Covid-19: Cultural and Entertainment Sectors

Caroline Dinenage Excerpts

Tuesday 2nd March 2021 Commons Chamber

[The Minister for Digital and Culture (Caroline Dinenage)]

I beg to move,

That this House has considered covid-19 and the cultural and entertainment sectors.

May I, too, extend a very warm welcome back to the hon. Member for Cardiff Central (Jo Stevens)? It is so lovely to see her back in her place looking so well.

I am so grateful for this opportunity to highlight the Government’s support for our world-class culture and entertainment sectors during what has been an extremely challenging year. The UK has one of the strongest cultural sectors in the world and a really proud tradition of supporting the artists, entertainers and creatives who do so much to enrich our lives.

Experiencing culture, whether it is through visiting a museum, wandering through the gardens of a heritage site or attending the theatre, can do so much for our mental and physical health, and I know that so many of us have leaned on films, TV, virtual exhibitions and all other types of art and entertainment to get us through the last year. Covid-19 has placed unprecedented pressures on organisations and individuals across the economy, but entertainment and culture have been particularly hard hit, relying as they so often do on social interaction and close contact.

[Jim Shannon (Strangford) (DUP)]

I spoke to the Minister beforehand. As she said, this pandemic has been greatly disheartening for the culture sectors. For example, Scottish dancing and Scottish piping are very important in my constituency, but the problem is that they do not have their own properties and they are not eligible for grants. It is essential that they have a restart grant to allow them to start again, and to allow our children to be active in such a wonderful way. What can the Minister do to make that happen?

[Caroline Dinenage]

The hon. Gentleman is absolutely right to champion those small, local cultural establishments in our communities up and down the country that do so much to entertain us, but also to boost our wellbeing and our general sense of health. That is why, as part of the £1.57 billion culture recovery fund, the Barnett formula extended that funding to all the corners of our great nation. Indeed, the Northern Ireland Assembly saw £33 million, which of course it can choose to use how it wants to support all those wonderful cultural establishments that do so much for us.

Last week, the Prime Minister announced a very cautious but irreversible route out of lockdown, while also acknowledging that the threat from covid remains substantial. I recognise that, although this represents a turning point in the nation’s battle against coronavirus, many of our sectors will be impacted by continued restrictions and, of course, will be understandably frustrated at being unable to fully reopen just yet.

However, there is hope on the horizon through the events research programme announced in the road map, which will explore how larger events across the cultural and entertainment sectors can begin to reopen safely. I recognise, of course, that businesses are so keen to reopen as soon as possible, but, as the Prime Minister said, it is vital to take a measured and careful approach so that it is truly a one-way road out of this pandemic.

The success of the vaccination programme has offered us the protection to very tentatively start removing the restrictions. There will be five-week intervals between each of the four steps, to enable the scientific data to be evaluated and to ensure that the next step is truly safe before we take it.

Under the road map, outdoor sport and leisure facilities will be able to reopen at the second part of step 1, no earlier than 29 March. At step 2, no earlier than 12 April, indoor leisure facilities such as gyms can reopen for use by people on their own or in household groups, as can most outdoor attractions and settings, including hospitality venues that are outdoors, zoos, theme parks and drive-in cinemas.

Step 3, no earlier than 17 May, will see indoor entertainment venues such as museums and cinemas reopening. The Government will also allow some larger performing and sporting events, in indoor venues with a capacity of 1,000 people or half-full, whichever is the lower number, and in outdoor venues with a capacity of 4,000 people or half-full, again whichever is the lower. In the largest outdoor seated venues, where crowds can spread out, up to 10,000 people will be able to attend, or a quarter full, whichever is the lower.

[Colum Eastwood (Foyle) (SDLP)]

The Minister will be aware that many entertainers and venues across my constituency and every constituency have been absolutely decimated; their livelihoods have been taken off them. Does she agree that one way to deal with that is to have a creative approach to taxing creatives, as they do in the Republic of Ireland, where there is the artists’ tax relief? The reduction in the VAT rate for ticket sales could be extended to help venues get through this very difficult period.

[Caroline Dinenage]

The hon. Gentleman is absolutely right that the VAT reduction on hospitality and entertainment over the past year has been a great benefit for a lot of our venues. Of course, any announcements about that will be set out tomorrow by the Chancellor in his Budget, but it is an excellent point.

In step 4, no earlier than 21 June, our ambition is to reopen remaining premises. I am sure, Madam Deputy Speaker, that you will be delighted to know that that includes nightclubs. That will ease the restrictions on large events and performances that apply in step 3, subject to appropriate mitigations. However, it is important to stress, as the Prime Minister said, that the decision on each stage will be based on data and not dates. The Government will move cautiously to keep infection rates under control.

However, I know that for so many in the arts and entertainment sector, this proposal represents further months of financial uncertainty, so the Prime Minister provided assurance in his announcement last week that for the duration of the pandemic, the Government will continue to do whatever it takes to protect jobs and livelihoods across the UK. We have been working very closely with the Treasury on this issue to determine the appropriate and most effective response for the sector within the public health context.

In the Budget tomorrow, the Chancellor will set out the next phase in our economic support package. It will reflect the steps set out in the Prime Minister’s approach to easing the restrictions through the road maps. We now know that there will be good news for our sectors tomorrow. There will be a generous package of funding that is about not just survival but planning, preparing and paving the way to the reopening of our sectors. I look forward to hearing more detail from the Chancellor tomorrow, and I am sure hon. Ladies and Gentlemen across the House do too.

Our commitment to supporting individuals and businesses has been steadfast through this challenging period. The Government have supported individuals across the economy through financial packages such as the job retention scheme and the self-employed income support scheme. In particular, the £1.57 billion culture recovery fund—the single largest-ever support package for the arts—has helped to safeguard not only the future of some of the best-loved cultural and creative venues, but many of the jobs and livelihoods of the incredibly skilled people who depend on them. It has also assisted the supply chain organisations, which are recognised as a crucial part of the sector.

We have recognised the significant pressures faced by businesses in our sectors. The Chancellor announced one-off top-up grants for retail, hospitality and leisure businesses, worth up to £9,000 per property, to help businesses through the spring, and £594 million of discretionary funds was made available to support other impacted businesses, in addition to £1.1 billion of further discretionary grant funding for local authorities, local restriction support grants worth up to £3,000 a month and the extension of the furloughing scheme. Business rates relief and numerous loan schemes have provided certainty for businesses and have enabled planning, recruitment and job retention.

We are absolutely determined to make sure our cherished culture and heritage makes it through this crisis. That is why we have also provided sector-specific funding and support. We have worked closely with all our sectors to draft guidance to ensure that businesses are as covid-secure as possible and to protect workers and visitors. To date, £1 billion of the culture recovery fund has been allocated across all four nations of the UK, providing direct support to organisations, both large and small. As I have mentioned, the devolved Administrations have received £188 million through the Barnett formula. Of that £1 billion, £800 million has been awarded to more than 3,500 arts, culture and heritage organisations across England, which has helped to support at least 75,000 jobs.

With your indulgence, Madam Deputy Speaker, I would like to dig a bit deeper into those figures so that hon. Members get a real sense of where the funding has been directed and the kind of organisations that it has supported through an incredibly difficult year. Some 462 awards have been made to applicants whose main art form is theatre, with a value of £183 million. The sector will be further supported through the second round of funding. Some £79 million is being distributed between 514 heritage organisations, 96 grants of which—totalling £17.5 million—are to listed places of worship, and over 15% of funding is to listed historic housing and gardens. We have supported museums, with £49 million being distributed to 156 organisations through Arts Council England alo-ne.

As a result of Government support and guidance—in particular, the film and TV restart scheme—the screen industry has bounced back and recorded the second highest production spend for any quarter on record. The combined total UK spend on film and high-end production was more than £2.8 billion—a drop of only 21% from the 2019 record. The £500 million film and TV production restart scheme has filled the insurance gap, giving productions the confidence to keep shooting and ensuring that family favourites such as “Ant & Dec’s Saturday Night Takeaway” and “Midsomer Murders” continue to entertain us and lift our spirits—although perhaps the murders not so much. Such programmes have also created much needed employment opportunities.

Falling infection rates, the vaccination of more than 18 million people and scientific data about the efficacy of our hugely successful roll-out continue to give this country real grounds for optimism. The road map sets out a clear and cautious route to return to normality. Throughout the pandemic, though, protecting the public has been our top priority, and we will continue to work closely with our sectors to support them to reopen as soon as it is safe and sustainable to do so.

Oral Answers to Questions

Caroline Dinenage Excerpts

Thursday 4th February 2021 Commons Chamber

[Gill Furniss (Sheffield, Brightside and Hillsborough) (Lab)]

What steps he is taking to prevent the spread of far-right conspiracy theories online.

[The Minister for Digital and Culture (Caroline Dinenage)]

The Government take the issue of disinformation, including far-right conspiracy theories, very seriously, and DCMS is leading work across Government to tackle this. Our counter-disinformation unit brings together monitoring and analysis capabilities across Government, and we work closely with social media platforms to ensure that swift action is taken and authoritative sources of information are promoted.

[Gill Furniss [V]]

To tackle far-right extremism and conspiracy theories that undermine our vaccine roll-out, new legislation is urgently needed. Social media companies must take responsibility for the content shared on their platforms. Can the Minister therefore update the House on when the online harms Bill will be introduced, and give her assurances that the Bill will achieve this vital aim, which will keep our country safe?

[Caroline Dinenage]

I thank the hon. Lady for her question. As I have said, tackling disinformation in all its forms, including vaccine disinformation, remains a key priority for the UK. As we set out in the full Government response, the online safety Bill will introduce a duty of care that requires companies to address online harms such as harmful disinformation that could impact on people’s health and safety on their platforms, and that legislation will be put forward this year.

[Chi Onwurah (Newcastle upon Tyne Central) (Lab) [V]]

Mr Speaker:

“No one should have to accept racist abuse as the price to pay for being in the public eye”,

the Secretary of State assured footballers. No one should have to accept racist abuse full stop, and no one should be subject to extremist grooming or have their lives endangered by anti-vax misinformation, but they are, and for 10 years Conservative Governments have refused to act. As the head of UK Counter Terrorism Policing tells us, extremism has become so widespread online that it “cannot be policed”. Will the Minister say what steps she has taken to protect us and, please, no more vague assurances for the future?

[Caroline Dinenage]

Of course, we want the internet to be a very safe space for all users, and we are very clear that what is unacceptable online is just as important as what is unacceptable offline. That is why we are absolutely committed to tackling extremist views, racist views and views that promote violence, hatred and division against individuals and against communities. We want the internet to be a safe space for all users, which is why the online harms framework will require companies to have very clear terms and conditions about how they would respond to such hateful content, and they will be expected to implement those conditions consistently and transparently.

[Simon Fell (Barrow and Furness) (Con)]

What steps his Department has taken to support local leisure centres during the covid-19 outbreak.

--- Later in debate ---

[Rob Roberts (Delyn) (Con)]

What steps his Department is taking to tackle anti-vaccination content online.

[The Minister for Digital and Culture (Caroline Dinenage)]

The Government take the issue of vaccine misinformation very seriously, and DCMS is leading work across Government to tackle this through the counter-disinformation unit. We are working closely with social media platforms to help them identify and take action to remove incorrect claims about the virus, including anti-vax content that could endanger people’s health.

[Rob Roberts]

My sister is bravely battling cancer for the second time, so I was excited to tell everyone who has supported her on social media last night that she would be receiving her vaccine on Saturday. Within minutes, some very special individual was spouting anti-vax nonsense on that post. In six months last year, Facebook removed 12 million pieces of content and put labels on 167 million more that failed fact checking. Anti-vax rhetoric puts lives at risk. What practical steps can my hon. Friend take to work with social media platforms to make the point that freedom of speech is not absolute if it leads to societal harm?

[Caroline Dinenage]

It is lovely to see my hon. Friend in real life. I am very sorry to hear about his sister’s health concerns. I wish her a very speedy recovery and I am really pleased that she has got her vaccination.

Freedom of expression is an essential quality for a thriving democracy, but the act of sharing misinformation should not be confused with well-intentioned citizens asking perfectly valid questions about the safety of the vaccine. Of course, it is really important that harmful disinformation that is designed to undermine people’s confidence in these vital vaccines is addressed and removed as quickly as possible. That is why we are working so closely with social media platforms and have secured a commitment with them to ensure that authoritative messages about vaccine safety reach as many people as possible.

[Mary Glindon (North Tyneside) (Lab)]

If he will make a statement on his departmental responsibilities.

UK Musicians: EU Visa Arrangements

Caroline Dinenage Excerpts

Tuesday 19th January 2021 Commons Chamber

[Pete Wishart (Perth and North Perthshire) (SNP)]

(Urgent Question): To ask the Secretary of State for Digital, Culture, Media and Sport if he will make a statement on visa arrangements for UK musicians in the EU.

[The Minister for Digital and Culture (Caroline Dinenage)]

This Government recognise the importance of the UK’s world-leading cultural and creative industries. We recently demonstrated that commitment by providing an unprecedented £1.57 billion package of support to help them through the covid-19 pandemic. It is therefore entirely consistent that, during the negotiations with the EU, we pushed for ambitious arrangements allowing performers and artists to work across Europe.

