In the last four years, a total of 23 asylum seekers are believed to have taken their own lives while in Home Office accommodation, marking a figure more than double that of the previous four years, as revealed by findings obtained by the Guardian.
Research indicates that between 2020 and 2023, a total of 23 individuals are confirmed or suspected to have died by suicide.
From April 2016 to the end of 2019, the data from freedom of information sources suggests that 10 individuals may have taken their own lives.
In a subsequent dataset spanning from 2020 to August 2023, 19 individuals are believed to have died by suicide, with an additional four asylum seekers reportedly contributing to a total of at least 23 deaths.
The new data, acquired through Liberty Investigates, surfaced shortly after reports of the suicide of Leonard Farruku, an Albanian asylum seeker, on the Bibby Stockholm barge in Portland, Dorset.
As of August 27, this year, government-provided freedom of information data indicates that a total of 176 individuals have died in asylum seeker accommodation due to various reasons.
An additional four deaths have surfaced in the remaining months of 2023, all suspected to be self-inflicted, bringing the known toll to 180.
Among previous cases, in February 2022, a 25-year-old Eritrean took his own life at a train station. In August last year, a 29-year-old Iranian passed away after applying for asylum 14 months earlier.
Recent incidents include the discovery of Irakli Kapanadze, 37, found dead outside his asylum hotel in Wakefield on September 14 this year, and the tragic case of Rima al-Badi, a 21-year-old from Oman, who is said to have taken her own life on September 1, 2023, following over a year's stay in a Home Office hotel.
On October 13, 2023, Victor Hugo Pereira Vargas, a 63-year-old individual from Colombia, was discovered in his hotel room in Hailsham, East Sussex, with what seemed to be self-inflicted injuries.
A spokesperson from Sussex police mentioned that his death was not under suspicion of foul play.
According to reports, hotel staff had observed Vargas in a visibly distressed state two months earlier on August 16. He requested them to contact the police as he expressed a desire to leave the UK and avoid returning to his home country.
On September 11, he reported having trouble sleeping for three consecutive days and had an appointment booked with a GP for mental health concerns. When he didn't appear for breakfast, security personnel accessed his room, which appeared to have been barricaded from the inside, only to find him dead.
An asylum seeker residing at the same hotel said, we were deeply shocked by what happened to Victor.
“He used to go down for breakfast at 7am the same time as me. But one morning he just didn’t appear. None of us were given support or counselling to help us deal with this.”
Graham O’Neill, the policy manager at the Scottish Refugee Council, remarked that the recent revelations indicated significant issues within the vast system of institutional accommodation that affects more than 50,000 refugees.
This accommodation increasingly necessitates room-sharing among individuals often dealing with trauma, forced to live in severe poverty on £1.25 a day and restricted from working. One consequence is a sharp decline in mental health, he said.
A spokesperson for Clearsprings Ready Homes, one of three private companies holding contracts with the Home Office for asylum accommodation, including the property where Vargas died, said due to data protection reasons, we cannot provide details on individual cases.
“However, we are always saddened to hear of the death of any individual in our accommodation.
“The wellbeing of service users housed by us is always of primary concern. We work closely with a range of organisations and professionals who offer further support to those who need it.”
A Home Office spokesperson commented that the well-being of all individuals in our care is of utmost importance. Any death within asylum accommodation is a tragic event and is subject to investigation by the police and coroner, they said.
The spokesperson added that their ongoing efforts are dedicated to identifying and addressing the needs and vulnerabilities of individuals residing in asylum accommodation, particularly concerning mental health and trauma.
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.”
By clicking the 'Subscribe’, you agree to receive our newsletter, marketing communications and industry
partners/sponsors sharing promotional product information via email and print communication from Garavi Gujarat
Publications Ltd and subsidiaries. You have the right to withdraw your consent at any time by clicking the
unsubscribe link in our emails. We will use your email address to personalize our communications and send you
relevant offers. Your data will be stored up to 30 days after unsubscribing.
Contact us at data@amg.biz to see how we manage and store your data.