Britain's World War II spy Noor Inayat Khan was on Monday (25) confirmed as the first Indian-origin woman to be honoured with a Blue Plaque at her former London home.
The Blue Plaque scheme run by English Heritage honours notable people who lived or worked in particular buildings across London. Khan's plaque is set to go up at 4 Taviton Street in Bloomsbury, where she lived as a secret agent during the war.
Khan, the daughter of Indian Sufi saint Hazrat Inayat Khan, was an agent for Britain's Special Operations Executive (SOE) during World War II and was captured and killed by the Nazis in 1944 at just 30 years of age.
"It is from this house that she left on her final and fatal mission. Noor gave her life in the fight against fascism and her message of peace and tolerance of all religions is even more relevant today," said Shrabani Basu, Chair of the Noor Inayat Khan Memorial Trust (NIKMT).
"The blue plaque will be a wonderful addition to the area that has a special association with Noor. It will be the first Blue Plaque for a woman of Indian-origin in Britain and is a real honour," said Basu, who has been campaigning for the plaque since 2006 as the author of 'Spy Princess: The Life of Noor Inayat Khan'.
Taviton Street is close to Gordon Square, which the NIKMT chose for the installation of a memorial bust in 2012 of the spy, a descendant of the 18th century Mysore ruler Tipu Sultan.
The Blue Plaque at her home is expected to be installed following building approval within the next few years.
"The Blue Plaques Panel have agreed that Noor Inayat Khan should be commemorated with a plaque. Once a nomination has been approved, it can take a further two or three years for a plaque to be unveiled," an English Heritage spokesperson said.
"Noor Inayat Khan has deserved recognition for years. A hero who joined Britain's effort to fight tyranny," said Tom Tugendhat, Chair of the UK Parliament's Foreign Affairs Committee.
Born in September 1914 in Moscow to an Indian father and American mother, Khan was raised in both Paris and Britain.
As a Sufi, she believed in non-violence and also supported the Indian Independence movement but she felt compelled to join the British war effort against fascism.
She went on to become the first female radio operator to be infiltrated into occupied France, where she was tortured and killed at Dachau concentration camp.
The SOE was an underground force established in Britain in 1940 by war-time prime minister Winston Churchill to "set Europe ablaze".
It recruited men and women to launch guerilla war against Adolf Hitler's forces.
Historial records show that despite being repeatedly tortured and interrogated, Khan revealed nothing and was executed by a German SS officer and her last word was recorded as "Liberte" or freedom.
She was later awarded the George Cross, the highest civilian decoration in the UK, in recognition of her bravery.
In recent months, Khan was also a frontrunner of a campaign for an ethnic minority personality to be honoured as the face of a redesigned £50 note until the Bank of England announced that the note would feature a scientific figure.
Major Indian figures to be honoured with Blue Plaques in London include Mahatma Gandhi, Jawaharlal Nehru and B R Ambedkar, who spent time in the city during the Indian national movement against Britain's colonial rule.
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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