four weeks for a GP appointment in the London region, while in the Midlands, 1.4 million were on the NHS waiting list, with nearly 50,000 experiencing delays of longer than 12 months.
As of September this year, 100,000 patients were unable to get a GP appointment in the Midlands for more than four weeks. And 15,000 patients waited more than four weeks for a GP appointment at NHS Leicester, Leicestershire and Rutland ICB.
Gwynne conceded not many south Asians attended the recent events. The minister also noted the lack of feedback from Asian groups on the NHS’s digital platform, change.nhs.uk, asking for people’s thoughts on healthcare.
“The way the audiences are picked is that it is proportionate to the number of people who have responded online from a cross section of the whole community,” he told Eastern Eye.
“The problem we have had is the pool we’ve been drawing from – the south Asian communities – has been small, because the responses have been small.”
He added: “At all the regional consultation events, there were a good number of people from the black and minority ethnic communities. It’s just we could do with more.
“It is noticeable we haven’t had as many responses on the portal from the British south Asian communities. If we could encourage people to go online so that the voices of British Indians, British Pakistanis, British Bangladeshis and so on are factored into the 10-year plan.
“It’s crucial as part of our drive to tackle these health inequalities across England.” Gwynne suggested there were talks to create specific plans to improve reach among south Asian communities based on conditions that they are disproportionally affected by, such as diabetes.
He said, “I’ll give you an example. On the NHS health checks, one of the largest at-risk groups for cardiovascular disease are white men over the age of 40. I’m a white man over the age of 40 – I fall into this demographic. My arm could be hanging off and for a variety of reasons, I would still not go to see the doctor.
“You have to ensure you plan services that meet the needs of people who don’t automatically go to the doctors, don’t go to seek medical help. “We have got to be better at the NHS at reaching out into those communities with culturally and linguistically appropriate outreach so we can get people the medical care they need,”
The public engagement exercise will help shape the government’s 10-year health plan, which will be published in spring 2025. Ministers want to implement three changes in healthcare – hospital to community; analogue to digital; and sickness to prevention
Under the first shift from ‘hospital to community’, the government wants to deliver plans for new neighbourhood health centres closer to homes and communities. These will enable patients to see family doctors, district nurses, care workers, physiotherapists, health visitors or mental health specialists, under one roof.
Ministers also wants to modernise the NHS by bringing together a single patient record, summarising patient health information, test results and letters in one place, through the NHS App.
And by moving from sickness to prevention, the government wants to shorten the amount of time that people spend in poor health and prevent illnesses before they happen.
n Change.nhs.uk has received over one million visits. It will be live until spring 2025 and is available via th
Pharmacists ‘key to delivering community care’
THE public health minister Andrew Gwynne told Eastern Eye one of the government’s priorities in the 10-year NHS plan was to get “more treatment out of hospital and in the community closer to where people live”, writes Sarwar Alam.
Community pharmacies are a key part of primary care and are often the first point of contact for people in need of healthcare. British Asians make up a large contingent of community pharmacists.
Of the 51,184 pharmacists in England, 43.6 per cent are from an Asian or Asian British background, according to the General Pharmaceutical Council. However, pharmacies have been decimated by a lack of funding, with around 700 shutting in England over the last two years and 1,250 in the last decade.
“As a new government, we’re very aware of the challenges that are being faced in the pharmacy sector. This government is committed to investing in our pharmacies. We want to make sure that more services will be available in pharmacies,” said Gwynne.
The pharmacy sector has been working without a funding contract since the last one ended in April, and though it is believed negotiations are ongoing, no date for a new contract has yet been announced.
The uncertainty has led to pharmacists considering taking industrial action in the new year to bring to the public’s attention what has been described as the “slow death of community pharmacy” by the National Pharmacy Association.
“Pharmacies are part of the solution to fixing the NHS, and certainly that big shift from hospital to primary care – community pharmacy has a massive role to play,” Gwynne said.
“My colleagues Stephen Kinnock (pharmacy minister) and Wes Streeting (health secretary) are working really hard to get proposals that will work for the pharmacy sector so that we stem the closures, we invest in community settings, and we give pharmacy extra business through doing things they can do better than other parts of the NHS.
“Pharmacists know their customers, they know their needs, and they can tailor public health services for them, whether it’s weight management, whether it’s sexual health services. They are best placed to deliver a whole variety of services that either they currently do but not enough of, or they don’t do at all.”
