Queen’s Speech

Lord Cashman Excerpts

Thursday 19th May 2016 Lords Chamber

[Lord Cashman (Lab)]

My Lords, I am pleased to follow the noble Viscount, though I have to say, having spent 15 years working and legislating in the European Union, that I do not share his views of the Union or how it functions. I am reminded that one tends to get the answers one wants when one questions only the people that one chooses to target. Like others in this House, I am deeply concerned about the shadow that the European Union referendum casts across not only this country but the rest of Europe.

I remind noble Lords of my interests in the register, in particular as a rights holder of TV programmes. It is a pity that the noble Lord, Lord Fowler, is not here to hear me say that I agree with his every word—it is just as well, because it would probably worry him more than it worries me—particularly in relation to the BBC. Regarding his statement that the Government and both Houses should really be in the realms of a certain amount of give and take, I want to give by saying to the Government that there is much that I commend in the Queen’s Speech—much indeed—but the issue is how it is woven together. I may even stray into certain areas which we are not due to discuss today, because I think there is an interconnection between rights and responsibilities, between communities and the way in which we provide housing and health, for example. So there is much here and I commend the Queen’s Speech. As ever, the delight and the challenge will be in the detail.

If your Lordships will allow me, I will address something that is crucial for me and, I hope, for others, and that is the Bill of Rights. The Government are, perhaps, thinking twice on how to approach this issue. I welcome this. I note that there will be a proposal on which, I presume, there will be consultation. I urge the Government to publish online the responses to any such proposal and consultation. It is vital that we have the utmost transparency, especially when we are dealing with issues of fundamental human rights. We also need to be very careful about a disconnection with the universality of human rights. Arguably, as soon as we have a British Bill of Rights, those rights will only kick in when you enter Britain; you will lose them when you leave.

Equally, we must be extremely careful about the language that we use when referring to the judgments of the European Court of Human Rights in Strasbourg. The defamation of judgments undermines the very principle of the universality of human rights. When we selectively endorse certain judgments that please us in government, we undermine the very ones that we selectively grab by denouncing the others. I wholly endorse anything that improves, enhances and reinforces the universality of human rights.

Turning to culture, I agree with the noble Baroness, Lady Bonham-Carter, my noble friend Lord Macdonald and the noble Lord, Lord Fowler. The White Paper on the BBC charter review is to be welcomed, but I have some serious concerns, not least about the make-up of the board. Will it be sufficiently independent? I think that the mid-term review will prevent the BBC from having a long-term strategy. I believe that there is an intention to stress the BBC to work in other areas, much wider than those in which it currently operates. This is in order that, in five years’ time, the board—and certainly the Government—will turn round to the BBC and say, “Well, you are no longer a world-class leader; you are not matching exactly what we want you to do, so you need to do less”. This is a big worry for me. Equally, regarding the concept of distinctiveness, are we going to say, “Why are you doing popular programmes, because they are being done by the other channels? That is not distinctive; do something different”? How do we make programmes in the public interest? Who defines the public interest? We should also celebrate and support what the BBC does and encourage it further. The same goes for Channel 4. Channel 4 is a beacon of diversity, not only in the programmes it makes but in the people who work within and for it. The £26 million surplus is to be welcomed. It is another example of broadcasting success.

I turn now to education and particularly to education and the arts. My life was, arguably, changed by arts in education. I failed my 11-plus and I remember when I went to my secondary modern school they gave up on me. You could see it in the eyes of teachers who did not know what to do with this energetic rebel. Yet, a drama teacher—Bill Everett—saw something. It was because of him that I spent a lifetime in the arts and creative industries. And we are in the creative industries. Here in both Houses, we use our creative talents to imagine something better. We pool them to bring forward solutions to problems that other generations have tussled with for thousands of years. One of our brilliant policemen came up to me and said, “It is nice to see you still performing, my Lord”. I said, “Actually I gave up performing some years ago”. “No, you haven’t”, he said, “I have seen you in the Chamber”.

As the noble Baroness, Lady Bonham-Carter, said, let us celebrate the enormous talent base in this country. Let us celebrate it around the world. It has not happened by chance; it is because we have invested in talent and education which changes people’s lives, hearts and minds. This is why I believe that all students should have access to drama as a subject in schools, taught by specialist-trained drama teachers with qualified teacher status. Drama is a distinct art form and should have its own subject status, separate to English, in both primary and secondary schools. For drama to be engaging before GCSE level requires trained and qualified drama teachers in secondary schools. In primary schools it requires high-quality, in-service drama training as a minimum. English teachers are not usually drama trained and drama should not be seen just as a method of English teaching.

