Performing Artists and Musicians: Access to the EU
Earl of Clancarty Excerpts(5 days, 16 hours ago)
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Baroness Twycross (Lab)
I saw the Bayeux Tapestry last week, and it was one of the most amazing experiences of not just my career in your Lordships’ House but my entire life. Obviously, the process goes back to discussions that took place over a number of years, including under the previous Government. We can learn from it about working closely with colleagues in Europe from the very top, because it is clear that the President of France is as engaged in this as senior people in this Government. It is basically a gesture celebrating and building on our shared heritage. I urge all noble Lords to make sure that they go along and see this incredible tapestry when it is open to the public.
Baroness Twycross (Lab)
I am not clear whether we have done that assessment, so I will look into it. I am happy to talk to the right reverend Prelate about that and the contribution this makes to the congregations, choirs and performers involved, as well as the opportunity for our young people.
The Earl of Clancarty (CB)
My Lords, perhaps the most intractable problem is that of work for artists in Europe, whether temporary or permanent. As the noble Lord, Lord Berkeley, said, this is affecting not just musicians but dancers and actors, who often fall at the first hurdle because they do not possess an EU passport. For many artists, a position in Europe has been an essential part of their career development. Will the Government ensure that this, alongside all the other concerns, will be on the agenda at the next UK-EU summit?
Baroness Twycross (Lab)
I do recognise how some creative professionals have found it more difficult to take up opportunities in Europe, as practical barriers, including whether they have an EU passport, can have a disproportionate impact. That is why we are working with the European Commission and member states. The Government remain 100% committed to resolving this issue and to improving opportunities for UK artists of all ages to access European audiences and develop international experiences, recognising the cultural and economic value that those exchanges bring.
Arts Education
Earl of Clancarty Excerpts(2 weeks, 6 days ago)
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Baroness Twycross (Lab)
My strategic misalignment was to get answers that relate to music and arts education but not to journalism. I am happy to write to the noble Baroness on this issue.
The Earl of Clancarty (CB)
My Lords, we need a full debate on the important Hodge review, but, out of the many recommendations, do the Government support the recommendation that the government indemnity scheme, which saves a lot of money, could nevertheless be made more effective to allow more items to be shown more widely across the country? I am referring here to normal loans, not the Bayeux Tapestry.
Baroness Twycross (Lab)
Like many noble Lords, I went through the British Museum’s queuing system to get my tickets for the tapestry; clearly, it is exceptional, including the indemnity scheme around it. The Government will be responding in detail to all the commitments within the Hodge review. I look forward to the noble Earl, now that he is back in his place, securing a debate on the Arts Council review led by my noble friend.
Live Music
Earl of Clancarty Excerpts(3 weeks, 4 days ago)
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The Earl of Clancarty (CB)
My Lords, I congratulate the noble Lord, Lord Brennan, on an excellent speech. In policy terms, the guidance provided for culture as an area of competence for the mayoral strategic authorities—we discussed this at length during the passage of the devolution Bill—is that it needs to be a consultation from the bottom up. The DCMS and the Ministry of Housing, Communities and Local Government are, I hope, coming together on this. Every level of government should be involved, as well as stakeholders such as live music venues. I ask the Minister to confirm that. The danger with a larger governmental body will be rationalisation of assets.
On community assets, I applaud the Government’s intention explicitly to include cultural assets within that grouping, although I would still prefer them to have their own designation—as the noble Lord, Lord Brennan, asked for on another occasion. I welcome the £61 million the Government have set aside for that scheme, but I am disappointed that there was no reference to cultural assets in the recent announcement. It is important that local authorities and the public are fully aware that cultural assets are covered by this scheme, and the guidance clearly states this, with pertinent examples such as live music clubs and recording studios.
I am grateful to the Musicians’ Union for its briefing on the risk to live music in theatres. The disbanding of the RSC’s music department earlier this year is an unwelcome sign of the times; costs are cited and it is all too easy to replace real musicians with sophisticated software, which has its place in music but can never be a substitute for live music. I ask the Minister what thought the Government have given to those concerns.