Our proposals, which were informed by our extensive consultation and engagement with the UK’s cultural and creative industries, would have allowed UK musicians and other cultural touring professionals to travel and perform in the UK and the EU more easily, without the need for work permits. Regrettably, those mutually beneficial proposals were rejected by the EU. As a result, UK cultural professionals seeking to tour in the EU will be required to check domestic immigration and visitor rules for each member state in which they intend to tour. Although some member states allow touring without a permit, others will require a pre-approved visa and/or a work permit.

It is absolutely vital that we now support our touring sectors to understand the new rules associated with working and travelling in the EU. We are delivering an extensive programme of engagement with the sector to help them understand any new requirements. That includes working with Arts Council England and various other sector bodies, to help distil and clarify the new rules.

As my right hon. Friend the Secretary of State for Digital, Culture, Media and Sport has already made very clear, we will also look at whether we can work with our partners in EU member states to find ways to make life easier for those working in the creative industries in our respective countries. In the meantime, we will continue close dialogue with the creative and cultural sectors, to understand the ongoing impacts and ensure that that they have the right support at the right time to continue to thrive.

[Pete Wishart [V]]

That is an immensely disappointing response from the Minister. Touring Europe means everything to our artists and musicians: the thrill of that first tour, crammed into the Transit van with all your gear; four to a room in a cheap hotel in Paris, Rotterdam or Hamburg; using what is left of the fee for a post-gig beer; the dream of coming back on a lavish tour bus, staying at five-star hotels—gone, all gone. Musicians and artists are mere collateral in this Government’s obsession with ending freedom of movement.

Does the Minister acknowledge that visas and carnets will render such tours beyond the financial reach of future generations of new musicians? Does she appreciate that is not just our new musicians but the whole creative sector that will have increased costs and red tape? What will she say to the crews, the technicians, the set designers, the transport? We were promised by her predecessor that arrangements would not change. What has happened to that commitment? The EU said it was prepared to offer a 90-day deal. Why was that turned down? The Government said they were holding out for a better deal, but we have ended up with nothing. How could that happen? Given that the Minister’s approach is totally contradicted by the EU, will she provide complete transparency in all these negotiations?

Our constituents really care about this; 263,000 have now signed the petition organised by our artists, calling for this to get sorted. We do not want any more of the EU-blaming—we have had quite enough of that in the past few years; we just want the Government to fix this. The Secretary of State has said that the door is still open, so will she walk through and fix it out? Will she restart talks with the EU immediately, to get our artists the arrangements that they need? Will she let the music tour freely once again?

[Caroline Dinenage]

The hon. Gentleman is right to point out that this is incredibly disappointing news for the music sector—it is not the deal that we wanted; but I am afraid that in many other senses he has fallen for some very selective briefing. The EU did not offer a deal that would have worked for musicians. It is quite simple. The EU made a very broad offer, which would not have been compatible with the Government’s manifesto commitment to take back control of our borders. I remind the hon. Gentleman that the British people, the British public, voted for that at successive elections.

To the extent that the EU proposals might have covered music, they would not have worked for touring artists at all. The EU proposals covered ad hoc performances. They would not have covered support staff or technicians at all—which, as the hon. Gentleman will remember from his touring days, are essential. I would love him to explain to me how tours will happen without support staff or technicians, because although I am not a music professional, I cannot see how that could be the case.

The UK’s proposals were based on what those in the music industry said they wanted. We spoke to them long and hard about that. I am fascinated to think that the hon. Gentleman knows better than bodies like the Musicians’ Union. We fought very hard— [Interruption.] We fought very hard for what it wanted, but the EU would not play ball.

Let us focus on the future. If the EU is willing to consider the UK’s very sensible proposals, the door is open, and yes, I am very happy to walk through it. I will be the first to walk through that door. A mutually beneficial deal is not what the SNP Members want, though, is it? They voted for a no-deal Brexit, so under their plans, that would have been even harder. As those in the music industry have said, what they need now is clarity, not recriminations; and that is what the British Government are working to provide.

[Julian Knight (Solihull) (Con) [V]]

This issue is not just about musicians being able to travel and perform with ease. They also need somewhere to strut their stuff. Will the Minister commit to an overarching strategy to get live music thriving again, involving a restart of urgent negotiations for a pan-EU musicians visa, bearing in mind previous EU intransigence and by listening to the music industry? Will the Government also commit to backing covid insurance for our festivals and live music sector to allow them to plan for the summer and beyond?

[Caroline Dinenage]

My hon. Friend is absolutely right, and there is quite a lot we can do. The sector needs clarity and certainty, and because the situation with every member state is different, that will be tricky to provide. We therefore need to make it as simple, easy and clear as we can for them to tour and go about their business, and that is what we are setting about to do.

My hon. Friend makes an excellent point about insurance, which we understand is a barrier to many live music events taking place later in the year. We are in discussions with our colleagues in the Treasury about that at the moment.

[Alison McGovern (Wirral South) (Lab) [V]]

I draw the House’s attention to my entry in the Register of Members’ Financial Interests. As we have heard, the Government still blame the EU, so, to get this issue straight, will the Minister make clear what exactly the EU proposed, when it was proposed and whether the UK offer was more than the standard visa policy?

The Minister said that the EU offer was a broad offer not consistent with taking back control of our borders. Will she go further and explain specifically when that was turned down? Finally, so that we can all be clear, will she place in the Library of the House of Commons all correspondence between the UK and the EU and all correspondence between UK Government Departments on this issue?

What matters is what happens now. A third of the creative industry is self-employed, and the situation is a massive kick in the teeth for a group of workers who are already having the worst year in living memory. What representations has the UK made to resolve the situation? What meetings are scheduled? Will the UK still rely on mode 4 exemptions, even though doing so is without precedent? Does the Minister agree that the resolution to the situation requires a supplementary agreement?

The Minister must go further and spell out exactly what the proposal is from the UK to resolve the situation. When musicians and creative people tour, they do not just power up an economy that is massively important to us; they represent us all on the global stage, so we must get this resolved now.

[Caroline Dinenage]

I am happy to talk the hon. Lady through the situation. The EU tabled texts regarding short-stay visa-free travel during the negotiations, and embedded in the proposal was a declaration that would have covered a very small number of paid activities. With regard to artists, it covered ad hoc performances. Of course, the declaration was non-binding and did not address things such as technical or support staff. Crucially, it did not cover work permits, which EU member states can put in place unilaterally. Furthermore, the proposals would have enshrined permanent visa-free short stays for all current and future EU citizens in the agreement, and that is not compatible with our manifesto commitment to take back control of our borders.

Our proposals were based on the views of the music industry and would have been mutually beneficial across the EU and the UK. They would have allowed musicians and support staff to travel and perform in the UK and the EU more easily without needing work permits. The EU did not propose and would not accept a tailored deal for musicians, artists and their support staff to tour across the EU and the UK.

As I have said, the UK’s door remains open should the EU change its mind. We recognise that the outcome means that some additional requirements will need to be met for the sector, and we are working with the sector as fast as we can to put in place the support and information that it needs. Labour Members voted for this deal in the knowledge of what it involved, including the end of free movement. What they are asking us to go back and renegotiate now is exactly what we negotiated at that time. They cannot have it both ways; they need consistency. What the sector needs more than anything at the moment is certainty, and that is what we are working to provide.

[Damian Green (Ashford) (Con) [V]]

The international success of UK musicians has, for decades, been not just a big economic benefit for the country but a hugely successful way of promoting our culture around the world, so it seems extraordinary that any British Government would turn down a deal that allowed our musicians to tour if that deal was practical. Can the Minister assure me that that is not what happened? What is she doing to resume negotiations, so that we can get a realistic deal, which is essential for the future of our music industry?

[Caroline Dinenage]

My right hon. Friend is absolutely right; the Government recognise the vital importance of the UK’s thriving cultural and creative industries. That is why we pushed for ambitious arrangements for performers and artists to be able to work right across Europe after the end of freedom of movement. The EU did not accept our proposals, so now we need to ensure that we are working to facilitate those arrangements as best we can. That means giving musicians and others access to information and guidance about the criteria for each EU member state and then working with those individual member states to ensure that the process is as seamless, fast, effective and simple as it can be.

[John Nicolson (Ochil and South Perthshire) (SNP) [V]]

Covid has been gruelling for the industry. The last thing it needs is the new Brexit visa barriers that we now know the UK Government—not the EU, but the UK Government—insisted upon. There is no money to be made from streaming. Artists make their income by touring. New barriers, visas and endless red tape mean that EU performers will not come to our festivals and our performers will face prohibitive new costs. It is wantonly cruel.

The Minister mentioned the Musicians’ Union, so let me quote its head. He said:

“the government fails to understand the issues facing touring musicians”.

He is an expert, and I know that the UK Government do not like experts, but this is more Brexit zealotry causing misery. Will the Secretary of State listen, intervene and publish that correspondence, as my hon. Friend the Member for Perth and North Perthshire (Pete Wishart) requested? Put it in the Library—let us read it.

[Caroline Dinenage]

There is a close historical relationship between the UK and the EU. That must endure, and it will endure. Artists and musicians from the EU are welcome. They are encouraged to visit and perform in the UK and vice versa, and the Government will do everything they can to make that as seamless as possible.

[Selaine Saxby (North Devon) (Con) [V]]

I thank my hon. Friend for the work she is doing to support the arts and culture sector through the pandemic. Can she confirm how many music venues and other music organisations have benefited from the Government’s £1.57 billion culture recovery fund?

[Caroline Dinenage]

I thank my hon. Friend for the work that she does to champion the cultural institutions across her constituency. She is a great voice for the people of North Dorset—sorry, I mean North Devon, but I am sure she is very nice about the people of North Dorset as well. The £1.57 billion culture recovery fund—of which we have already delivered more than £1 billion in support to various arts, heritage and performance organisations—has, to date, made 680 awards to music totalling more than £111 million.

[Kevin Brennan (Cardiff West) (Lab) [V]]

I did ask the Prime Minister about this last week, and he promised a meeting with me and the Conservative Chair of the Select Committee, and I was told I would hear from No. 10. I do not know if the Minister can shed any light on that.

I do want the Minister to realise that a lot of touring musicians are not there with a lot of tech support; they are actually individuals who are starting out or perhaps established but not with that level of support. In effect, this represents the research and development of an important industry, but they may just be travelling with a single instrument on a plane with some fans in Europe. I think the most important thing the Minister could do today—others have asked this—is to publish in full the details of the discussions between the EU and the UK on this, so that we can all see what the ambitious proposals were and why she finds them so objectionable.

[Caroline Dinenage]

I know the hon. Gentleman is a great champion for the music industry, and not a bad musical performer himself. He is absolutely right, and we do understand that, for those starting at the music industry, the ability to tour is vital to their career and their future prosperity. That is why the EU proposals—they did not support touring activity; they just supported ad hoc artist activity—would not have done it for so many of them, which is why we pushed for something so much better. We are very disappointed that the EU did not it see our way, but we will try to do everything we can to support them. I will speak to my colleagues in the Department for Business, Energy and Industrial Strategy and the Home Office about publishing the information he has requested.

[Mr Gagan Mohindra (South West Hertfordshire) (Con) [V]]

As the Minister will be aware, South West Hertfordshire is home to many successful and established musicians. Can my hon. Friend confirm that the UK’s proposals in the negotiations were based on the views of the UK music industry and would have allowed musicians to travel and perform in the UK and Europe more easily, without the need for work permits?

[Caroline Dinenage]

Yes, my hon. Friend is absolutely right to raise this. As I have said already, we worked very collaboratively with a whole range of stakeholders, including UK Music and the Musicians’ Union, to put forward proposals that were really based on the views of the musicians and the music industry about what they needed. It would have been mutually beneficial to the UK and the EU, and it would have allowed musicians—and, crucially, their support staff or their technicians—to travel and perform more easily, without the need for work permits.

[Jamie Stone (Caithness, Sutherland and Easter Ross) (LD) [V]]

I must be honest and say that I do welcome the fact that the door is still “open” to UK performers performing permit-free in the EU. Surely the danger is that concert promoters in the EU will simply take the easy option and go for a Dane or for a German performer, rather than the sheer hassle of British performers. There are also problems with the movement of musical instruments, which we know about. I have written to the DCMS just now, asking if we could please have a meeting between Ministers, me and musicians who are knowledgeable about this issue. At the end of the day, we have to try to sort it out, so I would be extremely grateful if the Minister agreed to such a meeting.

[Caroline Dinenage]

Absolutely. I am very happy to meet anybody on this, because it is really important that we continue regular engagement with the sector. We need to make sure that we have a very deep understanding of its needs and its questions in the light of these changes, which we know will pose a number of queries. Most recently, we held an EU exit explainer seminar with over 200 sector representative bodies in attendance, and the Secretary of State has a roundtable on Wednesday—tomorrow—with representatives from across the cultural and creative industries. We will keep doing those sorts of sessions all the time that people need and require them.

[Sara Britcliffe (Hyndburn) (Con)]

I have had quite a number of constituents contact me from Hyndburn and Haslingden highlighting their concerns on this, so can the Minister please reassure my constituents by outlining what the Department is doing to address it?

[Caroline Dinenage]

My hon. Friend is a great champion for her local area and will be taking the concerns of her constituents incredibly seriously, as indeed do we. We understand that we need to work with all the music sector trade bodies to make sure that we give people access to the information they need as to the situations in all the individual nation states; they are all different, which is one of the most confusing things about this. We also need to make sure that we work with those individual nations as closely as we can, to ensure that any barriers that are in place are made as simple and easy to navigate as possible.