I hope that the Government will seize this opportunity to review their narrative around the English Baccalaureate, against which the arts community fought so valiantly. It sent a damaging signal to downgrade the arts in education. This has happened. The number of children sitting arts GCSEs is declining steadily. It is down in music and drama, and film is excluded from the curriculum altogether. Teacher training places in arts education have been cut by 35% and the numbers of specialist arts teachers have fallen. This makes no sense for the arts and our creative industries. It makes no sense in wider educational terms either. We must reject the binary choice between science and arts. We need our young people to grow up to be problem solvers—to be creative and analytical, innovative and inquiring in their chosen profession. We do not need them to live their lives in closed silos, shut off from the possibilities of imagining other approaches and other ways.

I believe that, in the end, it is art that defines us as human beings. We underinvest in this and future generations at our cultural and economic peril. We need a curriculum that embraces arts in all its forms and places it at the centre of how we all explore the world.

Schools: Arts Education

Lord Cashman Excerpts

Thursday 27th November 2014 Lords Chamber

[Lord Cashman (Lab)]

My Lords, I thank the noble Earl for his eloquence in introducing the debate. I, too, look forward to the speech by the noble Baroness, Lady Evans of Bowes Park. I declare an interest as a member of British Actors’ Equity; I have held that membership for some 50 years.

I want to make the moral case for arts in education—first, by giving a personal perspective. Growing up in the East End of London, the son of a docker, from the very day I was born my life was set out before me. I failed my 11-plus and I went off to my secondary modern school as a rebel in search of any cause. It was then that I discovered drama—or, rather, a drama teacher discovered me. Then there was the wonderful experience of going to see “Oliver!” in the West End of London when I was 11 years old, leaning forward in those cheap seats that we used to call the gods, and thinking, “I never, ever want this to end”. The irony was that I was discovered in a secondary modern school singing in the end-of-term school show, and within three months I was playing Oliver in that very same West End production.

That changed my life for ever. Before that I had no concept of theatre, performance arts or even of drama as a subject. Suddenly there was a focus for the energy that made my father boast—at least, I think it was a boast—that if I had not gone on the stage I would have ended up in prison. I began a career as an actor that lasted 37 years. It taught me so many things. This is why the arts, drama, music, film and media studies—everything that the noble Earl outlined—are so important in education, because they affect every single thing that we do.

I am talking not only about communication skills, which some of us have and some of us do not, but about confidence skills. At how many moments during the day do we stand up thinking, “I can’t do this”? Somehow, though, we have learnt to masquerade and pretend that we can, and we carry it off because we have the ability to imagine that there is another idea, another option. The team-building and discipline that come from the arts in education last for the rest of people’s lives.

The idea that we have to choose between arts and sciences is utter nonsense. The two are married together. Indeed, it was learning the disciplines as a young actor that allowed me, in my mid-20s, to study science and to achieve, in 11 months, my O-levels and A-levels. I could never have done that if I had not had the courage, the confidence and the ability to imagine.

I am going on far too long about me, though, and it is vital that I say some of the things that I have properly prepared to say. What I have said so far explains why I believe that all students should have access to drama as a subject in schools, taught by specialist trained drama teachers with qualified teacher status. Drama is a distinct art form and should have its own subject status, separate from that of English, in both primary and secondary schools. If drama is to be engaged in before GCSE level, that requires trained and qualified drama teachers in secondary schools, and in primary schools it requires high quality in-service drama training as a minimum.

Currently there is a significant and deepening inequality of drama provision in schools, and some schools provide none. There should be equality of national curriculum status for at least the five main art forms in schools: art and design, music, dance, drama, and film. The Department for Education has never given any reason why the different art forms are given differential status and attention. It is vital that we be told why it has that opinion, because it affects not only us but generations to come.

Children and young people can now go through education and receive no direct or specialist drama teaching at all. There is a real concern that drama could get parcelled out as “vocational”, to the financial benefit of theatres. We could see only children whose parents can afford it being able to study and engage in drama and the creative arts. That is why my right honourable friend Harriet Harman has said so often that creative and cultural learning supports attainment in all subjects, including literacy and maths. Research has shown that taking part in arts activities at school can make up for an early disadvantage in terms of likelihood to progress to further education as well as in employment outcomes.

I say with due respect to the Minister that I believe the Government are going in the wrong direction on art and culture, and the arts are in danger of becoming more remote from children from working-class backgrounds, such as me, and children in disadvantaged communities, as well as remote from young people in our regions. The whole government narrative around the English baccalaureate, as the noble Earl has said, which the arts community fought so valiantly against, sent a damaging signal to downgrade the arts in education. The number of children sitting arts GCSEs is declining—music is down 9%, drama is down 13% and film is excluded from the curriculum altogether. Teacher training places in arts education have been cut by 35% and the number of specialist arts teachers has fallen. This makes no sense in terms of the creative industries and the arts. It makes no sense in wider educational terms.

We do not want the children being educated now to live in silos. We want them to imagine and to connect. We want them to imagine that there are other ways and other approaches. In the end, it is art that defines us as human beings. Therefore, we underinvest in these subjects, and in this generation and future generations, at our cultural, moral and economic peril.