SOME newly elected ethnic minority MPs have complained that they have been mistaken for Commons staff, it has emerged this week.
Labour MPs Florence Eshalomi and Abena Oppong-Asare claimed they had been questioned by fellow politicians, who have confused them for parliamentary staff members.
The women, who were part of the new intake who joined the Commons following the December election, also expressed frustration that they had been regularly misidentified for other representatives from BAME backgrounds.
Oppong-Asare, the new Labour member for Erith & Thamesmead, said a Tory MP had given her his bag to carry in the belief that she was part of the Commons staff.
She also claimed that during her first week in Westminster, she had been confused with another black MP. “I said, ‘no, I’m the other black sista (sic) from Erith & Thamesmead’,” she said on social media.
“He raised his eyebrows and said ‘wow, there are more of you’.”
Oppong-Asare, who is also chair of the Labour Women’s Network, added: “I’m thinking I might need to write my name on my forehead as some people are really struggling to tell the difference.”
Eshalomi, the representative for Vauxhall, took to social media to share a similar experience. She said she had been coming out of the voting lobby when a fellow Labour MP approached her, mistaking her for another black politician.
“Guess we all need to wear massive name tags,” Eshalomi, of Nigerian descent, said last Sunday (12).
A number of MPs have rallied behind the women, including Jess Phillips who is currently running for the position of Labour leader. However, shadow education secretary Angela Rayner was criticised on social media after she joined the conversation and claimed she had been confused with Phillips.
Users slammed Rayner for her comments, accusing her of speaking over the experiences of black women.
“I’ve deleted a reply about mistaken identity, as I would in no way compare that to my colleagues who are mistaken due to the colour of their skin,” Rayner said.
The claims of mistaken identity by BAME MPs are not the first to hit the Commons. In 2016, Labour’s Dawn Butler admitted she had been misidentified as a cleaner in Westminster.
The shadow secretary for women and equalities recalled being in a members-only lift when a Commons member told her: “This lift really isn’t for cleaners.” Butler, who is contesting the position of deputy leader of the Labour party, said it had been one of “so many incidents” of racism she had encountered as an MP in parliament.
She had previously told of an incident in 2005 when she was confronted by a former minister who had asked whether she was allowed in the members area on the terrace.
“My white, male office manager is sometimes mistaken for the MP Dawn Butler,” she said.
“He goes really red and has to say: ‘I’m here with Dawn, and Dawn is the MP’,” she said.
“It takes a while to register in people’s minds that the MP is a black woman.”
The British-Bangladeshi Labour MP Rupa Huq said she had also been mistaken for several colleagues by lawmakers of different parties and House of Commons staff.
One in 10 of the 650 MPs are now from an ethnic minority background, compared with one in 40 a decade ago, according to the British Future think-tank.
Following the December 2019 election, there are now 41 non-white Labour MPs, 22 Conservatives and two Liberal Democrats – 37 of them women.
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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