[Fleur Anderson (Putney) (Lab) [V]]

In Putney, creative artists and support staff have already been damaged by the uncertainty around Brexit, on top of the covid effects that mean they are not able to tour. This failure of negotiations on a creative industry 90-day visa is letting down industry and the arts. Is the Minister really just going to sit back with her door open, or will she re-enter negotiations and be prepared for some give and take with individual countries to get that tailored deal that the creative industries really need?

--- Later in debate ---

[Caroline Dinenage]

I do not know what I have said during the course of today that could ever give the hon. Lady the viewpoint that I am just prepared to sit back and do nothing about this, or that I am happy with the way things have panned out; I voted for the trade agreement, but I presume so did she. We are not sitting there doing nothing. We are talking and will continue to talk to EU member states. They could of course unilaterally make things easier for travelling artists and musicians, but any changes they make would be likely to cover all visitors, not just those from the UK. The key thing we can do is to continue to talk to the sector and make sure that we put in place any support, information and guidance that it needs.

[Simon Fell (Barrow and Furness) (Con) [V]]

I have been contacted by a number of constituents on this issue, notably the Furness Tradition group. Could my hon. Friend confirm that, despite some of the reporting in recent days, touring in the EU is still possible for UK artists and musicians, and that the Government are working towards a more formal arrangement with the EU?

[Caroline Dinenage]

Quite simply, of course touring is still encouraged. Artists and musicians from the EU are very welcome and encouraged to visit and perform in the UK, and absolutely vice versa. I am sure that individual member states have different restrictions when it comes to visas and work permits; some are very limited, some are a little bit more complicated. This is very much a quid pro quo—it works for the EU as much as it does for our musicians here in the UK—and I am sure that many countries want to come to an arrangement that will allow their musicians to move, travel, work and tour and to take their beautiful music around Europe.

[Tracy Brabin (Batley and Spen) (Lab/Co-op)]

I am sure the Minister will agree that this is a double whammy for anyone who cares about levelling up and the creative industries in West Yorkshire and beyond. Recent figures show that the creative industries in West Yorkshire and the Humber have grown by 10.9%. It is really important for jobs and opportunities that we keep this industry flourishing, so will the Minister tell us what the Government have put in place to compensate for the inevitable loss of these opportunities, and will she make available what impact assessment has been done on the changes that this will make to the ability of businesses to continue to flourish after covid?

[Caroline Dinenage]

Of course we know that this has been such a horrible year, particularly for the sectors that I represent—the cultural and creative industries in west Yorkshire and around the whole UK. Covid has been a bitter blow. Of course we did not get the agreement with the EU that we wanted on touring musicians, but we want to do everything we can to support them, including providing clear, easy-to-access information and speaking to our colleagues in EU member states. We will also talk to our colleagues in the Treasury to see what financial support can be put in place at a future fiscal event.

[Tommy Sheppard (Edinburgh East) (SNP) [V]]

The Edinburgh Fringe is the largest arts festival in the world. I hope the Minister will be aware that this event and others like it have a vital role to play in developing new work and providing a springboard for artists who then subsequently tour that work. Does she therefore not understand that by refusing to maintain a visa exemption for artists, she is fatally undermining festivals in Scotland and the United Kingdom?

[Caroline Dinenage]

I am a massive fan of the Edinburgh Fringe and, in fact, of all the Edinburgh festivals. Last summer was the first in any since I can remember that I was not able to go to Edinburgh to see them at first hand and it was something that I missed greatly. Very recently, just before Christmas, I met representatives from across the Edinburgh festivals to talk about all the issues that they are facing, particularly with regard to coronavirus, but others as well. I should correct the hon. Gentleman. It was not for want of trying that we do not have this free movement of our musicians to be able to perform and to tour across the EU or, indeed, vice versa. We fought very hard for it. Our own arrangements with regard to visas and work permits mean that musicians and performers from outside the UK are very welcome to our shores.

[Stephen Crabb (Preseli Pembrokeshire) (Con) [V]]

British bands and professional musicians represent a hugely successful cultural export for the UK. I know that the Minister recognises that and I know that she understands the importance of international touring in that success, but may I ask her what more she can do on a bilateral basis with her counterparts in EU member states to find specific solutions to the problems that we are discussing today and ensure that touring remains as easy as possible for our world-leading musicians?

[Caroline Dinenage]

I thank my right hon. Friend for that question. Of course, as I have said, the door is open and I would love to be able to change this across the board straight away, but that will not be possible in the immediate or foreseeable future. It is all about having those bilateral conversations with colleagues in EU member states. At this stage, it would not be about a waiver but about facilitation and what we can do to make the situation as easy and as straightforward as possible and, of course, those are the conversations that we will be having.

[Ian Paisley (North Antrim) (DUP) [V]]

Van Morrison penned the protest song “We Are Born to be Free”, but it appears that musicians like him and others are now completely caught up in a red tape trap and are not free at all. Can the Minister clarify the situation with regard to carnets for musicians and instruments travelling from GB to Northern Ireland and from Northern Ireland back to GB? Can she confirm that they are definitely not required within the UK? However, once a person gets to Northern Ireland, will they be required to travel south, or will the common arrangements that we have with the Republic of Ireland still be in place? Once south, can a person then onward travel without a carnet to the rest of Europe? Can we have clarity on those issues?

[Caroline Dinenage]

Van Morrison also penned “Brown Eyed Girl”, which is my own personal anthem. I thank the hon. Gentleman for that question. Artists and organisations based in Northern Ireland will not be required to obtain ATA carnets or musical instrument certificates when touring in the EU because the Northern Ireland protocol means that Northern Ireland is part of the same regulatory environment for goods as the European Union. Northern Ireland citizens who do not hold Irish citizenship as well will be subject to the same changes as other British citizens on mobility and business travel when going to EU member states, but, of course, not to the Republic of Ireland.

[Jane Hunt (Loughborough) (Con) [V]]

A number of my constituents in the entertainments, arts and creative industries have contacted me setting out the impacts that the new immigration restrictions will have on their livelihoods. It is clear that the UK Government strived to gain a mutually beneficial agreement with the EU. Will the Minister therefore set out what steps the Government are taking to continue to urge the EU to return to the negotiating table and reopen discussions to reach a more preferable agreement for all parties? May I take this opportunity on behalf of my constituents to ask the EU to reconsider its position?

[Caroline Dinenage]

I thank my hon. Friend for that question. The negotiating team did negotiate an opportunity to come back and review this in the years ahead, so the light at the end of the tunnel is not entirely switched off. But there is quite a lot we can do between European nation states to try to make things a lot easier and straightforward. She is right to highlight that this impacts EU artists as much as it does those from the UK. We want to make their lives as easy and as straightforward as possible.

[Barbara Keeley (Worsley and Eccles South) (Lab) [V]]

As well as issues with visas or work permits, UK musicians working in EU countries risk being double-charged their social security contributions if they work in a country that has opted out of the social security co-ordination under the detached worker rules. Can the Minister set out what the Government are doing to avoid that and ensure that UK musicians do not face that financial penalty while they are working in the EU?

[Caroline Dinenage]

I am really pleased that the hon. Lady has given me the opportunity to answer that question. The protocol on social security co-ordination secured in the agreement ensures that UK nationals and EU citizens have a range of social security cover when working and living in the EU and the UK. It also supports business and trade by ensuring that cross-border workers and their employers are only liable to pay social security contributions in one state at a time. That is, obviously, very beneficial in particular to smaller cultural organisations that may not have the required cash flow to finance any duplicate payments. Member states have until 31 January to sign up to the detached worker provision. The UK continues to engage with our European counterparts via our global and international stakeholder network to encourage countries to sign up to that provision ahead of the deadline.

[Bob Blackman (Harrow East) (Con) [V]]

There is clearly no substitute for live music and during the covid pandemic opportunities have been severely depressed. In addition to having discussions on how we might ensure musicians can travel within the European Union and within the UK, can my hon. Friend update the House on what discussions she has had with TV companies to allow emerging musicians in particular the opportunity to have their music recorded and broadcast in parts of the European Union?

--- Later in debate ---

[Caroline Dinenage]

As ever, an ingenious question from my hon. Friend. I know that so many of our brilliant cultural organisations have worked really hard to improve their digital offer, particularly over the various lockdowns. Earlier in the year, I visited the Bournemouth Symphony Orchestra and saw the amazing work it is doing to bring its beautiful music to audiences around the world because of the investment it has made in that capacity. He has hit on a really strong concept. I will discuss it with my dear colleague, the Minister for Media and Data, my right hon. Friend the Member for Maldon (Mr Whittingdale).

[Alex Davies-Jones (Pontypridd) (Lab) [V]]

The Minister may not be aware of this, but the world-renowned Cory Band from Rhondda Cynon Taff are the current European brass band champions. To travel through Europe to defend their hard-fought-for title, and to visit the concerts and workshops, each member of the band will now require a visa and a work permit, despite them being an amateur organisation. This will undoubtedly add an additional financial and administrative burden that could be avoided. What discussions has the Minister had to ensure that brass bands from across the UK can continue to fly the flag for us in Europe without this bureaucracy?

[Caroline Dinenage]

I was not aware of the hon. Lady’s band and I wish them the very best of luck in their endeavours to defend their fantastic title. If the tour they are going on is not paid by the individual venues they are visiting, there may not be an issue here. The band would have to discuss that with individual member states to get clarity on that, but I am very happy to speak to her further about it.

[Richard Fuller (North East Bedfordshire) (Con) [V]]

It is clear that this issue gets to the core of our inextricable cultural links with our European partners. It is good to see the Minister stressing the urgency of securing bilateral agreements and ensuring that current arrangements are simplified for people. May I make a special request that she bears in mind individual musicians, many of whom carry multiple instruments, in her efforts to simplify the current arrangements?

[Caroline Dinenage]

As ever, my hon. Friend makes an excellent point. There are so many facets to this issue that we need to keep in mind as we move forward. That is certainly something that I am very happy to talk to him further about.

[Munira Wilson (Twickenham) (LD) [V]]

I have been contacted by a number of constituents—not just musicians, but actors, dancers, choreographers and puppeteers—about the Government’s failure to secure visa-free work permits for touring artists in the EU. This comes as a further hammer blow to their livelihoods, with the continued shutdown of live entertainment as well as the huge gaps in the Government’s support for many working in these industries. What assurances can the Minister give to my constituents, particularly students such as Fresca David, who is just starting out on her career, that they are not being treated as an afterthought by this Government?

[Caroline Dinenage]

My message to the hon. Lady’s constituent would be that the Government entirely recognise the vital importance of the UK’s thriving creative artists. We want to support them in every way we can. I am just so pleased that there was not a Liberal Democrat Government, who would have voted for no deal.

[Andrew Bowie (West Aberdeenshire and Kincardine) (Con) [V]]

This is a really serious issue and Scottish musicians will undoubtedly be affected. Does my hon. Friend agree that, instead of simply masquerading as a serious party of Government, the Scottish National party should start acting like one, cease these politically charged, ill-informed, deliberately misleading games—an example of which we have seen today—that do nothing to help the situation, work with us and support us in attempting to find a mutually agreeable solution, support Scottish musicians who have been let down by the EU’s decision not to accept our compromise proposals, and work to get an agreement over visa arrangements?

[Caroline Dinenage]

My hon. Friend hits the nail on the head. What we need to do now is to move forward. We need to come forward with sensible proactive solutions for the UK music sector. The industry itself has said that what we need now is clarity, not recriminations. That is what we are working to provide and we very much appreciate support from across the House for us to do that.

[David Linden (Glasgow East) (SNP) [V]]

My Belvidere constituent, Louise McLean, is just one of the many people connected to the music industry who can see that live performers are just the latest casualty in a Brexit that Scotland did not vote for. Last year, as Culture Minister, the hon. Member for Selby and Ainsty (Nigel Adams), said:

“It is essential that free movement is protected for artists post 2020.”—[Official Report, 21 January 2020; Vol. 670, c. 56WH.]

Does the hon. Lady agree with her ministerial colleague? Why was that view ignored in Government, if it is also the view of the music industry?

[Caroline Dinenage]

Yes, absolutely, I agree with the comments of my predecessor. That is why we put to the EU fantastic proposals, which were based on the views of the music industry, would have been mutually beneficial and allowed musicians and support staff to tour. We are very disappointed that the EU did not see it the same way.

[Caroline Nokes (Romsey and Southampton North) (Con) [V]]

I was pleased to hear my hon. Friend mention technicians—the sound and lighting engineers who make touring possible. When she is looking for a solution, which I know she is doing, will she also include companies such as Beat the Street in Romsey, which provides the tour buses that make it possible for artists to travel Europe? It will spell a death knell for the entire industry if they are not able to access the continent.

[Caroline Dinenage]

My right hon. Friend is such a great champion for businesses in her local area, particularly those that have been so badly affected, not just by covid, but by the very disappointing EU refusal to accept our very reasonable propositions. She will know that the sector has benefited from a range of different support measures over the last year that were put in place because of covid, but we do need to support it moving forward. The EU’s proposal would not have worked because it would not have supported the valuable support workers in my right hon. Friend’s constituency to do their work. Quite simply, without them, touring would not be possible.

[Mr Ben Bradshaw (Exeter) (Lab) [V]]

The Minister and Conservative MPs keep claiming that they made this fantastic offer, but we cannot test that because they have not published it. The EU has. It is there in black and white on page 171 of the draft agreement from March last year, allowing 90-day visa-free touring by British musicians and other cultural activities. Will the Minister publish the Government’s proposal, so we can see where the truth lies?

