Boat migrants hit new three-month high, pressure on Sunak
Home Office data shows 4,644 people crossed the Channel on small boats up to March 26 this year. This is greater than the previous three-month high of 4,162 in 2022
By Shajil KumarMar 27, 2024
More than 4,600 asylum seekers have arrived in Britain on small boats so far in 2024, a record total for the first three months of the year.
This is bound to put pressure on Prime Minister Rishi Sunak and his 'stop the boats' plan.
Provisional data from the Home Office, or interior ministry, showed on Wednesday that 4,644 people had been detected arriving across the Channel on small boats such as inflatable dinghies up to March 26 this year.
That compares with 3,770 for the same period last year and 4,162 for 2022, the previous record high.
Some 514 people arrived in 10 boats on March 20, making it the busiest day of 2024, reports BBC.
Sunak is hoping his flagship scheme to deport those arriving in Britain without permission to Rwanda will deter people from making the dangerous cross-Channel crossings. Legislation which aims to get that plan up and running after a series of legal setbacks is due back in parliament next month.
"The unacceptable number of people who continue to cross the Channel demonstrates exactly why we must get flights to Rwanda off the ground as soon as possible," a Home Office spokesperson said last week.
"We continue to work closely with French police who are facing increasing violence and disruption on their beaches as they work tirelessly to prevent these dangerous, illegal and unnecessary journeys."
Overall annual numbers fell 36 per cent last year from 2022's record total, which led to Sunak claiming the government was beginning to have success in "stopping the boats", one of his key priorities ahead of an election expected later this year.
But the latest increase will add to pressure on Sunak, whose Conservatives are well behind the opposition Labour Party in opinion polls with immigration a major concern for some voters.
"Despite all the evidence to the contrary, Rishi Sunak keeps on telling the British people that small boat arrivals are coming down and his promise to stop the boats remains on track," said Stephen Kinnock, Labour's immigration spokesperson. (Agencies)
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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