British prime minister Theresa May battled on Thursday (15) to save a draft divorce deal with the European Union after her Brexit secretary and other ministers quit in protest at an agreement they say will trap Britain in the bloc's orbit for years.
Just over 12 hours after May announced that her team of top ministers had agreed to the terms of the draft agreement, Brexit minister Dominic Raab and work and pensions minister Esther McVey quit, saying they could not support it.
Their departure, the resignations of two junior ministers and reports others were considering quitting, shakes May's divided government and her Brexit strategy, raising the prospect of Britain leaving the EU without a deal. Some lawmakers openly questioned whether May's government could survive.
Raab is the second Brexit secretary to quit over May's plans to leave the EU, the biggest shift in British policy in more than 40 years. By leaving now, some suggested that Raab could be positioning himself as a possible successor to May.
But the prime minister showed little sign of backing down. In parliament, she warned lawmakers they now faced a stark decision.
"The choice is clear. We can choose to leave with no deal, we can risk no Brexit at all, or we can choose to unite and support the best deal that can be negotiated," she said.
She said those lawmakers who believed she could get a deal that did not include a backstop arrangement to prevent the return of a hard border on the island of Ireland were wrong.
Her spokesman said May would fight any vote of confidence in her premiership and she intended to be prime minister when Britain leaves the bloc in March next year.
Strategy In Doubt
In the markets, sterling was set for its second-biggest drop this year on the opposition to the draft agreement.
British financial regulators called major banks asking for feedback on market conditions because of sharp falls in the pound and shares, sources said.
In parliament, lawmakers from her Conservative Party and the opposition parties took turns to rubbish the draft deal, a sign May faces an all but impossible task to get the agreement through the House of Commons.
Many criticised the draft deal, agreed with the EU on Tuesday (13), for making Britain a "vassal" state, beholden to the bloc's rules even after leaving on March 29.
Others said an agreement on the so-called backstop would tear Britain apart, leaving Northern Ireland all but in the EU's single market.
"It is ... mathematically impossible to get this deal through the House of Commons. The stark reality is that it was dead on arrival," Conservative lawmaker Mark Francois said.
It took an hour of parliamentary questions before she was asked a friendly, rather than hostile, one, with a Conservative lawmaker saying May had done the best she could.
But it was the backstop arrangement, which would see Britain and the EU establishing a single customs territory, that spurred most of the criticism.
"I cannot reconcile the terms of the proposed deal with the promises we made to the country in our manifesto at the last election," Raab said.
Less than five months until Britain leaves the EU, the resignations put May's Brexit strategy in doubt.
EU leaders are ready to meet on November 25 to sign off on the divorce deal, or Withdrawal Agreement, but French prime minister Edouard Philippe summed up the uncertainty when he said events in London raised concerns about whether it would be ratified.
"We need to prepare ourselves for a no-deal Brexit," he said.
One eurosceptic lawmaker in May's Conservative Party said more colleagues were either putting in letters to trigger a no confidence vote in her leadership or were increasingly minded to do so. A challenge is triggered if 48 Conservatives write such letters. May could be toppled if 158 of her 315 lawmakers vote against her.
'Dead In The Water'
Britain's opposition Labour Party said the government was "falling apart".
"Theresa May has no authority left and is clearly incapable of delivering a Brexit deal that commands even the support of her cabinet, let alone parliament and the people of our country," said Jon Trickett, a member of Labour leader Jeremy Corbyn's senior team.
Raab, 44, was appointed to the role of Brexit secretary in July after the resignation of his predecessor David Davis, who also quit in protest at May's Brexit strategy.
At the heart of Raab's criticism of May's deal was the belief that the pursuit of a customs union with the EU would be the "starting point" for talks on the future relationship with the bloc, "severely prejudicing" what Britain could achieve.
He said May's plan threatened the integrity of Britain and he could not support an indefinite backstop arrangement.
The backstop arrangement, to come into force if a future trade deal does not prevent the return of a hard border between the British province of Northern Ireland and EU-member Ireland, has been the main obstacle to a deal with the bloc and agreement of her ministers.
Northern Ireland's Democratic Unionist Party (DUP), which props up May in parliament, had threatened to pull its support from the minority government if the backstop meant the province was treated differently from the rest of mainland Britain.
"No democratic nation has ever signed up to be bound by such an extensive regime, imposed externally without any democratic control over the laws to be applied, nor the ability to decide to exit the arrangement," Raab said in his resignation letter.
Eurosceptics in May's party have long feared the prime minister was leading Britain towards a customs union with the EU, something that, they say, would mean a Brexit in name only.
Ian Blackford, the Scottish National Party's leader in the House of Commons, said the deal was "dead in the water".
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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