[Caroline Dinenage]

I have to correct the right hon. Gentleman. The document does not say 90 days visa-free touring by UK musicians; it is a lot more opaque than that, which is why we could not simply sign up to it. It just would not have delivered what we needed for our musicians, and it flew in the face of what the British public voted for in the case of controlling our borders. As I have already said, I will speak to colleagues across BEIS and the Home Office to see what further details on the negotiations we can publish.

[Mr Richard Holden (North West Durham) (Con)]

As you know, Mr Speaker, the north of England has helped to form and then exported some of the biggest musicians and bands across the world in recent decades. Touring is not a “nice to have”; it is an absolute financial necessity for musicians from both the UK and the EU. Can the Minister confirm that it was the UK Government who pushed for a more ambitious agreement with the EU on temporary movement of business travellers, and that it was the EU that unreasonably rejected this proposal?

[Caroline Dinenage]

I thank my hon. Friend for putting it so simply and succinctly; that is exactly what happened. The proposals that we put forward would have allowed musicians to travel and perform in the UK and the EU more easily, and they were rejected by the EU.

[Maria Eagle (Garston and Halewood) (Lab) [V]]

I have been listening to the Minister’s replies, and it is always somebody else’s fault with this Government, isn’t it? Our world-class events and production companies, such as Adlib in my constituency, tour the EU with UK and US-based musicians, but very few EU-based companies tour the UK. Does not the Minister realise that her giving up on agreeing comprehensive arrangements to enable this to continue could destroy a sector that has huge export success and destroy the jobs and livelihoods of the technicians, who are already struggling because of the pandemic restrictions to their trade?

[Caroline Dinenage]

Of course I recognise that this is not the solution that we would have wanted, and it is not the solution that we fought really hard for. I point out to the hon. Lady that the Labour party voted for this deal in the full knowledge of what it involved, including the end to freedom of movement.

[Dean Russell (Watford) (Con)]

From The Horns to the Colosseum to the Palace Theatre, music literally beats at the heart of my constituency of Watford. That means that we have many amazing musicians. They are asking me whether my hon. Friend can confirm that it was not the UK that ended these visas, and what measures are going forward to support this amazing sector?

[Caroline Dinenage]

My hon. Friend is such a vibrant champion, and not just for the music industry in his constituency; we have also spoken about the film industry. I expect him at any moment to be descending from the ceiling on a wire in the next “Mission Impossible” movie. He does it all with great panache, and that is exactly what we want to do. The cultural recovery fund has been about supporting music venues so that musicians can get back to doing what they love. Arts Council England is there to support them. We will look at every opportunity we have to put in place more of that vital encouragement and support.

[Hywel Williams (Arfon) (PC) [V]]

Professor Paul Carr of the University of South Wales reports that in 2019 music tourism alone generated a spend of £124 million in Wales, supporting 1,754 jobs. The Government’s failure to secure visa-free travel is a huge blow, especially to young people at a tipping point in their creative careers. In particular, it will diminish the strong international quality of our national culture. What assessment has the Minister made of the long-term impact of this wholly avoidable mess, specifically on the cultural industry in Wales?

[Caroline Dinenage]

We know that there will be obstacles in the immediate period for those who want to travel and tour abroad, but I am sure that that will change once we enable people to access the information they need and they can see what the situation is with all the different member states, because they all vary wildly. In Wales in particular, musicians are dedicated, vibrant, resourceful and practical, and I know that they will overcome any bumps in the road to be able to do what they do so brilliantly and to continue to share it with our European neighbours.

[Crispin Blunt (Reigate) (Con) [V]]

I thank you, Mr Speaker, and the hon. Member for Perth and North Perthshire (Pete Wishart) for providing the opportunity to help the Minister correct the misleading social media chatter among professional musicians and other performance artists, and from Opposition Members, about exactly where the responsibility lies for this situation. Will she confirm my impression that the European Union negotiators appear to have rather cynically used and abused the interests of its musicians and its music fans to undermine the United Kingdom Government’s commitment to its own citizens around regaining control of our borders? However ungrateful and ungracious the Musicians’ Union has been in regard to my hon. Friend’s efforts—

[Mr Speaker]

Order. I call the Minister, please. That was far too long a question.

[Caroline Dinenage]

My hon. Friend is right that we did fight very hard for this. We understand this not just for performers from the UK, but—he is absolutely right—for performers from the EU as well, because the UK music scene is, I would say, the best in the world, and putting any obstacles or tests in the way of EU performers coming here is a very difficult position for them as well. We are a lot more forthcoming: we do not put in place work permits, and we have a lot more sensitive approaches to visas for performers coming across from the EU. It would have been lovely for that to have been the situation right across all EU member states as well.

[Martyn Day (Linlithgow and East Falkirk) (SNP) [V]]

Similar to many families in my constituency, artists have been pointing out that many bands comprise a mixture of EU and UK nationals. Does the Minister not see the impossible situation that they will now face, with different members being faced with different levels of bureaucracy and red tape wherever they tour?

[Caroline Dinenage]

Absolutely; I understand the hon. Gentleman’s suggestion that this causes a problem for bands, in particular, or orchestras who have members from all different EU member states. The guidance is that we all have to seek instructions from each member state on how we proceed, but had the EU accepted our suggestions in the first place, we would not be in this position.

[Scott Mann (North Cornwall) (Con) [V]]

I am sure that my hon. Friend would agree that our world-leading artists and musicians are not just important to the UK economically, but vital to our country’s culture and soft power. The arts play an important role in my constituency, where we have the Leopallooza festival and the Rock Oyster festival, attracting hundreds of talented artists and performers. Given that, I was disappointed to hear of the EU’s rejection of the UK’s visa-free travel offer. Will she commit to doing what she can to secure access to EU countries for UK artists and musicians and keep negotiating to try to encourage the EU to show some flexibility, for the sake of my constituents?

[Caroline Dinenage]

Yes, of course, we will keep that negotiation open and try to make things as simple and as painless as possible. Our door remains open if the EU wants to come back and look at this again. Where visas apply, our agreement with the EU does contain measures that will help to ensure that processes are as prompt and smooth as possible, and we will work to exploit those as much as we can.

[Clive Efford (Eltham) (Lab) [V]]

This morning, the UK music industry told the Digital, Culture, Media and Sport Committee that despite being 1% of the world’s population, the UK produces 10% of its music. This industry has been one of the fastest growing over the last 10 years. It employs 2 million people, with the potential to create 1 million jobs in the next 10 years, so I am incredulous that the Government have got us into this situation. Will the Minister say when she will start the negotiations on a supplementary agreement so that we can sort this mess out?

[Caroline Dinenage]

The hon. Gentleman is right to say how incredibly successful our music industry is around the world, and that is why we fought so hard to get much better arrangements in the agreement. What we need to do now is ensure that our sectors are prepared to face any challenges in the future, which is why we are continuing those dialogues with them to understand the ongoing impacts and challenges that may be faced. We need to ensure that they have the right support at the right time and do everything we can to work with other member states to ensure that the transition is as smooth as possible.

[Damian Collins (Folkestone and Hythe) (Con) [V]]

In addition to trying to improve visa-free travel for musicians, could my hon. Friend say whether the Government hope to progress on easing the movement of musical equipment from country to country within Europe, so that it is not treated like any other physical goods, and on easing the cabotage restrictions for festivals and bands? Finally, can she confirm whether EU-based music showcases fall under the short business trip exemption for conferences, trade fairs and exhibitions? These showcases are often so important in making the careers of developing talent.

[Caroline Dinenage]

With regard to the haulage—the cabotage—that has not been imposed just on us because we have left the EU. They are rules that apply to both UK and EU haulage firms. I want to speak more about this with colleagues in the Department for Transport and with European colleagues to see what more can be done to address it. It impacts not just us but companies that are moving musical equipment across Europe, no matter which European member state they come from. As for my hon. Friend’s other question, if performers are visiting in a business capacity, that is to negotiate a future tour, for any other scoping arrangements or for various other things, that would fall under the business visa waiver. It is always really important to check the individual rules of that EU nation—that member state—to ensure that they do not have anything that would need to be abided by.

[Madam Deputy Speaker (Dame Eleanor Laing)]

Steve Brine.

--- Later in debate ---

[Mary Kelly Foy (City of Durham) (Lab) [V]]

Thank you, Madam Deputy Speaker. I think we can all agree that no competent Government would accept such a significant loss of revenue for an already struggling sector without a plan B to mitigate the economic impact. Can the Minister tell me what plan is in place to make up for the financial shortfall for the creative industries resulting from the Government’s failure to negotiate visa exemptions with the European Union?

[Caroline Dinenage]

I just want to make sure that the hon. Lady is not labouring under any misapprehension that the EU made a bespoke offer on musicians that we turned down. That simply is not the case. We fought very hard to get a solution that would have worked to the benefit of our musicians and those from the EU. As ever, we want to ensure that our music industry is supported. We supported it with the cultural recovery fund, and Arts Council England has a range of grants and financial support on offer. On this particular issue, we will speak to colleagues in the Treasury to see whether any support can be put forward at a future fiscal event.

[Steve Brine]

Surely the longer this situation persists the worse it gets for UK artists, and the longer their recovery from covid becomes. Right now, musicians, agents and those who book for them have way too much risk in fixing European gigs. It is no good Opposition Members who voted for no deal joining the debate now. We have the deal, but surely we need to return to it with the sensible UK proposal that was on the table, which presumably, as the Minister has said today, still stands.

[Caroline Dinenage]

My hon. Friend has just hit the nail on the head, and does so in a much more articulate way than I could. That is absolutely right: the deal is still on the table and our door is open for the EU to come back and take up that deal if it wants to. In the short term, we are speaking to member states bilaterally about the visa regime and whether there is any facilitation, as opposed to a waiver, that could be put in place. What the sector now needs is certainty and for us to be able to put in place the guidance and support for it to move forward.

[Dave Doogan (Angus) (SNP) [V]]

The Minister acknowledged that this situation is deeply unsatisfactory, and so too have the many MPs who have signed my early-day motion highlighting this crisis for touring artists. Today she committed her Department to preparing the creative sector for this new regime. Can she assure the House that this will be better than the way that the Department for Environment, Food and Rural Affairs helped to prepare fishermen and farmers, which was to throw them off the bureaucratic cliff? Is she not worried that this wanton and wholly avoidable impediment to the fraternal sharing of arts and culture exposes a rather narrow and isolationist vision of the future by this UK Government?

[Caroline Dinenage]

The key is ensuring that we put in place the guidance and support that the sector needs to be able to deal with the new changes. We are talking collaboratively with the sector about that at the moment, and we will be putting in place opportunities for people to learn much more about how things stand and where they need to go to access advice and support. Those are the practical things that we can talk about right now to help our sector move forward and continue to be the vibrant ambassador for the UK and the hugely brilliant cultural sector that it has always been.

[Robin Millar (Aberconwy) (Con) [V]]

A single European tour may visit dozens of venues, employing hundreds of people skilled in everything from logistics to finance, lighting, pyrotechnics, costumes and more to make it a success. What reassurances can my hon. Friend give people like Aberconwy resident and experienced front-of-house engineer Berenice Hardman that practical arrangements such as visas, carnets and cabotage will be easier and simpler for them to deal with in the future?

[Caroline Dinenage]

The assurance I would give my hon. Friend’s constituent is that we will be having conversations with colleagues across all the nation states of the EU to see what measures we can put in place to facilitate the arrangements. Some of them have very straightforward arrangements right now—some of them do not impose extra work permits, and some are very flexible when it comes to their visas, and others less so. We need to speak to them to ensure that these arrangements can be as smooth, fast and easy to understand as possible, and that is the key to us being able to move forward.

[Madam Deputy Speaker (Dame Eleanor Laing)]

There being almost nobody present in the Chamber, I am not going to suspend before we go on to the next item of business, so we will move straight to the ten-minute rule motion.

Online Anonymity

Caroline Dinenage Excerpts

Wednesday 13th January 2021 Westminster Hall

[The Minister for Digital and Culture (Caroline Dinenage)]

It is a great pleasure, Ms McVey, to serve under your stewardship for the first time—I hope the first of many. I wish to put on the record my thanks to my right hon. Friend the Member for East Hampshire (Damian Hinds) for securing the debate, and I thank my hon. Friend the Member for Stroud (Siobhan Baillie) for taking the baton so brilliantly and moving the debate forward.

Anonymous abuse online is such an important issue, and one that the Government and I take incredibly seriously. I feel that the Government’s work on online harms is more important now than ever, because, as my hon. Friend the Member for Stroud articulated, the online world, the digital world, has been very much the solution to so many of our problems since the outbreak of the pandemic. It has enabled us to learn online, to work online, to socialise online and to be entertained online, but it has also been the cause of a whole range of problems. That is what we need to seek to protect people against through our online harms work.

I also put on the record my thanks to my hon. Friend the Member for Stroud for standing up to some of the dreadful abuse that she has received online—for committing the awful crime of becoming a mother. It just goes to show the depths to which people will stoop to undermine our democratic way of life. In fact to operate much more democratically and better represent the people of this country we should of course have representatives among everyone, across society, including mums. The fact that she should be attacked for that is outrageous and I thank her for sharing her experiences with us so we can understand the depths to which some people will stoop, to prepare their own particular barbs. I also loved the post that she shared about her nephew, Rhys, a very joyful photograph of somebody who had just had a vaccination. Please do not ever let these dreadful people stop her making such posts, because I think they give heart and encouragement, and sustain others through an incredibly difficult period of time.

