The UK’s Border Force has been “ineffective” in tackling illegal Channel crossings by migrants, with the agency’s attention diverted away from the smuggling of drugs and firearms, an independent review said.
The Border Force maritime command, comprising 230 staff and 30 vessels, has been drawn into a challenge that it is ill-equipped to deal with, the review led by former Australian immigration minister Alexander Downer found.
It said despite examples of excellence and a dedicated workforce, the Border Force seems to be less than the sum of its parts with significant systemic challenges.
“To sustain the Border Force operation . . . officers from elsewhere are being drafted into the maritime command, which detracts from other important activities,” the review commissioned by home secretary Priti Patel said.
According to it, Border Force maritime should not be providing an ongoing search and rescue function in the English Channel as its vessels are not appropriate for the task.
“Vessels that are better suited to the task should be contracted for and placed under the command and control of either the Coast Guard or Royal Navy so that Border Force are not used as the primary resource for such operations,” the review said.
It also recommended that turnaround tactics should be available to deter migrants from crossing the channel.
“Taking any given tactic off the table is unhelpful where one of the desired outcomes is a deterrent effect. All legal and operationally feasible options should be on the table. The government should maintain the option of turnaround tactics when it is safe and legal to do so. Contracted vessels and specialist crews may be more effective in conducting these challenging operations.”
Significantly, Downer said people who illegally entered the UK should be moved “to a third country rapidly” for assessment under the UN Convention and other relevant legislation.
“The rapid movement of people that have entered the UK illegally to a third country reduces the risk of the removal process being frustrated. The eligibility for removal should embrace all cohorts of people who enter the UK illegally,” he said.
Citing Australia’s experience, he said the pace at which people are moved, along with avoiding a running commentary on numbers, is useful in achieving success.
“The discussion of numbers at various stages of operational implementation will potentially look like the odds are still in favour of attempting dangerous, illegal migration journeys and the deterrent effect is lost”, he said.
Diplomatic efforts to resolve this problem jointly with France would be a significant contribution to a sustainable solution, the report said.
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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