THE British government has turned down India's request for the extradition of Tiger Hanif, an alleged aide of underworld don Dawood Ibrahim wanted in India in connection with two bomb blasts in Surat in 1993, the UK Home Office has confirmed.
Mohammed Hanif Umerji Patel had been traced to a grocery store in Bolton, Greater Manchester, and arrested by Scotland Yard on an extradition warrant in February 2010.
The 57-year-old since lost a number of legal bids to stay in Britain, claiming that he will be tortured in India.
The High Court of England and Wales had described him as a "classic fugitive" in 2013.
Subsequently, Hanif made "further representations" to the Home Office. Last year, his final bid succeeded as then home Secretary Sajid Javid rejected the extradition request.
“We can confirm that the extradition request for Hanif Patel was refused by the then Home Secretary and Mr Patel was discharged by the court in August 2019,” a Home Office source said on Sunday (17).
Hanif’s extradition to India had been ordered in June 2012 by then home secretary Theresa May.
During an appeal at the High Court in London in April 2013, Justice Kenneth Parker noted the information provided in India's request described how, following the Babri Masjid demolition in December 1992, “internecine hostilities” broke out between the Muslim and Hindu communities in Gujarat.
“The requesting state's case is that the appellant was part of a Muslim group which obtained explosives, guns and other weapons and then carried out revenge terrorist attacks on the Hindu community, including two explosions which resulted in loss of life, injury and damage,” the judge noted.
The first explosion was in January 1993 in a market on the Varacha Road in Surat, which killed an eight-year-old girl, and the bombing was in April 1993 at Surat railway station, which left several injured.
Hanif's lawyers had claimed that he faced “a real risk of torture” if extradited to India. But it did not hold in the courts.
“There is nothing to suggest that the appellant [Hanif] is now no longer able to recall the events in question, or that the court in India would be unwilling or unable to consider the extent, if any, of any prejudice to the fairness of the criminal trial by reason of the passage of time,” the judge ruled, clearing Hanif's extradition.
Under the India-UK Extradition Treaty, India is category two country, which means the home secretary has final sign-off on any extradition request. In this case, it was turned down.
Currently, the Indian government's request for the extradition of Vijay Mallya in the fraud and money laundering case involving loans to his now-defunct Kingfisher Airlines is with Home Secretary Priti Patel for a formal certification, after the liquor baron lost a last-ditch attempt seeking leave to appeal in the UK Supreme Court last Thursday.
The 64-year-old businessman, who remains on bail, can also make representations to the minister, though his legal avenues now remain limited and may only involve a temporary reprieve due to the coronavirus crisis.
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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