Creative Sector

Baroness Bonham-Carter of Yarnbury Excerpts

Thursday 4th November 2021 Lords Chamber

[Baroness Bonham-Carter of Yarnbury (LD)]

My Lords, I add my thanks to my noble friend Lady Featherstone. Many superlatives have been sprinkled on her speech; I add “passionate”. I have also heard passion from around the House on this incredibly important topic. I also welcome the fine maiden speech of the noble Lord, Lord Spencer. I am so pleased that he chose this debate to make his maiden speech, because it was not necessarily obvious to the rest of us. It was a wonderful speech and I am pleased that he is part of this debate.

Lockdown was catastrophic for the creative industries, a sector that relies particularly on personal interaction. My own stark realisation of what was about to happen was on 16 March 2020, when the doors to Tom Stoppard’s “Leopoldstadt” literally closed in my face as I arrived. However, as the noble Lord, Lord Marland, said, the sector showed characteristic imagination and innovation and found new ways of collaborating, working and planning with communities across the land, streaming gigs, exhibitions, performances and festivals. In so doing, in some ways, it succeeded in reaching out to a more diverse audience. However, we all know that online events are no replacement for the pleasure of actual shared experience or the loss of revenue. The toll it took on the viability of venues, on the literal escape for audiences into other worlds and on the careers and lives of our fabulous creative workforce was terrible.

As the noble Lords, Lord Foster and Lord Cashman, said, this workforce was particularly vulnerable due to the precarious nature of its freelance world. Some 72% of its workers fall into this category. During lockdown, they came to be known as the “excluded” because that is what they were, unable to access government support schemes. Will the Minister listen to the calls for a freelance commissioner to ensure that resources are distributed more equally in future?

The UK’s creative and cultural workforce still does not adequately reflect the diversity of the UK population, as the noble Baroness, Lady Prashar, mentioned. I hope that the Minister will pay attention to the report from the APPG for Creative Diversity, of which I am a member, on how the Government can help the sector in this area. For instance, although we welcome government investment in developing flexi-job apprenticeships with agencies, will the Minister ensure that this remains sustainable and affordable for the sector after the initial investment runs out? Also, will he ensure that some of the levelling-up support, in particular the £560 million for youth services, is available for culture and creative activities? I take this opportunity to thank the noble Baroness, Lady Stedman-Scott, for her leadership and energy in making Kickstart work for the creative sector, as exemplified by the involvement of Pinewood and the games sector.

Our creative industries, and the cultural and artistic excellence that underpins them, make us a soft power superpower—an economic powerhouse. As the noble Lord, Lord Spencer, said, they unlock innovation. They provide social cohesion. They bring solace and, in some cases, actual healing to those struggling with physical and mental ill-health. They are gold dust, literally and metaphorically. The Chancellor acknowledged this recently when he said:

“For any country, there are probably a few things that you are world-class at. For us, in the UK, the creative industries, arts culture is something we are genuinely world-class at.”


His provision last week of an uplift in tax relief—I hope the noble Lord, Lord Vaizey, hears me—was very welcome indeed.

However, why is government policy not more joined-up in its support for the creative industries? Much has been said today about education and the skills pipeline. The acquiring of a skill begins at school, as the noble Lord, Lord Storey, said. Successive Conservative Governments consistently and persistently undervalue and undermine arts education. First, it was via the EBacc. Then, it was through proposals to scrap qualifications that are still needed by the creative industries, such as BTECs and level 3 courses. Defunding existing courses before new ones are tested is a huge risk. Please can the Government stop further cuts to the funding for creative subjects in higher education, with a 50% cut for some courses having already been announced in the summer?

“STEM, not STEAM” is the Government’s mantra. It totally ignores the fact that there should not be a choice between the arts and science. They are symbiotic. As Peter Bazalgette, chair of ITV and ex-chair of Arts Council England, said in a recent speech:

“Our global competitiveness will increasingly depend on the fusion of creative and technological innovation.”


It already does. The noble Lord, Lord Vaizey, mentioned Jony Ive and the iPhone, but did your Lordships know that nine out of the last 10 special effects Oscars were won by Brits—a perfect example of this fusion? Yet this Government—the same Government whose industrial strategy prizes the creative industries as a priority sector—say that arts subjects are not strategic priorities. It is baffling. Can the Minister explain this disconnect? More importantly, will he listen to the many noble Lords, including a former Culture Minister, who have made the same point in this debate?

Then there is Brexit. We have just heard the words of my noble friend Lord Strasburger. The fact is that the creative sector was dealt a no-deal Brexit. Will the Minister respond to his requests, and those of the noble Lord, Lord Berkeley, and the noble Earl, Lord Clancarty? Through their careers, they understand directly what is going on.

Finally, I want to pick up what my noble friends Lord McNally and Lord Clement-Jones highlighted. One of the most successful drivers of our world-beating creative sectors are our PSBs—a sector that feeds directly into levelling up. They make programmes across the country, boosting local economies and utilising local skills. They and our cultural institutions are central to promoting the UK around the world. It is about soft power. When he was Foreign Secretary, our now Prime Minister described the BBC as

“the single greatest and most effective ambassador for our culture and our values”

and a crucial contributor to Britain’s role as a soft power superpower.

The PSBs held us together during the pandemic, providing news that people could trust and, in the case of the BBC, essential support for home schooling. Can the Minister explain why this Government are seeking to slash the funds of the BBC and privatise Channel 4? Why, as the noble Baroness, Lady McIntosh, asked, are they so determined that a man such as Paul Dacre, who was deemed unsuitable to chair the PSB regulator Ofcom by the last interview panel, should be encouraged to apply again, with the job description tweaked to favour his application, as highlighted on Twitter? The old job ad said that candidates for the Ofcom chair needed to “support the chief executive”, while the new one says that candidates need to “challenge” the CEO. The old ad said that candidates need “familiarity” with regulation, while the new one says that they need an “understanding” of regulation.

Finally, I return to something Peter Bazalgette said in his recent speech. He asked why, as a nation, we overinform ourselves about declining industrial sectors and underinform ourselves about high-growth ones, such as the creative industries. Let us shout out about what we are so good at and invest in it in a joined-up way, as so eloquently put by my noble friend Lady Featherstone. Then I suggest we raise a glass of British sparkling wine—a great creation in itself.