A five-year-old Christian girl placed in foster care with a British Muslim family in east London will be returned to her own grandmother after a UK judge ruled on the case in a family court.
Judge Khatun Sapnara, a Bangladeshi-origin British Muslim herself, said yesterday that it was in the girl’s best interests to live with a family member who could keep her safe, promote her welfare and meet her needs “in terms of ethnicity, culture and religion”.
The case was first highlighted through media reports and triggered alarm over reports that the English-speaking girl had been forced to live with an Arabic-speaking family and that they had forced her to remove a necklace bearing a crucifix.
The UK’s Children’s Act 1989 requires a local authority to give consideration to “religious persuasion, racial origin and cultural and linguistic background” when making decisions about a child who has been taken into care as a result of a court order.
The Children’s Commissioner for England Anne Longfield had expressed concern over the case of the girl who cannot be legally identified, and said she would be contacting Tower Hamlets Council the local authority involved in the case.
“I am concerned at these reports. A child’s religious, racial and cultural background should be taken into consideration when they are placed with foster carers,” Longfield said.
However, the council has claimed that the case has been misrepresented in the media and that the interests of the child had been taken into account while placing her into foster care.
“While we cannot go into details of a case that would identify a child in foster care, there are inaccuracies in the reporting of it. For example, the child is in fact fostered by an English-speaking family of mixed race in this temporary placement,” said a spokesperson for Tower Hamlets Council.
“We would like to give more details but we are legally restricted to do so. We have always been working towards the child being looked after by a family member and we continue to do so,” the spokesperson said.
The Times newspaper which first reported the case based on access to some casework documents involved has also come under attack from Muslim organisations in the UK who feel it amounted to vilifying the community.
“Demonisation of the foreigner (especially the Muslim foreigner) is the clear undercurrent in this entire piece. It is appalling. What about 100s of Muslim children fostered with Christians?” Miqdaad Versi, the assistant secretary-general of the Muslim Council of Britain, tweeted.
The family court in London was told this week that the family’s wish for the girl to be placed in the temporary care of her grandmother had been under consideration for a number of months.
Judge Sapnara said her decision to order the child’s removal from foster care was not taken “as a result of undue media involvement”.
“It is taken because of the evidence available to the court today, that the grandmother is an appropriate carer for the child,” she said.
Meanwhile, she is allowed supervised visits with her mother until a permanent decision on her care is taken.
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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