The Government recognise that there are users who hide behind this veil of anonymity to abuse others online. A minority of internet users rely on anonymity to spout hatred to, at the moment, spread anti-vax content—I have just come from a meeting about that—and to encourage dreadful things: to encourage others to self-harm or take their life. There are people up and down this country—I have spoken to the parents of young people—who have been put through the most extreme misery and have even taken their lives as a result of that, and I know that Members of Parliament are not immune in any way from such abuse from anonymous individuals. In fact, it happens across a range of different parts of society.

As, I think, the hon. Member for Ellesmere Port and Neston (Justin Madders) said, in the first half of 2020, the Community Security Trust recorded an increase in online antisemitic abuse—the highest ever recorded. Much of that abuse was carried out anonymously. That behaviour is absolutely unacceptable and we are clear in the Department for Digital, Culture, Media and Sport, and right across Government, that being anonymous online does not give anyone the right to abuse others. That is why we are taking steps through the online harms regulatory framework, but also through other aspects of Government work, to ensure that online abuse, whether anonymous or not, is addressed.

Our starting point, as the hon. Member for Newcastle upon Tyne Central (Chi Onwurah) pointed out, is that companies must take action against harmful anonymous abuse online, but at the same time it must be recognised that anonymity is important for many vulnerable individuals who want to protect their identity, such as, as has been said, a victim of domestic abuse who wants to seek support anonymously, a young person or child who is questioning their sexuality and does not want their parents to know, a whistleblower from a range of potential backgrounds, or a journalist from a country where their life could be in danger for sharing their words. To correct the hon. Lady, the Government are not evading those sorts of trade-offs. We want to confront them head on, and we hope that the measure in question will be a good starting point, to enable us to begin doing it.

A range of important issues have been raised today and I want to speak further to some of them, to outline how the Government are addressing them. If I do not reach all the answers, because I do not necessarily have all the facts and figures in front of me, I will write to the Members I miss out.

In December, we published the full Government response to the Online Harms White Paper consultation, setting out the new expectations on companies to keep their users safe online. The new framework will give digital businesses robust rules of the road that they can follow, so that we can seize the brilliance of modern technology that I have talked about, to improve our lives without fear, threat, discomfort or misery. Social media websites, apps and other services that host user-generated content or things that allow people to talk to one another online will need to remove and limit the spread of illegal content such as child sexual abuse, terrorist material and suicide content. All companies will need to tackle illegal anonymous abuse on their services and all companies will also need to assess the likelihood that children will access their services. If they do, the companies will need additional protections for them. Companies that provide services with the largest audiences or with the highest-risk features will have a legal responsibility to take action in respect of content or activity that is legal, but harmful to adults. This is because certain functionalities, such as the ability to share content widely or to contact users anonymously, are much more likely to give rise to harm, and the regulator, Ofcom, will set out in codes of practice how companies can fulfil this duty of care. This will include what measures are likely to be appropriate in the context of private communications. This could include steps towards making services safer by design, and we know that the technology in this area is improving all the time: it is becoming much easier to get people to prove who they are, verify their age, and do things like that. We are really keen on making sure we can use this technology to limit the ability of anonymous adults to contact children, for example, and for a range of other purposes as well.

We are working at pace to move forward with this online harms work. DCMS and the Home Office are working together to prepare this legislation, and it will be ready this year. It is absolutely vital that we get it right, for all the reasons that have been articulated by the small—but beautifully formed—number of people in this room today.

[Chi Onwurah]

Will the Minister give way?

[Caroline Dinenage]

I will get to the end of my sentence, then I will absolutely give way. We want all parliamentarians to feed into this significant and important piece of work, so this is a starting point. We will continue to work with Members of both Houses to listen to their concerns as we move forward, and as hon. Members will be aware, the Secretary of State is minded to undertake legislative scrutiny on this. We want that to start quite shortly.

[Chi Onwurah]

I did not mean to interrupt the Minister in full flow; indeed, I am grateful for the way in which she is responding to the many issues that have been raised. There was an exchange today about whether or not exceptions to the online harms legislation would be enabled through trade deals with the US, for example, and there seemed to be some confusion over that. I wondered whether the Minister would like to take the opportunity to clarify that point.

[Caroline Dinenage]

I am grateful to the hon. Lady for giving me the opportunity to do so. We absolutely stand by our commitment on online harms, and are completely dedicated to it, so nothing in any trade deal—particularly the US trade deal, given that so many of these big social media companies originate there—will impact that. We will continue to promote appropriate protections for consumers online and ensure that internet users, particularly children, are safeguarded from harms. We are keen to maintain very high standards of protection for personal data, including when it is transferred across borders, and those data protection standards would never be lowered as a result of any deal with the US. I hope that that reassures the hon. Lady about our position, and I am grateful that she has given me the opportunity to put that on record.

The other thing I want to put on record is that we are very passionate about our belief, and our willingness to put out there, that companies should not wait for legislation to be in place before they start taking action to tackle online harms. I have said many times that this legislation is coming down the track, and we are not the only country in the world that is bringing forward such legislation. A vast range of measures are already available for platforms to use that could keep their users much safer online, if they want to. To help them with that, alongside the full Government response, we have published interim codes of practice on things such as preventing terrorists’ use of the internet and child sexual exploitation and abuse. Those codes of practice are voluntary, but are designed to bridge the gap until the regulator is operational, fully up and running, and able to produce its own statutory codes. My strong message to online providers is that they should start getting their house in order now, rather than wait for the legislation to bring that about.

Of course, being anonymous online does not give anybody the right to abuse others. The police have a range of legal powers to identify individuals who attempt to use anonymity to escape sanctions for online abuse where the activity is illegal; I have not heard before that Twitter charges for supporting that work, but I will certainly look into it. The Investigatory Powers Act allows police to acquire communications data such as an email address and the location of the device from which the illegal anonymous abuse was sent, and they can use that data as evidence in court. In fact, in 2017-18, the majority of communications data requests from public authorities were for subscriber information. Subscriber information requests seek to identify the user of a telephone, an email address or a social media account, for example. In 96% of cases, the applicant identified the subject of the request as the suspect in the investigation.

The Government are undertaking a review with law enforcement to ensure that the current powers that it has are sufficient to tackle illegal anonymous abuse online. Because the online world is so fast-moving, we want to ensure that our law enforcement agencies are fully equipped to be able to do that. The outcome of that work will inform the Government’s position in relation to illegal anonymous abuse online and, of course, the online harms regulatory framework.

In addition, to ensure that the criminal law is fit for purpose to deal with online abuse, we have instructed the Law Commission to review existing legislation on abusive and harmful communications. The commission has highlighted in its consultation the fact that it acknowledges that anonymity online often facilitates and encourages abusive behaviours. It combines with—the hon. Member for Ellesmere Port and Neston pointed this out—the lack of restraint that an individual feels when they are communicating online, compared with communicating in person.

I have had experience of that myself. People have posted on Facebook, “I’m going to go and see that Ms Dinenage and give her a piece of my mind. I’m turning up here, at this time, on this date. I’m going to be there.” That has never materialised in real life, for which I am very thankful, but you can imagine how frightening it is. People have a lot of bravado when hidden behind a screen or keyboard, and it is very difficult to know whether that bravado could tip over into real life. There is a lack of restraint online, compared with in person, and abusive behaviours such as pile-on harassment and cyber-flashing are much easier to engage in, at a practical level, via the anonymity of these platforms.

As part of the review, the Government have asked the Law Commission to examine how the criminal law will address the encouragement or assistance of self-harm as well. That is something that is incredibly distressing. As the Minister who took over this role, I have found that one of the hardest conversations that I have had to have is with young people who have been incited to self-harm or, indeed, to take their own life online.

The Law Commission has consulted on its proposed reforms, and a final report is expected early this year. We are going to consider very carefully using the online harms legislation to bring its final recommendations into law where it is appropriate to do so. We are really committed to tackling all harms online, including anonymous abuse. The hon. Member for Newcastle upon Tyne Central talked about sanctions. We want to ensure that Ofcom has the ability to use sanctions. They are tough—up to 10% of global turnover. We will not shy away from that—it is more than is being proposed by the equivalent European legislation, for example—because we know that anonymous abuse can have such a significant impact on victims. We have all seen a little bit of it ourselves, but we know that there are people outside the House who are much more broadly affected than we are. Whether someone is a member of the public, a high-profile public figure or a child subject to the most awful abuse outside the school gates, where they just cannot escape it, it is really important that we have a regulatory framework that adequately addresses this issue, while also protecting the value of freedom of expression. We have always to keep that in our minds as well. It is vital that we tread that line very carefully. It is vital that we get the legislation right.

We want all parliamentarians to be able to feed into this really significant and important piece of work. As the hon. Member for Newcastle upon Tyne Central said, there would have been a lot more people here today in normal circumstances. My door is always open, because I want to continue to work with Members of both Houses to listen to their concerns as we move forward.

[Chi Onwurah]

I thank the Minister for giving way again, and thank her again for the tone in which she is responding to issues. May I summarise the position—without putting words in the Minister’s mouth—by saying that online anonymity is not currently directly addressed in the proposed legislation, but it could be if there was thought to be sufficient reason to do so? Is that a fair summary?

[Caroline Dinenage]

That will be addressed in a number of the broader protections. I was very taken with what the hon. Member said—I wrote down the words she used—about the importance of the right to identity, as well as the right to anonymity.

We really want to get this piece of legislation right. The other day, somebody raised with me the analogy of the invention of the motorcar. The internet is such a big invention that it is almost like that. With the advent of the motor car, we did not put in place seatbelts, airbags, the highway code or even the driving test—my grandfather did not take one—from the outset. Some of those innovations had to come down the track, but I really want to put in place as many protections for the internet from the outset as we can. I want to make this piece of legislation as robust, powerful, far-reaching and successful as possible. That is why I am not taking anything off the table. I want genuinely to put this legislation through pre-legislative scrutiny, take the comments of both Houses and ensure that, when we move forward, we do so in the best possible way. That is why we will continue to keep the area of anonymity under review as we progress with the online safety legislation.

Oral Answers to Questions

Caroline Dinenage Excerpts

Thursday 10th December 2020 Commons Chamber

[Bill Esterson (Sefton Central) (Lab)]

What steps his Department is taking to retain highly skilled workers in the creative industries.

[The Minister for Digital and Culture (Caroline Dinenage)]

We recognise the crucial role of high-skilled workers in making our creative industries world leading. The £1.57 billion culture recovery fund provides targeted support to critical cultural arts and heritage organisations during the pandemic and the £500 million film and TV production restart scheme has supported 4,500 jobs in the screen sectors to date.

[Bill Esterson]

SSE Audio employed 196 people in the supply chain of the events industry until March; 75 of those have already been made redundant. Last year it paid £2.45 million to freelancers as well. Its freelancers are among the excluded group who have had no financial support, the business did not qualify for the cultural recovery fund, 99% of which has gone to venues, not suppliers, and unless the furlough scheme is extended in January it will have to make the rest of its workforce redundant. Is it not the case that suppliers such as SEE Audio and its freelancers are essential to the recovery of this brilliant sector of our economy?

[Caroline Dinenage]

The hon. Gentleman is right to talk about all the amazing parts of the industry that support our creative and cultural venues up and down the country. Of course this Government have just put in an incredible amount of unprecedented business support right across every sector—over £100 billion for the furloughing scheme, the self-employed income support scheme, grants, loans, VAT deferrals—and for freelancers we know the best thing we can do is get our sectors back up and running. That is what the culture recovery fund is all about.

[Tracy Brabin (Batley and Spen) (Lab/Co-op)]

Today, research from the Creative Industries Policy and Evidence Centre has shown that in the last six months there have been 55,000 job losses in music and the performing and visual arts—all that talent, dedication and diversity of voices lost. Our creative workers are desperate to get back to doing what they do best, and we know the simplest way to get money to freelancers is to make shows, but to do that producers need a safety net. Germany has just announced an indemnity fund so event organisers can plan for the second half of 2021 without the financial risk posed by a potential covid outbreak. Industry predictions suggest a three-month indemnity here could get the sector back on its feet. I know that the Minister is receptive to this idea, so can she explain what is holding things up? Has the Chancellor again said no?

[Caroline Dinenage]

The hon. Member is absolutely right to highlight that our creative industries are a fantastic success story. They contribute more than £112 billion to our economy, more than the automotive, aerospace and life sciences sectors combined, so we do need to do everything we can to help them. The next stage of the cultural recovery fund will be announced shortly—that is another £258 million—and we are looking very carefully at the German insurance model. It has only been announced this week so the details have not been made clear. We have to be sure that it really is the only obstacle to things being able to reopen, but we very happy to have those conversations with the Treasury.

[Andy Carter (Warrington South) (Con)]

What steps his Department is taking to reform digital advertising.

[The Minister for Digital and Culture (Caroline Dinenage)]

We are carefully considering the extent to which current advertising regulation is fit to tackle the challenges posed by the modern world. Next year we will be launching a public consultation on the regulation of online advertising. We are also working on more specific areas, including high fat, salt and sugar advertising, and establishing a new pro-competition regime.

[Andy Carter]

I thank the Minister for that detailed answer. Local journalism is funded on the whole by local advertising, be that in local newspapers or local radio, and the structural impact of the changes in our local economies and the move online is having a significant impact on the way that local independent news is produced. Can the Minister give us more details on the steps the Government are taking to protect local journalism, which is so important to maintaining local democracy?