Father’s Day is often seen as a time for cards, tools or a family lunch, but across the globe, it carries a much deeper significance. Beyond the commercial promotions, Father’s Day reflects a wide range of traditions shaped by history, culture and emotion. While some mark the occasion with grand gestures, others focus on quiet reflection, respect and the bonds that define fatherhood.
Thailand’s day of respect
In Thailand, Father’s Day is celebrated on 5 December, the birthday of the late King Bhumibol Adulyadej. The day is as much about honouring the nation’s former monarch as it is about celebrating fatherhood. Citizens wear yellow, the king’s birth colour, and present canna lilies to their fathers as a symbol of gratitude and respect. It’s a cultural blend of familial and national reverence.
Germany’s tradition of brotherhood
Germany takes a different approach. Known as Vatertag, or Father’s Day, it coincides with Ascension Day and is often marked by groups of men going on hiking trips, pulling wagons of food and drink. While it may appear more social than family-oriented, the tradition is rooted in camaraderie and shared responsibility among men and father figures.
Remembering fathers in Mexico
In Mexico and across parts of Latin America, Father’s Day is a time to honour both the living and the departed. Families often visit cemeteries to pay tribute to late fathers and gather to share stories and memories. It’s a day that highlights legacy over materialism, where the emotional role of a father is celebrated beyond life itself.
The expanding meaning in India
In India, Father’s Day doesn’t have deep historical roots, but its popularity is growing among urban families. Influenced by Western customs, it is increasingly used to recognise not only biological fathers, but also mentors, guardians and elders who provide support and guidance. The day is evolving into a broader celebration of male role models across generations.
A shared message worldwide
Though celebrated in different ways, Father’s Day across cultures shares a central idea: appreciation. Whether through a gift, a walk, a meal or a memory, the day is about acknowledging the role fathers and father figures play in shaping lives. In a time when traditional family structures are changing, this occasion also highlights that fatherhood is defined not just by biology, but by love, responsibility and care.
A thoughtful reminder
Rather than focus on finding the perfect present, Father’s Day offers an opportunity to be present. A simple message, a phone call or a shared moment can mean more than any physical gift. In a fast-moving world, slowing down to recognise those who’ve quietly supported us is perhaps the most meaningful tribute we can give.
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Jungkook under fire for wearing Make Tokyo Great Again cap at BTS concert rehearsal
BTS star Jungkook has issued a public apology after sparking backlash for wearing a cap with the phrase “Make Tokyo Great Again” during a rehearsal for J-Hope’s concert. The phrase, seen as politically loaded, upset many fans in South Korea, with some calling it offensive and thoughtless.
The singer, who recently completed his mandatory military service, said he was unaware of the slogan’s sensitive background and admitted that he should have been more cautious.
Jungkook of K-pop supergroup BTS at an outdoor sporting facility in Yeoncheon Getty Images
Slogan draws backlash over political and cultural sensitivity
Jungkook was seen in an all-black outfit and the now-controversial cap during rehearsals for the Hope on the Stage concert on Friday in Goyang. The slogan on the cap, “Make Tokyo Great Again,” echoed political phrases linked to Japanese nationalism and was previously used by Tokyo Governor Koike Yuriko. Some South Korean fans were quick to point out that the phrase has been associated with anti-Korean sentiments and accused the singer of being “careless.”
The similarity to Donald Trump’s “Make America Great Again” also added fuel to the fire, as netizens debated the political undertones and the potential implications of a global star wearing such a phrase publicly. Social media lit up with disappointment, with many questioning how Jungkook could overlook such a sensitive issue, especially given the historical tensions between South Korea and Japan.
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Jungkook responds: “No excuse for my carelessness”
The 27-year-old singer responded quickly to the criticism through a heartfelt message on Weverse. “I sincerely apologise for the disappointment and inconvenience caused by the hat I wore during rehearsals. I didn’t realise the historical and political context behind the phrase,” he wrote. “There’s no excuse. I was careless. I’ll make sure to be more thoughtful from now on.”
He also confirmed that the cap was discarded immediately and acknowledged that he had hurt many of his fans unintentionally. The apology was met with mixed reactions. While some appreciated his honesty, others felt the damage had already been done.
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This incident comes just days after Jungkook completed his 18-month military service alongside Jimin. The Hope on the Stage concert marked his return to the spotlight, with all seven BTS members reuniting on stage, drawing cheers from fans. Jungkook had recently released Never Let Go, a song dedicated to fans during BTS’s 11th anniversary.
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They were all remanded in custody, except Bashir, who absconded before the trial began. (Photo: Greater Manchester Police)
SEVEN men were convicted on Friday in the UK’s latest grooming trial, after a jury heard that two girl victims were forced to have sex “with multiple men on the same day, in filthy flats and on rancid mattresses”.
