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The Parliamentary Under-Secretary of State for Culture, Media and Sport (Stephanie Peacock)
It is a pleasure to serve under your chairship, Mrs Harris. I congratulate the hon. Member for Glastonbury and Somerton (Sarah Dyke) and my hon. Friend the Member for Weston-super-Mare (Dan Aldridge) on securing this important debate and for the powerful way in which they have spoken about their constituencies and the distinctive long-standing cultural tradition of illuminated carnivals. All hon. Members who have contributed to this debate have spoken with such passion. I will address some of the direct points put to me before talking about how carnivals impact the arts and tourism.
As we have heard, the west country carnival circuits are a spectacular annual celebration dating back to the 17th century. They represent far more than local custom; they bring in visitors and are a valuable source of income. I congratulate the hon. Member for Glastonbury and Somerton on her continued advocacy for carnivals, including the Glastonbury carnival, and for the roundtable she held in her constituency this month. She spoke about the passionate commitment of everyone who attended that and, indeed, she referenced the magnificent seven carnivals and their impact on things such as charity, tourism, culture, volunteering and the community. She made an important point about skills and volunteering, which I will touch on later.
The hon. Member put points to me about costs, including material, fuel, tractors and insurance. I acknowledge that and the shadow spokesperson, the hon. Member for Bridgwater (Sir Ashley Fox) made that point as well. The hon. Member for Glastonbury and Somerton spoke about fundraising, membership fees and sponsorship, and increasing challenges. We live in an increasingly cashless society, and we have seen a roughly 15% reduction in the use of cash since 2017. That is something the Government are aware of. The hon. Member also made a specific point about safety advisory groups. The Government issue best practice, which is co-ordinated by the Cabinet Office, but it is a matter for local government. I will write to her about that specific point, as it might be useful.
My hon. Friend the Member for Weston-super-Mare rightly stated that my first visit as the Minister for Tourism was to his constituency, and I was delighted to visit. I had the pleasure of meeting local tourism and hospitality leaders, as well as the dedicated team at the Grand Pier. I thank him for his kind words and his warm welcome. The visit made it incredibly clear to me how vital the visitor economy is to the spirit and economy of the west country. I wish all those at the Weston-super-Mare carnival continued success and I pay tribute to my hon. Friend for being the first in this place to speak about that carnival. He spoke passionately about the carnival ecosystem and how it inspires younger people. Indeed, it inspires those of all ages, as the shadow spokesperson rightly pointed out.
It was good to hear from the shadow spokesperson, and I know he takes a keen interest in this subject. He asked a question at oral questions a few weeks ago and I am delighted that I will meet him soon to discuss the matter further. The Bridgwater carnival is part of the west country carnival circuit, and the magnificent seven procession travels from his constituency to Glastonbury. He spoke about his constituency being “the home of carnival”.
My hon. Friend the Member for Luton South and South Bedfordshire (Rachel Hopkins) spoke about the history in her area, dating back to the 1400s. She also asked a question on this topic at Culture, Media and Sport questions—it was a popular subject. She spoke about the UK Centre for Carnival Arts in Luton. It is the first dedicated facility for professional development, production and celebration of carnival culture. That is really important and it is the driving force behind the Luton International Carnival, which my hon. Friend spoke so passionately about.
Every year, carnival draws thousands of visitors. It is not just a show; it supports the local economy and brings the community together. It is a unique form of living history. Both Arts Council England and the national lottery project grants have supported vital initiatives around the carnival, including community workshops, school programmes and the development of key skills, such as costume making and set design. As an art form rich in cultural heritage and global influence, the Government continue to fund carnival arts right across the country via their grant-in-aid investment in Arts Council England. My hon. Friend the Member for Weston-super-Mare raised a point about access to funding. It might be helpful if I write to all hon. Members in the debate about how carnival can bid for and access funding. I will make sure my Department writes to each hon. Member here after the debate.
As part of a transformative £1.5 billion package over the course of this Parliament, the Government provided a 5% funding uplift to key national arts organisations. That means organisations, such as the UK Centre for Carnival Arts in Luton and the St Pauls carnival in Bristol, are funded as part of the Arts Council’s national portfolio. The funding supports a broad ecosystem beyond the incredible shows. It supports creative workshops, master classes around events and, of course, the unforgettable original costume designs and live music. The Government’s arts everywhere ambition ensures that carnival is not merely a seasonal event, but a sophisticated year-round art form that supports places to thrive, generating millions of pounds in benefits and telling our nations’ stories.
The next generation of carnival artists are being cultivated and supported through Arts Council England investment in organisations such as Global Grooves in Tameside, which transforms the lives of young people by immersing them in the world of carnival. Through its dedicated future leaders programme at the Vale youth hub, it bridges the gap between community tradition and professional skills development, offering hands-on experiences in costume design, puppetry and dance.
Government support helps to ensure that the vibrant heart of carnival continues. The organisations that I mentioned are amazing examples of how our national story moved from community practice to national policy in 2024, when the UK ratified UNESCO’s 2003 convention for the safeguarding of the intangible cultural heritage. Intangible cultural heritage, or living heritage, matters because those traditions are the threads that weave us together. They provide a way to celebrate our incredible diversity, which can turn strangers into a community through shared song, craft and celebration.
This debate is important because of the impact that carnival has on tourism and the visitor economy, not just on the arts. Our ambition is clear: we want to welcome 50 million international visitors annually by 2030. But we recognise that numbers alone are not the measure of success. We must ensure that those visitors stay longer and explore further, reaching beyond our major hubs and into the rural and coastal heartlands. That is something that we will acknowledge and celebrate next week in English Tourism Week. To do that, we understand that sustaining regional growth requires more visitors. We want to be passionate, and carnivals play an incredibly important role. I also want to recognise the huge impact that volunteers have in carnivals. A number of Members have made incredibly important points, so I will end by paying tribute to all Members and the vital role that carnivals play.