IT is anticipated that more than 30 million people across the UK will watch England’s World Cup semi-final against Croatia on Wednesday (11), beating the 1966 World Cup final to become our most-viewed event of all time. As TV viewing becomes more fragmented with new technology, it’s not often that so many of us all share an experience at the same time.
England Manager Gareth Southgate himself has spoken of this capacity for football to bring us together. “When you come to a big tournament,” he said,” it is not just football fans, it is grandad, it is auntie, it is everyone supporting the team. For some reason they like these lads. Everyone wants to be behind the national team.”
This England team does seem to have something special about it. They’re young, exciting and seem to genuinely enjoy playing for their country. And it’s the most-diverse team ever to represent England at a World Cup, too: “a team that represents modern England,” as their manager described it. That, and the most exciting performances we’ve seen from the Three Lions in two decades, has made it a team that we can all get behind, celebrated with pride from rural towns to metropolitan inner cities. At a time when our nation can feel more divided than we would like, in this England team we have found something to unite us, across class, race, age or faith divides.
The question of whether you could be black (or brown) and British was answered a long time ago. Englishness has often been seen as more difficult, partly because we seldom talk about what it means except, as now, during sports events. Liberals agonise over whether England’s St George’s flag ‘looks a bit racist’. Perhaps, having seen it waved by so many jubilant fans of every ethnic background this summer, they might think again.
While a majority of Asians (60 per cent) do feel that the St George’s flag belongs to us all, it’s eclipsed by the England football team as the symbol of England that unites us. Three-quarters of Asians see our football team as a symbol of England that belongs to people of all races and ethnic backgrounds in England today.
Asian players have yet to break into English football at the elite level, so sadly we don’t yet see Asian faces lining up to represent the nation as we do in cricket, for example. It may just be a matter of time – Wolverhampton Wanderers’ Danny Baath, of mixed English and Pujabi heritage, did captain his side to promotion to the Premiership this season. One can only imagine how powerful it would be to have a Muslim player of Mo Salah’s ability pulling on an England shirt. Their time will come and many Asian youngsters will have been inspired by the team that represented England in Russia this year.
Englishness itself could be a “more in common” identity that unites us all in England. If a tiny minority of racists want to say otherwise, they will find little support among the vast majority of people across the nation. There was once, believe it or not, a time when some England fans wouldn’t count goals that were scored by black players. How would that view have fared in homes and pubs across the nation when Marcus Rashford stepped up to take his penalty against Colombia?
So Englishness can unite - but not if we only think about it when there’s some sport on. We have asked quite enough of Gareth Southgate already. Once he and his team come home, we need to take Englishness out of the stadium and embrace it as an identity that we can all share in England, all year round.
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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