Finally, European Movement UK calculates that over 25% of British musicians have lost all their work in the EU since Brexit, with average tour earnings down by 45%. In reality, nothing substantial to improve matters has happened in the last two years. With the cancellation of the 22 July UK-EU summit, when will this be discussed and resolved?
National Museums and Galleries
Earl of Clancarty Excerpts(3 months ago)
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The Earl of Clancarty
To ask His Majesty’s Government whether they intend to retain universal free entry to the UK’s national museums and galleries.
The Parliamentary Under-Secretary of State, Department for Culture, Media and Sport (Baroness Twycross) (Lab)
I am sure all noble Lords will agree that our national museums are truly exceptional. I can confirm that we are not considering any changes to free entry for UK nationals and residents. In response to the independent review of the Arts Council by my noble friend Lady Hodge, DCMS is working with the museum sector to explore potential opportunities for charging international visitors at national museums and galleries. This is a highly complex issue that requires detailed work with the sector before any evidence-based decisions are taken.
The Earl of Clancarty (CB)
My Lords, it is disappointing that the Government are even considering this. They do not seem to realise what a precious, globally recognised brand universal free entry is. Apart from the negative logistical and financial implications of applying a selective charge, including the lack of universal ID, as the noble Baroness, Lady Hodge, has pointed out, would the Government not rather restore the grant in aid to its real-terms 2010 level? The 18% drop in money since then represents frankly peanuts in the overall economy, yet that funding is vital for the success of our national museums.
Baroness Twycross (Lab)
We are committed to supporting our national museums and to ensuring that art and culture are accessible, representative and shared across the country. Our £1.5 billion Arts Everywhere package ensures everyone has access to world-class culture. There are no current plans to reduce grant in aid, although I will say that we cannot prejudge spending reviews. We want to enable new income generation for our national museums, and we are going to be working with the museums to explore ideas for how this income could be used.
Class Inequality in the Arts
Earl of Clancarty Excerpts(4 months, 3 weeks ago)
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The Earl of Clancarty
To ask His Majesty’s Government what assessment they have made of the University of Manchester report Class Ceiling, published in January; and what steps they are taking to address class inequality in the arts.
The Parliamentary Under-Secretary of State, Department for Culture, Media and Sport (Baroness Twycross) (Lab)
As the report highlights, it is considerably harder for someone from a working-class background to access the arts and pursue an artistic career. This is clearly not acceptable. Our £1.5 billion Arts Everywhere fund will prioritise areas previously undersupported, ensuring the arts should be for everyone, whatever their background. It is also why we are investing £132.5 million of dormant asset funding to increase disadvantaged young people’s access to enrichment and delivering a £9 million creative careers service, which will focus on tackling the greatest barriers facing young people.
The Earl of Clancarty (CB)
My Lords, my takeaway from a report that makes many crucial points is how much the starving of arts funding over many years has contributed to the neglect of a particular part of the workforce. Does the Minister agree that, if there is fiscal headroom, there should be major reinvestment not just in Manchester but across the whole country? Two examples from the report are, first, creative infrastructure, such as rehearsal and studio spaces, which has been largely ignored by successive Governments, and, secondly, the paucity of apprenticeships, which need to be far more flexible and tailored to the arts. Will the Government take action on these things?
Baroness Twycross (Lab)
The Government are already investing in arts and culture, and over the course of this Parliament they will invest £1.5 billion in capital funding for arts and culture. We are also investing in making sure that opportunities should never depend on background or schooling, and we are committed to ensuring that everyone can succeed in the arts. This includes looking at how we can encourage people to offer and take up apprenticeships. More importantly, it is about making sure the right people are in the room and that everyone knows that that room even exists.
UK Streaming and Cinema Sector
Earl of Clancarty Excerpts(4 months, 3 weeks ago)
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Baroness Twycross (Lab)
It would be a bit pre-emptive of me to rule out any exception before the reports I have mentioned are published. I would be very happy to return to your Lordships’ House to discuss this matter further once that has taken place.
The Earl of Clancarty (CB)
My Lords, with regard to the original Question, decisions such as this have the potential to significantly affect our creative workforce in this area, particularly the freelance workforce, in terms of size and rates of pay. Will these concerns be a significant part of the new freelance champion’s remit, and when will we hear more about this new role?