Jurors at the court in Manchester, northwest England, deliberated for three weeks before finding the seven men, all of whom are of South Asian descent, guilty of rape.
Mohammed Zahid, 64, Mushtaq Ahmed, 67, Kasir Bashir, 50, Mohammed Shahzad, 44, Naheem Akram, 48, Roheez Khan, 39, and Nisar Hussain, 41, will be sentenced at a later date, but judge Jonathan Seely warned that they face “lengthy prison sentences”.
They were all remanded in custody, except Bashir, who absconded before the trial began.
Operation Lytton and police investigation
The men were prosecuted as part of Operation Lytton, an investigation launched by Greater Manchester Police in 2015 into historical child sexual exploitation in Rochdale, a town near Manchester.
The issue has long been seized upon by far-right British figures, including notorious influencer Tommy Robinson, but has also been adopted as a rallying cry by the Conservatives and Nigel Farage’s hard-right Reform UK party.
The issue of grooming gangs received international attention earlier in the year when US tech billionaire Elon Musk launched incendiary attacks on his X platform against the UK government after it resisted calls for a national inquiry.
Over the course of several decades, men of mostly South Asian origin in various English towns are suspected of having sexually abused thousands of mostly white girls from working class families, often from troubled homes.
Court testimony on abuse
Prosecutor Rossano Scamardella said during the trial that the men had abused the two girls for several years from the age of 13 — between 2001 and 2006.
“They were often forced to have oral sex and vaginal sex with multiple men on the same day, in filthy flats and on rancid mattresses,” he said.
“On other occasions they would be required to have sex in cars, car parks, alleyways or disused warehouses. Wherever and whenever these men wanted it.
“They were children passed around for sex; abused, degraded and then discarded,” he added.
One of the alleged victims was also “being exploited and abused by many other Asian men” not in the dock, said Scamardella.
Police response and apology
Following the verdicts, detective superintendent Alan Clitherow, of Greater Manchester Police, apologised for not acting earlier.
“There was information at the time that police and other agencies could, and should, have done something with, and we didn’t,” he said.
“The way those victims were dealt with at the time is indefensible and inexcusable. We have made comprehensive apologies for that.”
(With inputs from agencies)
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Drawings by Victor Hugo on display include Ecce Lex
The moment I walked into the Royal Academy to see Astonishing Things: The Drawings of Victor Hugo, I thought of Rabindranath Tagore.
Both men were giants of literature, but they were visual artists as well.
Victor-Marie Hugo (February 26, 1802- May 22, 1885) is best known for his novels The Hunchback ofNotre-Dame (1831) – many will have seen the 1939 film adaptation starring Charles Laughton and Maureen O’Hara – and Les Misérables (1862), which BBC TV adapted in 2018, with a starring role for Adeel Akhtar.
The Cheerful CastleParis Musees
Rabindranath Tagore (May 7, 1861-August 7, 1941) was a Bengali poet, writer, playwright, composer, philosopher, social reformer and painter. He was the first non-European to win the Nobel Prize for Literature in 1913, for the poetry of Gitanjali.
Gallery owner Sundaram Tagore, who had flown over from New York to attend Eastern Eye’s Arts, Culture & Theatre Awards (ACTAs) at the May Fair Hotel on May 23, said: “Before leaving London, I managed to visit the Victor Hugo exhibition, which moved me deeply.”
Sundaram’s father, Subhogendranath Tagore (1912-1985), was the grandson of Hemendranath Tagore, the third son of Debendranath Tagore and the elder brother of Rabindranath Tagore.
The Victor Hugo exhibition is definitely worth seeing before it ends on June 29.
Giving a tour of the exhibition, Andrea Tarsia, director of exhibitions at the Royal Academy, said Hugo left behind some 4,000 works on paper, of which 70 were chosen for display.
“But they really are 70 of his most remarkable drawings,” commented Tarsia. Hugo often used brown ink and wash and graphite on paper.
OctopusParis Musees
Notable works include The Town of Vianden Seen Through a Spider’s Web, 1871; Mushroom, 1850; Lace and Spectres, 1855-56; The Cheerful Castle, 1847; The Town of Vianden, with Stone Cross, 1871; Mirror with Birds, 1870; Chain, 1864; Octopus, 1866–69; and The Lighthouse at Casquets, Guernsey, 1866.