[Caroline Dinenage]

My hon. Friend is a great champion for local media and newspapers in his area. We recognise the vital role publications like his own Warrington Guardian play in supporting communities but also in providing reliable information. We strongly welcome the recommendations in the Competition and Markets Authority report and the setting up of a digital markets unit within the CMA to ensure fairness in regulating digital platforms. The Minister for Media and Data meets very regularly with the sector to discuss all its ongoing concerns about this.

[Chi Onwurah (Newcastle upon Tyne Central) (Lab)]

I do not know who your secret Santa is, Mr Speaker, but I do know the Minister’s: Google and Facebook. Only, they are not buying presents—just using our data, behaviour and social contacts to tell us what to buy through their domination of online advertising, while our local retailers, who pay significant taxes and employ so many people, lose out. Can the Minister confirm that the digital markets unit’s powers have yet to be defined and that powers in the long-delayed online harms Bill are being watered down? Will she promise now to stop tech companies selling on our data, and put us back in control of our digital lives and Santa back in charge of Christmas?

[Caroline Dinenage]

I sincerely hope they are not my secret Santa. Online advertising is clearly an important driver of the UK economy. The Government are really committed to supporting the continued growth of the industry, but it needs to be fairer and better regulated. So we will launch a public consultation next year on measures to enhance how online advertising is regulated in the UK. That will build on the call for evidence we launched this year, and we will consider options to enhance the regulation of advertising content and placement online. The hon. Member asks about the online harms response. It will be published very shortly and it will not be watered down—there is my secret Santa gift for her, Mr Speaker.

[Jonathan Gullis (Stoke-on-Trent North) (Con)]

What steps his Department is taking to roll out gigabit broadband.

--- Later in debate ---

[Theresa Villiers (Chipping Barnet) (Con)]

What steps he is taking to help the live music sector respond to the economic effect of the covid-19 outbreak.

[The Minister for Digital and Culture (Caroline Dinenage)]

In addition to more than £100 billion of general business support, our unprecedented investment of £1.57 billion in the culture recovery fund has seen more than £500 million handed out to organisations across England to date, a fifth of which has gone to the music sector. Those funds are providing valuable protection to live music venues and festivals, and to all the valuable jobs that rely on them.

[Theresa Villiers]

I know the whole sector is very grateful for the support it has received from the Government, but if we are going to get music festivals and major events on again from the spring and summer, businesses need to be signing contracts and spending money now. Will the Minister give serious consideration to Government support for an indemnity or insurance scheme so that they can make those decisions in the confidence that, if there is a third wave, their losses will be mitigated?

[Caroline Dinenage]

I thank my right hon. Friend for that question. I am well aware of the concerns about and the challenges of securing insurance for live music events. It is something we are looking at very carefully, but the key is for the industry to build an evidence base that demonstrates that insurance coverage is the only barrier to events being able to take place. That is what we managed to prove with the film and TV production restart scheme. In the meantime, the remaining £258 million of the culture recovery fund will very shortly be made available to provide extra support.

[Julian Knight (Solihull) (Con) [V]]

On a similar theme, the UK is the world leader in music and arts festivals. The sector is worth £12 billion and supports many thousands of highly skilled jobs, as well as being the financial lifeblood of the nation’s musicians. However, there will be no festival season next year unless insurance is underwritten in case of covid disruption. First, will the Minister meet with me and MPs from across the House to see how that reinsurance can be put in place? Secondly, noting her answer to the previous question, does she recognise that with a minimum lead time of six months, the reinsurance needs to be in place now before the likes of Glastonbury can commit and, if it is not, those festivals effectively cannot be put in place? We need them to be able to sign those contracts today, rather than to wait several months and then have an insurance scheme in place.

[Caroline Dinenage]

I know this is something that my hon. Friend cares deeply about and that he met the Secretary of State recently to discuss it. Festivals are a vibrant and integral part of our creative community and our economy, and I am well aware that many will take decisions very soon about whether they can go ahead next year, so this is an urgent situation. There is a sub-group of my entertainment and events working group looking specifically at how we can get festivals reopened. I have met in the past few weeks with representatives from festivals in Edinburgh, and only yesterday with representatives from festivals on the Isle of Wight.

[Paul Blomfield (Sheffield Central) (Lab)]

What assessment he has made of the effect of the tiered system of covid-19 restrictions on the performing arts.

[The Minister for Digital and Culture (Caroline Dinenage)]

Following the recent introduction of regional tiers, venues in tiers 1 and 2 are open to audiences, subject to social distancing and caps on capacity. Venues in tier 3 are adapting their performances to broadcast without audiences. The Government continue to work with the performing arts sector to assess the impact of the tiers and to develop proposals for how venues can open with fuller audiences when it is safe to do so.

[Paul Blomfield [V]]

The culture recovery fund, which the Minister mentioned earlier, has of course been welcomed by our award-winning Sheffield theatres, along with others across the sector. However, she knows that the performing arts depend on an army of freelancers. They make up some 70% of the theatre workforce alone, not only actors and performers, but more working in lighting, set design, stage management and other areas. She also knows that they have been shut out of the business support that she talked about earlier—more than 200,000 people, part of the 3 million excluded across all sectors—so will she recognise the problem for freelancers and press the Treasury to provide the support they need?

[Caroline Dinenage]

The hon. Gentleman is absolutely right to say that the culture recovery fund has been a lifeline for cultural and artistic institutions up and down our country. Sheffield Central has received over £7 million in funding in 2020-21. The whole thing about supporting freelancers is getting things up and running. For example, the Crucible theatre in Sheffield is in tier 3, but it is continuing to rehearse its panto with the aim of performing it live if restrictions are lifted in time, but whatever happens, it will record its work and stream it into hospitals, schools and, hopefully, to audiences. That is how we get our freelancers back to work—by continuing to produce the high-quality cultural content that audiences are so desperate for.

[Martyn Day (Linlithgow and East Falkirk) (SNP)]

What recent discussions he has had with Cabinet colleagues on the retention of (a) the GDPR and (b) other EU regulations on data protection after the transition period.

--- Later in debate ---

[Gavin Newlands (Paisley and Renfrewshire North) (SNP)]

What recent steps his Department has taken to tackle the proliferation of (a) misinformation and (b) disinformation online.

[The Minister for Digital and Culture (Caroline Dinenage)]

The Government take the issue of misinformation and disinformation very seriously, and DCMS is leading work across Government to tackle it. As this can be particularly harmful during the pandemic, we stood up the counter-disinformation unit to bring together cross-Government monitoring and analysis capabilities. We are working closely with social media platforms to help them to identify and remove incorrect claims about the virus and to promote authoritative information.

[Gavin Newlands]

Online misinformation is a great harm to us all. It can make people refuse life-saving medicines, it can make people believe that the so-called leader of the free world has been cheated out of an election, and in the last of the 16 days of action on gender-based violence against women and girls, it is important to note that 52% of young women and girls have been abused online and that 87% think the problem is getting worse. When will we finally see the online harms Bill, given that the social media and tech companies are doing nowhere near enough to protect individuals and society at large?

[Caroline Dinenage]

The hon. Gentleman is absolutely right to highlight this. We know that the vast majority of misinformation is harmful but legal. It is really important that we develop a comprehensive piece of legislation, working closely with civil society and the tech platforms, so that where disinformation is illegal or encourages illegal behaviours it can be dealt with, and so that we can address false narratives online and try to root out the content that is legal but harmful, particularly to children. With that in mind, we will be publishing the online harms response very shortly, and we plan to bring forward the legislation early next year.

[Stephen Doughty (Cardiff South and Penarth) (Lab/Co-op)]

Like many other Members, I have been sharing information about the excellent developments on the vaccines with my constituents on social media, but I have been deeply worried by some of the anti-vax nonsense I have seen in response. What is the Minister’s advice to my constituents when they see this information online? Should they simply report it to the social media companies and expect them to remove it—they have a pretty poor track record of doing that—or is there some way of feeding into the disinformation unit that she has described?

[Caroline Dinenage]

The hon. Gentleman is absolutely right to raise this. Anti-vaccination propaganda can be really harmful and can deter people from getting treatment that could save their life or the life of a loved one. That is why it is really important to bring it to the attention of the social media companies themselves. Last month, my colleague the Secretary of State, alongside the Secretary of State for Health and Social Care, met the social media companies, which agreed to reduce the spread of harmful and misleading narratives, particularly around the potential covid-19 vaccine. We are holding them to account for this; it is vital that they get it right and that their work is transparent and effective.

[Kerry McCarthy (Bristol East) (Lab)]

What plans he has to support the creative industries to work in the EU when the transitional arrangements with the EU come to an end.

[The Minister for Digital and Culture (Caroline Dinenage)]

The Government continue to engage with creative sectors so that they know how to prepare for changes at the end of the transition period. We are seeking a reciprocal arrangement with the EU that would allow UK citizens to undertake some business activities in the EU without a work permit on a short-term basis. We cannot comment on the details of those arrangements at the moment, as the negotiations are still ongoing.

[Kerry McCarthy]

As the least musically talented member ever of the Musicians Union, I draw the House’s attention to my entry in the Register of Members’ Financial Interests. I am sort of pleased that the Minister gave that answer, although it does mean that I am slightly floundering as to what question to ask her now, because that was what I was going to ask. Musicians really need that reciprocal exemption. I know she says that what is important is that they are ready and prepared for when they can resume touring again, but it is really late in the day to leave this, and Ministers told the Musicians Union that it would be quite an easy thing to do. Is it possible to get some reassurance to them now, rather than later?

[Caroline Dinenage]

I pay tribute to the hon. Lady; she may not have musical talent, but she has some of the best musical taste in this House. The cultural and creative sectors are, as she knows, some of the UK’s greatest success stories and produce talent that is recognised the world over. Being outside the EU will not change that, but it does mean that we need practical changes on both sides of the channel. That will not come as a big surprise; DCMS has been engaging for very long time with the relevant trade and membership bodies, which cover a membership of approximately 150,000 businesses and freelancers. We have also had “Get ready for Brexit” and “Check. Change. Go.” public information campaigns, so we have been keeping people updated every step of the way.

[Damien Moore (Southport) (Con)]

  If he will make a statement on his departmental responsibilities.

Oral Answers to Questions

Caroline Dinenage Excerpts

Thursday 5th November 2020 Commons Chamber

[Anne Marie Morris (Newton Abbot) (Con)]

What steps he is taking to support entertainment venues that are unable to operate as a result of local covid-19 restrictions.

[The Minister for Digital and Culture (Caroline Dinenage)]

We are continually engaging with the entertainment sector about the ongoing challenges to venues up and down the country. Our unprecedented £1.57 billion cultural recovery fund is helping to preserve the cultural fabric of the country, from museums to music venues, from cinemas to theatres.

[Anne Marie Morris [V]]

Pavilions, a performing arts venue in Teignmouth, in my constituency, did not apply for the original round of funding from the cultural recovery fund, as at that time it was in an acceptable financial position, and that was very responsible of it. Unfortunately, a huge decline in business is now affecting it, so will the Minister consider a new round of funding for the arts and entertainment industry that Pavilions might apply for?

[Caroline Dinenage]

My hon. Friend is right to bring this issue to our attention. We understand that this remains a challenging period for many organisations in the arts and entertainments sector. Some £258 million of the cultural recovery fund has been held back with a view to offering further support based on evidenced need later in the financial year. Meanwhile, organisations can, of course, take advantage of the financial support measures that were made available by the Government and recently extended, including the various business grant and loan schemes, and the furlough scheme.

[Sir Desmond Swayne (New Forest West) (Con)]

What discussions he has had with the Secretary of State for Health and Social Care on the criteria for allowing singing in public during the covid-19 outbreak.

[The Minister for Digital and Culture (Caroline Dinenage)]

The Department for Digital, Culture, Media and Sport has engaged extensively with Public Health England to provide clear guidance on singing. The development of the guidance enabled both professional and non-professional activity to take place in a covid-secure manner in a range of settings and contexts over recent months. However, in line with new restrictions coming into force today, amateur activity can no longer take place.

[Sir Desmond Swayne]

I am glad that my hon. Friend has confirmed that at least professionals can continue to rehearse and perform. When will the rest of us be allowed to sing again without some marshal or other agent of her totalitarian state seeking to prevent us?

[Caroline Dinenage]

I am sure that, like me, Mr Speaker, you are holding your breath until the day that we can both enjoy my right hon. Friend’s impressive falsetto once again, but in the meantime I am pleased to confirm that performing arts professionals may continue to rehearse, train and perform for broadcast, recording or livestream purposes. Of course, the intention after this four-week period is for an easement of restrictions back into the tiered system that previously operated throughout the country, in which case my right hon. Friend will be able to be in fine tune, to all our great delight, once more.

[Catherine West (Hornsey and Wood Green) (Lab)]

What plans his Department has to support creative freelancers who are not eligible for the Self-Employment Income Support Scheme.

[Chris Elmore (Ogmore) (Lab)]

What plans his Department has to support creative freelancers who are not eligible for the Self-Employment Income Support Scheme.

[The Minister for Digital and Culture (Caroline Dinenage)]

Our world-beating cultural and creative industries are absolutely nothing without the people who work in them. We are working hard to help freelancers in those sectors to access support, particularly if they do not qualify for the self-employed income support scheme. Arts Council England has made available £119 million to individuals, of which £23 million has already been distributed. Around £96 million is currently still available to apply for.