Creative Industries: Freelance Champion
Earl of Clancarty Excerpts(6 months ago)
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Baroness Twycross (Lab)
The champion-type role appointed by the Government is designed exactly for the purpose of making sure that these conversations are had and action is taken across government. We are very keen for the person who is appointed to this role to be involved in developing their own work plan, in discussion with the department, the Minister and the sector. The appointee will produce a work plan in their first months in the role, which will set out their priorities and planned actions. I might suggest that they have a conversation with the noble Baroness in that first period, so that she can be assured that they are looking at the right things that will support what is a vital part of the creative industries, but also one that has particular issues, as she outlined.
Baroness Twycross (Lab)
Delivery of our ambitious vision is on track. Key achievements include the £150 million creative places growth fund allocated to six mayoral strategic authorities; we have secured agreement to boost music creator streaming income; we have announced the price cap to ban for-profit resale of live event tickets; and we have secured investment for three Bollywood films in the UK, which are expected to create over 3,000 jobs. We also have an increase in innovation funding of £369 million from UKRI and over £4 billion for scaling creative businesses through the British Business Bank. I am delighted to say that the Culture Secretary announced today that £1.5 billion will be invested to save more than 1,000 arts venues—museums, libraries and heritage buildings—across England from closure. These are just a few of the actions that we have taken so far.
Baroness Twycross (Lab)
There is strong evidence, including in the report from the trade union Bectu that was published last year, on some of the real issues that the noble Baroness identified within the creative industries. They particularly affect freelancers, who struggle with a huge range of issues—everything from late payment through to not getting paid or not having pensions. The Government are determined to strengthen employment rights, not least to help people thrive in good-quality self-employment. These are some of these issues that the freelance champion will need to look at to make sure that we get the type of creative industries that are fair to all those involved.
The Earl of Clancarty (CB)
My Lords, there is concern that the Creative Industries Council, of which the freelance champion will be a member, has very little workforce representation within its newly expanded membership. It includes not one working practitioner in any area. Will the Minister promise to look at this?
Baroness Twycross (Lab)
I am happy to take that back to the department. I do not have a list of the make-up of the council, but I will take the point back and write to the noble Earl.
Heritage Craft and Building Sector
Earl of Clancarty Excerpts(6 months, 2 weeks ago)
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The Earl of Clancarty
To ask His Majesty’s Government what steps they intend to take to support the heritage craft and building sector; and how they will develop its skills pipeline.
The Parliamentary Under-Secretary of State, Department for Culture, Media and Sport (Baroness Twycross) (Lab)
The Government are committed to supporting the heritage, craft and building sectors to protect, maintain and adapt heritage for future generations. Last year, I hosted a round table on challenges facing the heritage skills sector and met my noble friend Lady Smith of Malvern, the Minister for Skills, to discuss the sector’s specific needs. A follow-up sector round table is being organised. The Government are providing an additional £1.2 billion a year towards skills development until 2028-29. We are working across government to ensure heritage skills are supported.
The Earl of Clancarty (CB)
My Lords, I thank the Minister for the meetings we have had in this area. Does she agree that, with our heritage in crisis with regard to the repair and maintenance not just of our historic homes and churches but of much pre-1919 build, specialist skills are needed more than ever for an industry that is split across government departments but crying out for a co-ordinated policy? Will the Government provide clear training pathways from school to professional practice, including better level 3 funding and, post-18, a better choice of university-comparable practical courses, building on examples such as York Minster’s apprenticeship centre?
Baroness Twycross (Lab)
I agree with the noble Earl about the need for specialist skills and the many organisations around the country that are doing excellent work in this area. I was hugely impressed by the offer at York Minster when I visited last year, and by the calibre and commitment of the apprentices and teaching staff. We are currently working with the heritage sector to identify key skills gaps and on how to protect the future of heritage skills. Through fully funded SME apprenticeships for under-25s, this Government are giving every smaller heritage organisation the opportunity to deliver flexible, affordable apprenticeships.
Broadcasting: Recent Developments
Earl of Clancarty Excerpts(6 months, 2 weeks ago)
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The Earl of Clancarty (CB)
My Lords, I congratulate the noble Lord, Lord Fowler, on a thoughtful opening speech.