There is also Ecce Lex (Latin for “Behold the Law”), 1854, done after the hanging of John Tapner in Guernsey; and The Shade of the Manchineel Tree (notes from a trip to the Pyrenees and Spain), 1856, where the shade is made to resemble a skull to denote the poisonous qualities of the fruit.
The Shade of the Manchineel TreeParis Musees
There is a photograph of Hugo seated on the Rocher des Proscrits (Exile’s Rock), Jersey, 1853, which was taken by his son, Charles Hugo.
“Hopefully, together, they will give you an intimate sense of Hugo’s remarkable, multifaceted imagination. Perhaps people are less familiar with his work as a visual artist. The exhibition is the first to be held in the UK with Hugo’s drawings in just over half a century.”
MushroomParis Musees
He explained it was “a rare chance to see these works because the inks and the paper are so fragile that once exhibited, even at these very low lighting levels, they then need to be kept in the dark for an extended period of time”.
The exhibition’s curator, Sarah Lea, said: “We made a decision to arrange these spectacular works in a thematic structure, because although Hugo drew across his lifetime, he often returns to similar motifs. And it’s really interesting to be able to see, for example, the collections of the castles, one of his great passions. Despite writing so much, he doesn’t leave us very much direct commentary on the drawings themselves. He was inspired by the way ink moves on paper. He was never intending to be an artist.”
She referred to his “mysterious” drawing of a mushroom: “Who knows what was really meant by the mushroom? It appears to us as a total enigma.”
“We have him exploring nature on the monumental level with mountains, and a minute level with spiders’ webs and birds’ nests,” she went on. “The drawings were largely private during his lifetime. Sometimes he made works that he would send to friends. But the drawings themselves weren’t exhibited until three years after his death. They’re first shown in a public exhibition in Paris in 1888.”
A photograph of Hugo taken by his son, CharlesParis Musees
Hugo lived in exile from 1856 to 1870 on the island of Guernsey, where he bought a house. “He redecorated it from bottom to top in a most extraordinary manner of eclectic collecting and reassembling different pieces of furniture and decorative arts. And it was from the lookout, which was a vast conservatory that he constructed at the top of this house, that he would be able, on a clear day, to see the coastline of France. And it was there that he completed some of his most important literary works. A profound source of inspiration for Hugo was the ocean.”
He strongly opposed the death penalty. After the execution by hanging of convicted murderer John Tapner in Guernsey in 1854, Hugo made many drawings of a hanged man, including Ecce Lex.
He also appealed – unsuccessfully – to the US to pardon John Brown, an abolitionist who had been sentenced to death in Virginia on charges of treason, murder and conspiracy to incite a slave insurrection. Hugo appeared to be an early supporter of Black Lives Matter.
Hugo’s brother-in-law, Paul Chenay, made print reproductions of his earlier Ecce drawings, which were published with a new title, John Brown, and circulated in protest at Brown’s execution.
In a letter to Chenay in 1861, Hugo said: “John Brown is a hero and a martyr. His death was a crime. His gallows is a cross. Let us therefore once again draw the attention of all to the lessons of the gallows of Charlestown. My drawing, which through your fine talent has been reproduced with striking fidelity, has no other value than this name: John Brown – a name that must be repeated unceasingly, to the supporters of the American republic, so that it reminds them of their duty to the slaves: to call them forth to freedom. I shake your hand.”
When Hugo died in 1885, aged 83, over two million people lined the streets of Paris to see his funeral procession. But many of Hugo’s admirers wouldn’t have been aware of his private love of drawing.
Incidentally, the Royal Academy last week announced that Simon Wallis, currently the director of The Hepworth Wakefield, will take over in September as its new secretary and chief executive. In his earlier career, he held curatorial positions at Kettle’s Yard, Cambridge, and Tate Liverpool. He was the director of Chisenhale Gallery, London.
Wallis, who succeeds Axel Rüger, said: “The Royal Academy of Arts is at a pivotal moment of development and positive change. The RA is the central London home for artists, art and art lovers, generating powerful experiences and innovative teaching about art in a rapidly changing society. As the UK’s oldest and foremost artist-led organisation, the extraordinary talent and vision of the Royal Academicians and their team lead the creative conversation on a national and international stage.”
Now that Hugo has been featured at the Royal Academy, maybe Tagore, too, will merit an exhibition one day under Wallis’s leadership.
The Royal Academy won the ACTA for community engagement last year. It was collected by Tarsia.
In Astonishing Things: The Drawings of Victor Hugo, at the Jillian and Arthur M Sackler Wing of Galleries at the Royal Academy, ends on June 29.
