The reappointment of Suella Braverman as the British home secretary by Prime Minister Rishi Sunak sets a “dangerous precedent” for how breaches of the ministerial code are dealt with, a cross-party parliamentary panel said in a report on Friday.
Braverman, 42, had resigned from the Cabinet of former prime minister Liz Truss, having breached the ministerial code by sending secure information from her private email. She was reappointed by Sunak on October 25, leading to growing calls for her resignation.
The House of Commons Public Administration and Constitutional Affairs Committee said the situation was “unsatisfactory” and that there needed to be a more “robust” system of upholding standards in public life.
“The reappointment of the home secretary sets a dangerous precedent,” the Committee's report said.
“The leaking of restricted material is worthy of significant sanction under the new graduated sanctions regime introduced in May, including resignation and a significant period out of office. A subsequent change in prime minister should not wipe the slate clean and allow for a rehabilitation and a return to ministerial office in a shorter time frame. To allow this to take place does not inspire confidence in the integrity of the government nor offer much incentive to proper conduct in future,” it said.
Braverman had resigned on October 19, days before her boss Liz Truss' own exit. She later told MPs that she made an "error of judgement... I took responsibility for it and I resigned".
Sunak has previously defended his fellow Indian-origin politician's reappointment to his so-called “unity Cabinet” bringing together different wings of the governing Tory party, saying she had “accepted her mistake”.
However, the Commons committee, which oversees parliamentary affairs, called on the government to toughen the system regulating standards and ethical conduct, especially in the wake of scandals such as 'Partygate' -- which involved COVID-19 law breaches at the heart of the government.
“It is incumbent on the government to ensure a robust and effective system for upholding standards in public life, with proper sanctions for those who break the rules,” Conservative Party MP William Wragg, chair of the committee, said.
“Our inquiry has found that although we have a sophisticated landscape of ethics watchdogs in the UK to safeguard standards in public life, they lack the power to enforce the rules. The prime minister is rightly the ultimate arbiter of the rules in our system. We urge him to show leadership and give legal status to all the ethics watchdogs,” he said.
Wragg said such a legal backing would act as a “better deterrent” for those who may be tempted to act improperly and further safeguard the integrity of public life in the United Kingdom.
The Committee also recommended that former ministers and civil servants who break the rules regulating the “revolving door” between government and private sector jobs should face legal action. Currently, former ministers are supposed to seek non-binding advice from the Advisory Committee on Business Appointments (ACOBA).
Reacting to the report, the opposition Labour Party said the government had no plan to restore standards in public life after “years of sleaze and scandal”.
"We have been clear that this government will have integrity, professionalism, and accountability at every level and we are already taking action to improve the effectiveness of the business appointment rules," a UK Cabinet office spokesperson said, with reference to the report.
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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