The phrase I became heartily fed up with was “punching above our weight”, usually uttered by Ministers whose Government continued to wield the axe for further cuts to the arts. According to Voice of the Listener & Viewer, from 2010 to 2024 the BBC suffered 38% in funding cuts—a horrendous statistic—invariably affecting every area of programming, including the arts. We do not punch above our weight. There is reduced output and the added danger that mistakes may be made, as we have heard.
What the BBC is surviving on to a significant extent is a huge residual feeling of good will across the world, its dogged impartiality in terms of news reporting, and, for what survives of the World Service, still a considerable reach. Remarkably, the BBC is still considered a beacon of democratic values, but without the necessary investment and, more importantly, a belief in those values beyond seeing the BBC as a money-spinner for the growth agenda, that good will will dissipate—a major reason why the World Service, a necessary aspect of foreign policy, needs again to be properly funded by the Foreign Office.
In the early 1960s a young, unknown playwright was given not one but three slots for plays on BBC radio years before “Rosencrantz and Guildenstern Are Dead” made Tom Stoppard’s name. It was the first play I ever saw at the theatre, courtesy of a school trip. Famously, Stoppard turned down the opportunity to write the screenplay for Steven Spielberg’s film “Jaws” because at the time he was working on a play for the BBC—for radio. It is difficult to imagine such a thing happening now. What remains in terms of the arts is still great but needs to be built on, including restaffing. Music is still well served, with five orchestras, although in-house drama and coverage of the visual arts are diminished. I miss drama on Radio 3, which was such a good fit.
The BBC urgently needs to be future-proofed, particularly against structural threats, which could be worse even than the loss of funding, bad as that has been. I agree with the Broadcasting, Entertainment and Arts Unions’ plea that the BBC should not be compelled to commercialise because of funding restraints. There has to be certainty—a forever charter without the nail-biting review. The BBC needs to be properly independent in terms of government appointments. That independence should be extended in certain ways to other channels, and the Ofcom code strengthened, as the noble Baroness, Lady Wheatcroft, has said. As an instance, for obvious historical reasons, participation by German politicians in their media is strictly controlled. They cannot present programmes except in rare circumstances. That policy should be enforced here. We have seen what is happening in America in terms of the destructive interference of government in its institutions and media outlets. Unless measures are taken now, it is not inconceivable that with a Farage Government GB News becomes, in effect, a state broadcaster.
Beyond streaming, and certainly in the face of mis- and disinformation, there remains a strong moral case for a substantial public service broadcaster for the good of society, which is why a universal funding model needs to be adopted—less liable to be undone than the licence fee, which I fear could too easily be turned into a subscription.
Arts and Creative Industries: Social Mobility
Earl of Clancarty Excerpts(7 months, 3 weeks ago)
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The Earl of Clancarty
To ask His Majesty’s Government how they intend to improve social mobility for careers in the arts and creative industries.
The Parliamentary Under-Secretary of State, Department for Culture, Media and Sport (Baroness Twycross) (Lab)
My Lords, making creative careers accessible for everyone is a key priority for the Government. I agree wholeheartedly with the premise of the Question that there is an issue for us to address. That is why our refreshed £9 million creative careers service will focus on supporting priority areas where young people face the greatest barriers to accessing creative opportunities. It is also why last month we announced new funding for the King’s Trust to support direct routes for underrepresented groups into jobs, education and training in the sector.
The Earl of Clancarty (CB)
My Lords, the Sutton Trust finds that there are barriers to young people from lower socioeconomic backgrounds at every stage of the creative industries pipeline—in schools, higher education and job opportunities. Does the Minister agree that the continuing loss of arts courses in higher education, from the loss of the prestigious undergraduate drama course at the Bristol Old Vic to the suspension of music courses at Nottingham University, does not sit well with the Government’s intent to improve arts education in state schools and increase social mobility in the creative industries?
Baroness Twycross (Lab)
High-quality arts education cannot be for the privileged few. To provide certainty over future funding, we are increasing tuition fee caps by forecast inflation next year and the year after. Alongside this, we continue to invest in creative arts through the strategic priorities grant, which includes support for world-leading creative institutions. We will also revitalise arts education in schools through a reformed curriculum and support for teachers.