With a voice that echoes both the glamour and grit of a bygone era, British singer Aisha Khan is set to take centre stage at London’s legendary Ronnie Scott’s Jazz Club on June 29.
Performing with her acclaimed band The Rajahs, Khan will present a rich cocktail of 1940s and 1950s American roots music, jazz and rhythm and blues – blending timeless classics with her own original songs. Known for her evocative vocals, magnetic stage presence and deep reverence for the great female vocalists of the past, Khan promises a night filled with toe-tapping rhythm and heartfelt emotion.
Ahead of the show, she spoke to Eastern Eye about her lifelong love affair with vintage sounds, the power of live performance, and her inspirations and musical heroes.
What first connected you to music?
There was not just one thing. As a little girl, I was always singing and had no idea why – I just could not help it. I did not come from a musical family. My mum had a couple of Bollywood LPs with Mohammed Rafi and Lata Mangeshkar, and my dad listened to Andy Williams and The Carpenters in the car. Apart from that, there was not much music at home. I watched Top of the Pops as a teenager, but I fell in love with Elvis Presley when I was 13 – that is where my passion for vintage music began.
How would you describe your brand of music? Mostly, I perform authentic 1940s and 1950s American music – blues, rhythm and blues, and rock and roll. I sing cover versions, but I also write a lot of original songs in the same style. I have also been developing a new Americana/country project, so the music keeps coming.
What does live performance mean to you? At its best, it means pure connection with the audience – almost a transcendental experience. It does not always happen like that, but subconsciously, I think that is what I am always striving for. I go on stage with songs I love and musicians who are great and always have my back. With that secure foundation, I try to see where the music can take me, and I bring the audience along with me. I love being close to the audience and drawing them into the live experience. It can bring so much energy and joy.
How much are you looking forward to performing at the iconic Ronnie Scott’s Jazz Club? We performed our first sell-out show upstairs there last year, but this is our first gig in the main room downstairs. I cannot express what an honour and privilege it is to appear at such a legendary venue. To think we will be on the same stage as so many iconic performers – from Ella Fitzgerald to Miles Davis – is mind-blowing.
What can we expect from the show? We will perform some of our most loved original songs, as well as several from our latest album Seven Shades of Blue, released this spring. We also have the honour of introducing Haylen, an incredible artist from Paris, as our special guest. There will be a lot of toe-tapping and happy vibes.
What do you hope people will take away from your performance – musically or emotionally? I hope they leave with a range of emotions. I want them to feel moved, but also to walk out feeling joyous and uplifted.
What do you most love about the jazz and rhythm and blues of the 1940s and 1950s? There are so many things I love about the music of that era. The musicianship, the danceability – how you just cannot help but move to it. I love the lyrics, the humour and the storytelling. When I was younger, I learned a lot of jazz standards and loved them. But it was only after living life – experiencing love, loss and heartbreak, having children, going through disappointment and great happiness – that I truly connected with those songs. Many of them now bring tears to my eyes, or even ecstasy when I sing or hear them. These are songs that truly stand the test of time.
Do you remember the first time you heard a song from that era that truly moved you? It was when I began listening to jazz in my teens. I idolised Sarah Vaughan and her craft. Then, as I discovered more popular music from the 1940s and 1950s and started dancing, I began to feel it not only emotionally but physically too.
Aisha Khan
Who is your own music hero from that bygone era? Sarah Vaughan, definitely. I also loved Billie Holiday.
If you could duet with any artist from the 1940s or 1950s, who would it be? It would have to be one of the great rhythm and blues vocalists – Wynonie Harris, Louis Jordan or Joe Turner. That would be so much fun.
Which classic songs do you most enjoy performing live? I love rhythm and blues by the many powerful female vocalists of that era – songs like Voodoo Voodoo by LaVern Baker, They Call Me Big Mama by Big Mama Thornton, or Pretty Good Love by Big Maybelle.
What inspires you as an artist? A life lived. Everything I have experienced – from having children to feminism. People, places, books – you never know where inspiration will come from. I also love collaborating with other musicians and singers; you never know what kind of magic might be created.
Why do you love music? The same reason I breathe. It is part of all of us – from the rhythms in nature to the cadence of the languages we learn as children. It can tell great stories and express deep emotions. It has the power to change lives – to comfort those in pain and bring joy to those open to it. I believe it is one of the purest art forms and forms of self-expression. I feel incredibly fortunate to have done this for so many years, and I hope to continue for the rest of my life.
Aisha Khan and The Rajahs at Ronnie Scott’s, 47 Frith Street, London W1D 4HT on Sunday, June 29. www.ronniescotts.co.uk