[Catherine West]

Many of the staff who work in creative venues are very low-paid. What provisions will the Government make if venues remain closed after the beginning of December, which is very likely?

[Caroline Dinenage]

The hon. Lady will know that the £1.57 billion cultural recovery fund will benefit freelancers because it enables the assisting of organisations to reopen and restart performances, perhaps in a digital or livestream capacity. It will help many organisations to put on cultural activity in this financial year, which they would not otherwise have been able to do. I am sure the hon. Lady will be delighted that in her own constituency of Hornsey and Wood Green, for example, the recovery funding has enabled the sharing out of more than £571,000 between six organisations. I am sure it will be a lifeline for many of them.

[Ruth Cadbury]

I thank the Minister for her answer, but the reality is that the number of performances will be a fraction of what it would normally be. I have been contacted by constituents who are performers, make-up artists, instrumentalists and other freelancers in the creative sector who work in the west end; they have been excluded from all Government support. In west London, universal credit barely covers or fails to cover even the cost of rents, meaning that people now face going through lockdown with no additional support, adding to the queues at food banks. What will the Minister do to help them?

[Caroline Dinenage]

The hon. Lady is right to highlight the plight of freelancers, without whom, of course, our cultural institutions are simply bricks and mortar. We know that what they want to do more than anything is to get back to doing what they love, which is why I am so delighted that nearly 1,400 of the successful culture recovery fund recipients announced on 12 October set out in their applications how the support would enable them to deliver more than £150 million-worth of cultural activity before the end of March 2021, which they would not otherwise have been able to do. As the hon. Lady will know, well over half a million pounds of that money is being spent in her constituency.

[Chris Elmore]

No one is disagreeing with the Minister that additional money has been put into the arts and culture sector. That amount of money is always welcome, but the Minister must understand that the reality is that there are growing numbers of freelancers, musicians and performance artists who are excluded from getting any support from Government and are not benefiting from the individual grants to cultural centres in any part of the UK. There are growing numbers of organisations calling for more support specifically for musicians, whether it is ExcludedUK, the Incorporated Society of Musicians or the Musicians’ Movement. What is the Minister or, indeed, the Secretary of State doing to lobby Treasury Ministers to ask them to change their mind to ensure that these freelancers get support so that we have some sort of cultural society left after the pandemic is over?

[Caroline Dinenage]

As I have already articulated, there is £119 million-worth of Arts Council England funding for which freelancers can bid, and I am sure that the Welsh Government are doing something similar with their share of the cultural recovery fund. It is also all about protecting opportunities for freelancers. Even in the latest restrictions that come into force today, we have ensured that there are exemptions for professional music, recording studios, film and TV production and live stream and digital performances. It is all about enabling those opportunities for people to keep doing the jobs that they love and that they are so brilliant at.

[John Nicolson (Ochil and South Perthshire) (SNP) [V]]

The hard-hit creative industries face not only the challenge of covid, but the looming threat of Brexit. The live music industry contributes more than £1 billion annually to the economy. EU nationals, are, of course, a vital part of this picture, with 750,000 music tourists visiting the UK. Barriers to travel—inevitable after Brexit—could lead to many of them going elsewhere in Europe. Brexit is not only a problem for those attending festivals from the EU, but a threat to those who perform at or work for festivals. There is endless red tape in the form of ATA carnets and the necessity for individual work visas. The Government are yet to come up with a viable solution to any of these problems. Given that, does the Minister accept that disruption to the ability of essential EU industry professionals and European visitors coming to the UK will harm this sector and damage the economy at a time when its success could not be more important?

[Caroline Dinenage]

No, I do not accept that. My Department has been regularly engaging with a range of creative industries, including the live music and cultural sectors, to make sure that the support is put in place for businesses, freelancers, visitors and the creative and artistic economy as we move towards the transition period.

[Karl Turner (Kingston upon Hull East) (Lab)]

What discussions he has had with the Chancellor of the Exchequer on financial support for rugby league clubs.

Vaccine Misinformation Online

Caroline Dinenage Excerpts

Monday 19th October 2020 Commons Chamber

[The Minister for Digital and Culture (Caroline Dinenage)]

I would like to start by thanking the hon. Member for Ogmore (Chris Elmore) for tabling this really important topic for debate, and for his wider work as chair of the all-party parliamentary group on social media, which does incredibly important work to draw attention to this vital issue. Vaccine misinformation and, indeed, disinformation are an important issue that the Government and I take incredibly seriously. It is vital that all UK citizens have access to accurate information; it is a key part of our democracy. At their worst, disinformation and misinformation can threaten our democratic freedoms and cause harm to individuals and to our society.

During a time of national crisis, it is even more important that people have access to accurate information about covid-19. Throughout the pandemic, really harmful misinformation and disinformation of many kinds have been observed online, including conspiracy theories about 5G, fake claims about the health risks of wearing masks and the promotion of dangerous and false covid-19 cures. These are just a few of the many falsehoods that have been circulating online, and their impact is not limited to the online environment. They have real-life consequences, ranging from people needlessly spending money on items to protect themselves, to an increased risk of individuals not following crucial public health advice and thereby putting their own and others’ health at risk. And of course, we saw the disgraceful acts of vandalism and harassment that were spurred on by the groundless 5G conspiracy theories.

We are also aware that some people are almost certainly exploiting covid-19 to target minority groups online. I recently met members of Britain’s East and South East Asian Network, who highlighted the increase in online racism that their members had experienced during covid-19. We are absolutely clear that there is no place for racism, offline or online. Hateful content on digital platforms is a growing problem in the UK. It inflicts harm on victims, creates and exacerbates social divisions and erodes trust in platforms. We cannot continue to put up with it.

Worryingly, as the hon. Gentleman has said, we are seeing significant amounts of vaccine misinformation online. Confidence in vaccines across the UK remains high, but it is only natural that people should have questions about the vaccines that are available to them and about how they have been developed. However, it is simply unacceptable that some individuals online should seek to exploit citizens’ legitimate questions and deliberately create and share vaccine falsehoods for their own personal, political, or, worst of all, financial gain. We have seen a range of baseless and, in some instances, absurd narratives being shared about vaccines, including by individuals in the public eye, as the hon. Gentleman mentioned. They are much like those that we saw around 5G, and I will not give further time and attention to those groundless theories by repeating them here.

However, the act of sharing such falsehoods should not be confused with well-intentioned citizens asking perfectly understandable questions, as the hon. Gentleman said, including about how safe vaccines are. I remember the considerable misinformation that began to circulate about the MMR vaccine and its suggested link to autism in the early 2000s. I was a first-time mum at the time, and I found this false information, and the rate at which it spread, hugely unsettling and hugely worrying. That was of course in the days when social media was in its infancy. It did make a huge difference to a number of us who were mums at the time as to whether we would get our children immunised, and I am sure that it led to a rise in the number of measles cases subsequently. I urge those who have questions to seek advice from reputable sources such as the NHS and Public Health England, and to speak to trusted healthcare professionals.

[Jim Shannon]

I believe, as I think other Members would agree, that we need to have one message coming from all four Administrations—Scotland, Northern Ireland, Wales and England—together. It is very important that that happens. The hon. Member for Ogmore (Chris Elmore) referred to it. It is a critical factor so that we all hear the same story no matter what part of this great United Kingdom of Great Britain and Northern Ireland we live in.

[Caroline Dinenage]

The hon. Gentleman is absolutely right. We do all have to be singing from the same hymn sheet and giving out the same information.

We are taking a very proactive whole-of-Government approach to this. My Department—the Department for Digital, Culture, Media and Sport—has the responsibility for monitoring and analysing anti-vaccine narratives. My officials are working very closely with the vaccine taskforce, which comes out of the Department for Business, Energy and Industrial Strategy, while the Department of Health and Social Care is responsible for delivering effective communications around the vaccine. I meet my ministerial colleagues very frequently on this.

First and foremost, we are working with partners in the NHS, including GPs and nurses, to explain to patients the importance of vaccines. I am pleased that many organisations in the media and social media are acting very responsibly in providing accurate information. We are also working at pace to ensure that accurate information is available and accessible online, but we also have to address the swathes of inaccurate and misleading content alongside it. That is why we stood up the cross-Whitehall counter-disinformation unit in March as part of the Government response to covid-19.

[Anthony Mangnall]

My hon. Friend is making a very important point. I am sorry to have two bites at the cherry, but the point is that there is a knock-on impact from what people read online and then spread within their communities. Those who do not have access to online services are, in certain cases, hearing information first-hand from people they know, respect and are likely to believe. What direction might the Government be going in to try to counter that as a source of information?

[Caroline Dinenage]

As I say, we are working with a whole range of other Government Departments. The Department of Health is very much leading on the communication of this, and my Department is leading on the liaison with the platforms to ensure that tackling anti-vaccination messaging remains one of the key priorities of the cross-Whitehall counter-disinformation unit that we lead. We have been working with partners across Government to tackle this.

As the hon. Member for Ogmore said, we have seen some of the major social media companies update their terms of service and introduce new measures. Most recently, YouTube extended its policies to address false information. These are steps in the right direction. However, this year the Secretary of State for DCMS asked the major platforms to explore how they need to go further to stop the spread of this content. More needs to be done, more must be done, and we will continue to put pressure on these companies to take the necessary action against misinformation in all its guises.

It is really key that users are empowered with the knowledge and skills they need to keep themselves safe online as well. This includes how we recognise and report false and misleading content. We can all do our bit, whether it is fact-checking something before we share it or reporting something that is potentially harmful. Importantly, the Government are committed to publishing an online media literacy strategy that will set out our plans to ensure a co-ordinated and strategic approach to online media literacy, education and awareness for all users. That is due to be published next spring.

While covid has demonstrated the positive power of the internet, we have all seen that the increased amount of time spent online provides an opportunity for the spread of falsehood. The Government remain absolutely steadfast in our determination to tackle misinformation and disinformation in all its forms.

Question put and agreed to.

Culture Recovery Fund: Arts Funding

Caroline Dinenage Excerpts

Tuesday 13th October 2020 Written Statements

[The Minister for Digital and Culture (Caroline Dinenage)]

I am pleased to inform the House that yesterday we announced 1,385 cultural organisations will share over £257 million from the culture recovery fund to help support arts and culture organisations through the coronavirus pandemic.

This represents the biggest award to date of the culture recovery fund and means we have now provided over £360 million to support cultural and heritage institutions across England.

This vital Government funding is a vital boost for the theatres, music venues, museums and cultural organisations that form the soul of our nation. It will protect these special places, save jobs and help the culture sector’s recovery.

These funds are supporting cultural beacons the length and breadth of the country—from the Beamish museum in County Durham to the Birmingham Royal Ballet and the Bristol Old Vic.

The theatre by the Lake, in Keswick, for example will receive over £800,000 in support which recognises its importance as the biggest employer in the area, the devastating impact coronavirus has had on it and theatres more widely, and the importance of safeguarding this wonderful cultural institution for the future.

Or, to take another example, Yorkshire Sculpture Park, Wakefield: this cherished organisation will receive £804,000 to help the park to adapt its buildings to new regulations and help it reopen safely. Yorkshire Sculpture Park shows work by British and international artists including Henry Moore and Barbara Hepworth.

This is good news not only for these organisations but for towns, cities and workers in these sectors across the country—it will help to protect jobs and ensure our beloved local arts venue can remain afloat and support culture in many communities.

On top of this investment the culture sector has benefited from the job retention scheme, self-employment income support scheme, the bounce back loan scheme, a reduction in VAT from 20% to 5% for tourism and hospitality firms for six months.

I want to reaffirm that we recognise the crucial role that individuals play in making our arts and creative industries world-leading.

The culture recovery fund will benefit freelancers, because it will invest in organisations and help them to reopen, and restart performances which will provide more opportunities for freelancers to be engaged again.

It will also help many put on cultural activity within this financial year which would not have been possible without this funding.

Additionally, to complement this funding for organisations, this year, the Arts Council has made over £115 million of funding available for individuals, including freelancers, to apply to, including £18 million for the Developing Your Creative Practice programme which will open for applications this Thursday.

Regarding next steps, we are working flat out to support these sectors and to get the remainder of the funding and support out to those who need it most as quickly as possible.

There will be further announcements about hundreds of millions of pounds of allocations in the coming weeks to support the UK’s incredible culture, heritage, arts and creative industries.

The Government are here for culture. Help is on its way with more to come in the days and weeks ahead so that the cultural sector—the soul of our nation—can bounce back strongly.

[HCWS509]

Online Harms

Caroline Dinenage Excerpts

Wednesday 7th October 2020 Westminster Hall

[The Minister for Digital and Culture (Caroline Dinenage)]

It is a pleasure to serve under your stewardship, Sir Edward. I thank the hon. Member for Halifax (Holly Lynch) for tabling this incredibly important topic for debate. This is my first opportunity since taking this role in February to speak publicly about online harms, and I am grateful for the chance to do so. I am also grateful to all Members who have taken part in the debate and raised some incredibly important topics.

My hon. Friend the Member for Brigg and Goole (Andrew Percy) summed up an important challenge at the beginning: it should not take Government legislation to sort this out, but, unfortunately, it does, now more than ever. That was brought home to me over the summer, when I talked to the father of Molly Russell, a young lady whose story started with online bullying and then led on to her seeking information online as to how to take her own life, which she did. That was a conversation that I never want to have with another parent again. It was utterly chilling. That is why my dedication to making sure the legislation is fit for purpose is stronger than ever.

