Britain should formally apologise to unmarried mothers who were forced to give up their babies for adoption, according to an official report Friday that gave harrowing detail of the anguish suffered by the women.
Some 185,000 children were taken away for adoption between 1949 and 1976 in England and Wales, the report by parliament's Joint Committee on Human Rights estimated.
The committee's chairwoman, Labour MP Harriet Harman, said the bond between mothers and babies was "brutally ruptured" over the period.
"The mothers' only 'crime' was to have become pregnant while unmarried. Their 'sentence' was a lifetime of secrecy and pain," she said.
The committee acknowledged the "grave wrong" done to the mothers and their children, Harman said, adding: "It is time for the government to do the same and issue the apology they seek.
"For decades they have been vilified. Now they need to be vindicated."
The report noted that Australia's government issued a landmark apology in 2013 for forced adoptions, and Ireland's did so last year.
Abortion was legalised in England, Scotland and Wales in 1967, but even after then, women faced practical barriers such as objections by their doctors.
Before and after, social stigma against unwed women becoming pregnant could be overwhelming.
One woman told the committee that she felt unable to tell her parents and went instead to stay with a relative.
"When her mother eventually found out, she was berated as: 'damaged goods, no one would ever marry me now, I had brought disgrace to the family'," the report recounted.
Schools, churches and social services would direct pregnant young women to adoption agencies, often instructing their parents without consulting the women themselves.
In hospitals during childbirth, painkillers would be denied as "punishment" and afterward, babies were sometimes pulled from their sobbing mother's arms to be taken away for adoption.
"Have you learnt your lesson now?" one woman recalled a doctor telling her while she was in labour.
Another told the committee: "A doctor told me that I should be sterilised as I must be a nymphomaniac."
The report called for more specialised counselling for people affected, and for the government to make it easier for those trying to trace their mother or child.
Without being drawn on an eventual apology, a government spokeswoman responded: "We have the deepest sympathy to all those affected by historic forced adoption.
"While we cannot undo the past, we have strengthened our legislation and practice to be built on empathy," she said, pointing to the better care given today for vulnerable 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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