Home secretary Priti Patel on Monday (19) launched plans to pave the way for new powers to tackle violent crime in the UK.
Patel has opened a consultation process that would lead to changes in the UK's Offensive Weapons Act to give courts additional powers to issue control orders related to knives, corrosive substances such as acid and other offensive weapons.
Following a consultation process, UK courts will also be able to impose measures to prohibit activities such as associating with certain people, or to introduce geographical restrictions and curfews to help prevent further offences.
"We are cracking down on violent crime, which has a devastating impact on victims, their families and our communities," Patel said.
"Our Offensive Weapons Act will help to stop acids and knives making their way onto our streets and being used to carry out horrifying attacks. This government will always give the police the support, resources and powers they need – including recruiting 20,000 new officers over the next three years and empowering them to use stop and search," she said.
The minister, who took charge of the UK Home Office in the Boris Johnson-led government last month, had said she intends to be tough on crime in her new Cabinet role.
Under the new Home Office proposals, Knife Crime Prevention Orders (KCPOs) will provide an additional tool for police to steer young people away from serious violence.
KCPOs are civil orders which can be imposed by courts on any person aged 12 or over who police believe is carrying a knife or people previously convicted of a knife related offence.
The orders are intended to be preventative rather than punitive, addressing factors that may increase the chances of offending through requirements such as attendance at educational courses, life skills programmes, participation in group sports, drug rehabilitation and anger management classes, the Home Office said.
Chief Superintendent Ade Adelekan, who heads up the Metropolitan Police's Violent Crime Task Force, said Scotland Yard supports the proposed Knife Crime Prevention Orders.
"We feel they will help to discourage more young people from carrying knives in a positive rather than punitive format, giving them support and pathways away from potential crime or negative influences," he said.
"We will continue to work closely with our partners, particularly the new Violence Reduction Unit, the Home Office, local government and third sector organisations to not only suppress violence in the short-term, but to help take a truly integrated approach to long-term problem-solving, to help keep young people safe," Adelekan said.
Draft guidance on the new planned measures has been launched for agencies who will be responsible for enforcing the legislation, such as police and trading standards.
The guidance documents will now be subject to public consultations, which will allow stakeholders to put forward their views, before the final versions are published and the measures brought in to effect.
The UK's National Police Chiefs' Council (NPCC) Lead for Serious Violent Crime, Acting Deputy Chief Constable Jackie Sebire, said: "Knife Crime Prevention Orders will provide police with a further means to help deter young people from becoming involved in knife possession and knife crime.
"These Orders will help to make young people stop and think about the choices and consequences of carrying a knife. We know that early intervention is the best way to prevent knife crime and we continue to work alongside schools, charities and community groups, alongside the use of a range of other tactics."
The UK's Offensive Weapons Act, which became law earlier this year, was introduced to enhance the response to serious violence, including knife crime and corrosives attacks.
It includes measures such a ban the sale of corrosive products to under-18s and make the possession of a corrosive substance in a public place a criminal offence and change the legal definition for threatening someone with an offensive weapon.
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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