The hon. Member for Ogmore (Chris Elmore) challenged me to ensure that the legislation is robust, clear and soon, and I take that challenge. I have had a number of other challenges from across the room, and given that I have only a few moments to respond, I will get through as many as I can. Anyone I do not get to, I will write to.

As hon. Members know, the Government published the online harms White Paper last year, setting out how to make legislation to make the UK the safest place in the world to be online. User safety is very much at the heart of our approach. The intention to establish a new duty of care for companies towards their users will ensure they have appropriate systems and processes in place to deal with the harmful content on their services and to keep their users safe.

Our approach will require companies to have clear and accessible mechanisms for users to report harmful content and to challenge it—take it down, in fact—where necessary. Companies will be expected to enforce their terms and conditions transparently and consistently. The duty of care will be overseen by a regulator, which will have oversight of these mechanisms and strong enforcement powers to deal with non-compliance.

The White Paper spoke about some of these powers, but we have also consulted on further powers to carry out things such as business disruption activities, blocking internet service providers and personal sanctions for senior managers. Further information will be published in the full Government response.

Since publishing the public consultation, we published the interim Government response earlier in the year, which shares the findings from the consultation and indicated the direction of travel. We intend to publish the full Government response within the next few weeks and to have the legislation ready early next year.

A range of other issues have been raised today, and I will get through as many as I can. The hon. Member for Upper Bann (Carla Lockhart) and many other hon. Members suggested that there might be some watering down of the legislation compared with the White Paper. In fact, the hon. Member for Bristol North West (Darren Jones) thought that it might be part of some of our trade negotiations. That is not the case. There will be no watering down—in fact, the opposite.

The protection of children is at the heart of our approach to tackling online harms, and a number of hon. Members have raised that. There is huge recognition that the online world can be particularly damaging for children. We understand that. It is their mental health and their very well-being that are at stake. Our online harms proposals will assume a higher level of protection for children than for the typical adult user. We will expect companies to have a range of tools to protect them, including measures such as age assurance and age verification technologies to protect them from accessing inappropriate content.

My hon. Friend the Member for Congleton (Fiona Bruce) spoke about the Digital Economy Act 2017. This will go further than the focus of the Digital Economy Act. One criticism of that Act was that its scope did not cover social media companies. One of the worst places where a considerable quantity of pornographic material is available to children is on social media. Our new approach will therefore include social media companies and all sites on which there is user-generated contact, including major pornography sites.

It is important that we no longer see age verification for pornography in isolation, but as part of this wider package to protect children across a range of sites and harmful materials. This technology is new and emerging, and it is important that we take every opportunity to get at the front end of it. That is why we are collaborating with the Home Office, GCHQ and a wide range of stakeholders on research into the verification of children online, and considering the technical challenges of knowing who online is a child. We ran a successful technical trial to test the use of age-assurance technologies at scale. The initial findings have been promising, and I look forward to developing that work shortly.

In recent years, there has been a massive rise in online abuse, harassment and intimidation, with a large majority of that on social media. I am clear that any abuse targeted towards anybody is unacceptable, but we heard from many Members that certain users are disproportionately targeted. For example, we know that issues such as revenge porn are rising. The UK Safer Internet Centre recently cited the fact that, this year, the revenge porn helpline has already dealt with 22% more cases than in the whole of 2019. That is not acceptable.

We are clear that what is illegal offline should be illegal online, including a number of things raised today, such as incitement to violence and the selling of faulty and potentially hazardous goods. We need to make sure that social media companies take as much responsibility as they can, but we also need to make sure that law enforcement agencies are equipped to take action where they need to. In some cases, the law is not fit for purpose to deal with the challenges of the online world, as we heard from my right hon. Friend the Member for Basingstoke (Mrs Miller). That is why we instructed the Law Commission to review existing legislation on abusive and harmful communications. It is also undertaking additional reviews, including on the taking, making and sharing of intimate images, which is obviously incredibly upsetting for victims. Given the nature of lawmaking, a patchwork of offences has been developed over time to address this issue. The Law Commission is now considering the best way to address these harms and whether there are any gaps in legislation. We are working alongside it to consider the right legislative vehicle to take this issue forward.

Finally, we have seen some horrific examples involving disinformation and misinformation over the covid period, including the burning down of 5G masts because of some horrific conspiracy theories. We stood up the cross-Whitehall counter-disinformation cell earlier in the year and, to give reassurance to those who asked for it, we have been working since the beginning of the summer with colleagues across Government and with social media companies on how to respond to anti-vax campaigns, so that is very much in hand.

As well as calling for action from companies, it is key that users are empowered with the knowledge and skills to keep themselves safe, which is why our online media literacy strategy will come out in partnership with the White Paper. With that, I will end, to leave time for the hon. Member for Halifax to conclude the debate.

Cultural Attractions: Contribution to Local Economy

Caroline Dinenage Excerpts

Tuesday 6th October 2020 Westminster Hall

[The Minister for Digital and Culture (Caroline Dinenage)]

It is a great pleasure, Sir Charles, to serve under your fantastic stewardship, and to be back in Westminster Hall.

I will begin by congratulating my hon. Friend the Member for Cities of London and Westminster (Nickie Aiken) on securing this really vital debate and on presenting her case so articulately. I also congratulate everyone else who has taken part. I feel like I have been on a whistle-stop tour up and down this country of some of the marvellous and magnificent arts and cultural venues that we have from Liverpool to Lowestoft, and from Clacton to Glasgow. We are world-renowned for our incredible arts and cultural sector, and we are very lucky to have great champions up and down our nations to support it here.

I thank the hon. Member for Batley and Spen (Tracy Brabin) for her contribution. I must put on the record the fact that she is always very pragmatic and supportive in the way in which she approaches her role, and she asks legitimate questions; I will try to answer most of those she asked, but if there are any that I do not manage to answer today, I will, of course, write to her with the answers. This is a terrible time and it is really important to work as constructively and co-operatively as we can to support this sector, which we care so passionately about.

It has been evidenced today by what people have said that our cultural and creative sectors are one of the UK’s greatest success stories; in this regard, I think that we are all singing from the same hymn sheet. My hon. Friend the Member for Cities of London and Westminster speaks on behalf of a London constituency, as did many other speakers, but up and down the country the attractions that we are discussing are the heart of an ecosystem.

My hon. Friend talked about the co-dependence of west end theatres and live music venues, museums and galleries, and the health of the hospitality sector, including hotels, bars, restaurants, shops, taxis and, of course, the night-time economy. That situation is reflected up and down the country, with a theatre or gallery offering a cultural heart to a community. The hon. Member for Vauxhall (Florence Eshalomi), who I think is no longer here in Westminster, said that in many cases cultural institutions were embedded in the heart of a community and driving economic prosperity in a range of other sectors that support or surround them.

The hon. Member for Cardiff West (Kevin Brennan) very kindly invited me to articulate my commitment to those who work in this sector and of course I am very proud to do so, as I am committed to them. These are proper jobs; these are jobs that are vital. Indeed, the people doing these jobs can do something that very few other people in this world can do. They can not only entertain but educate, they can lift spirits, they can improve mental health and wellbeing, they can take us to places that we have never been to before and open our eyes to the world around us, and they can genuinely offer young people from some of the most difficult and disadvantaged backgrounds a glimmer of hope as to what they can be, where they can go and what the world can potentially offer them.

I recognise the devastating impact that covid-19 has had across the arts and culture sector, on businesses and their staff, on freelancers, on those who rely on the sector and on many other people who helped to make it such a success.

As many hon. Members have articulated, the Government stand with the culture sector. We are making the biggest ever one-off investment of £1.57 billion, with hundreds of millions in loans and grants due to be allocated in the days ahead. That is in addition to the £160 million emergency fund that Arts Council England made available at the outset of the pandemic to venues that were struggling over the summer.

I will leave the hon. Member for Coventry North West (Taiwo Owatemi) to pick a fight with the hon. Member for Paisley and Renfrewshire North (Gavin Newlands) about which city was the most deserving of the city of culture. I am looking forward to coming to Coventry to celebrate with her in the year ahead. She said nothing had been done, but Coventry alone has had £2,123,690 in support from Arts Council England this year. Of that, over £730,000 was emergency funding for support through the covid crisis. That is before we have started finally allocating the rest of the culture recovery fund.

We are doing everything we can. The funds will be used to help support the performing arts, theatres, museums, heritage, galleries, independent cinemas and live music venues across the country, and we are determined that every region of the UK should benefit. It is also vital that the work of the Department is able to continue to support and celebrate people who are so vital to the cultural life of the nation and the communities that they work in. We want the money to go right across England. We want to ensure they get that funding, as well as the funding from the Barnett formula. That money will help the levelling-up agenda, and that is why we included the geographical balancing criteria in the fund. I am pleased that the first funds to be allocated went to grassroots live music through the emergency grassroots music venues fund, and to independent cinemas through the £30 million British Film Institute fund.

Of course, our world-beating cultural and creative industries are absolutely nothing without the people who work in them. Without such people, they are just buildings. We know the importance of protecting jobs and livelihoods in the creative arts sector. Through the furlough scheme we have protected 303,000 jobs, with claims totalling £1.47 billion. The self-employed income support scheme was taken up by 64% of eligible arts and entertainment workers, with grants totalling £153 million. The Chancellor has announced that the scheme will be extended. The universal credit system has been extended and made more generous, but we know that so many people are still falling through the gaps and are not being supported.

The situation is heartbreaking. My father has been in broadcasting for what feels like many hundreds of years, but I think it is about 55. He was a freelancer for all of my childhood. I know how stressful it is for a family—now more than ever. The one thing that such people want to do, more than anything, is to get back to work. The £1.57 billion culture recovery fund will help to do that. It will help to secure the future of the performing arts and live events sector, and it will help to protect jobs. However, the sector needs money in the meantime. That is why, to complement the Government funding, ACE has announced £95 million of additional support for individuals and freelancers. It is also opening another round of “Developing your Creative Practice”, which is an £18 million project to help individuals in the arts to develop new creative skills.

I understand that operating with reduced seating capacity is just not viable for some venues at the moment. I want to see such institutions reopen their doors as soon as it is safe for them do so, and we are working extensively with the sector on how to achieve that. The hon. Member for Batley and Spen asked about what sorts of committees and cultural hubs are working on this issue. We have various working groups that sit under the main cultural board. In some cases, the working groups have been meeting weekly since February, and they continue to do so. The work on this issue is by no means done, and it continues regularly.

Last week, I visited the Bournemouth Symphony Orchestra at the Lighthouse in Poole. It shows that the dedication and passion of such cultural institutions is bringing our arts back to life. The stage has been enlarged so that the whole orchestra can fit on it and play in a socially distanced way. By doing that, it has ensured that the orchestra’s weekly Wednesday night performances have now restarted, with a mixture of live—socially distanced—and livestreaming audiences, courtesy of the venue’s incredible first-class digital team. They have already sold 11,500 tickets for performances between now and Christmas. That is an absolute credit to their tenacity, talent and overwhelming determination to bring their magic back to the audiences who utterly depend on them. I give credit to them and to others up and down the country who are doing the same.

A number of west end theatres have made steps towards reopening: Nimax Theatres, which owns the Apollo, Duchess, Garrick, Lyric, Palace and Vaudeville theatres, is planning to welcome audiences back with a combination of some previously running shows, as well as some new stuff. The National Theatre is preparing the Olivier auditorium for some socially distanced in-the-round performances.

We are aware that many in the sector would like greater clarity on the potential transition to stage 5, given the planning that they need to do to remobilise and the lead-in time required for programming, casting and rehearsing. We have always said that, of course, further openings will depend on the public health context. We have a venue-steering group, including representatives from leading sector organisations, as well as Public Health England and other experts, to develop an action plan for maximising activity under stage 4 and for how we proceed to stage 5, which is the silver bullet—opening everything up. DCMS will continue to work with the sector to establish an appropriate pilot process for testing and return to stage 5 activity when appropriate, and we are working closely with the Department of Health and Social Care on its Moonshot project.

Many hon. Members have asked me about an insurance scheme. We are aware that there are many calls for something similar to the one that we have produced for film and TV production. Of course, Members must understand that there is a high bar for intervention in the insurance market. The film and TV restart scheme that we introduced worked because it was the absolute last barrier. We were 100% clear that access to insurance was the final remaining obstacle to them being able to reopen. We are looking at that for theatres, but to intervene, I need evidence that insurance is the only obstacle to opening the doors again. I am really grateful for the evidence that has been provided and am keen for Members and their constituents to keep it coming. I know that DCMS and Treasury colleagues are working closely together and are monitoring the situation in the sector.

We want to see full audiences return as soon as possible, but we have always been clear that moving to stage 5 will ultimately be determined by the public health context. We are working at pace with the sector on innovative proposals for how full audiences can return when it is safe to do so. I really hope that hon. Members across the House are reassured that my ministerial colleagues and I are absolutely dedicated to doing everything that we can to support this incredibly important sector, which not only makes a difference to people’s lives but, in some cases, saves lives. We are acutely aware of the harm that covid-19 has done across the whole of the country, and we understand its significance to the people and organisations who make up our globally recognised sectors.

I assure my hon. Friend the Member for Cities of London and Westminster and other hon. Members that we are doing everything that we can to help, so that when we emerge from the pandemic, our cultural organisations will once again be ready to welcome international tourists, visitors from across the UK and those who live and work here.