Oral Answers to Questions

Debate between Caroline Dinenage and John Nicolson

Thursday 18th March 2021 Commons Chamber

[Caroline Dinenage]

Where appropriate, of course we can publish documents, but sometimes we have to have conversations behind closed doors, so that people can get off their chest how they are feeling and we can do our best to tackle it. We understand that there are a number of obstacles for our sectors at the moment, and the culture recovery fund has been fantastic at supporting them to keep going through this really difficult time. The hon. Lady will be delighted to know that her Richmond Park constituency has benefited to the tune of over £1 million from the culture recovery fund, which has supported so many incredible organisations, such as the Orange Tree theatre.

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

As if the Government’s refusal to underwrite live music insurance was not bad enough for the industry, the UK Government rejected a deal with the EU that would have allowed artists and their crews to tour without visas, as they did pre Brexit. At her recent Select Committee appearance, the Minister said that as far as she knew, no negotiations with individual states were taking place to resolve these arrangements, but she promised to strain “every sinew” to resolve this Brexit disaster. That was over a month ago. Have the Government finally engaged in bilateral talks over visa agreements for artists? If so, with which countries? What progress has been made? Artists are waiting to hear.

[Caroline Dinenage]

The hon. Gentleman knows that not all of what he said is 100% true. The Treasury has always said that it would look at indemnity if it was the only obstacle to events being able to take place, and in the current public health situation there is huge uncertainty, which is clearly another major obstacle. He also knows that we did not turn down an excellent visa option from the EU. He knows that the visa option that was on the table would not have permitted touring; it was just for ad hoc events and would not have supported all the support crews that necessarily go with a tour. With regard to international discussions, I met my colleagues in the Foreign, Commonwealth and Development Office only yesterday.

UK Musicians: EU Visa Arrangements

Debate between Caroline Dinenage and John Nicolson

Tuesday 19th January 2021 Commons Chamber

[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.

Oral Answers to Questions

Debate between Caroline Dinenage and John Nicolson

Thursday 5th November 2020 Commons Chamber

[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.

Oral Answers to Questions

Debate between Caroline Dinenage and John Nicolson

Thursday 24th September 2020 Commons Chamber

[Caroline Dinenage]

Creative Europe funds co-operation across cultural and audio-visual sectors, as the hon. Lady knows. The value of it is roughly £4 million a year. The Government decided that the UK would not continue to participate, but UK beneficiaries will continue to benefit from the programmes for the lifetime of their project, which in many cases runs beyond 2020. In the meantime, we are working in partnership with the devolved Administrations on domestic alternatives, which will be considered as part of the forthcoming spending review.

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

That was simply not good enough from the Minister. The preamble to the constitution of UNESCO states:

“since wars begin in the minds of men, it is in the minds of men that the defences of peace must be constructed”,

and that is the guiding principle of so many cross-border cultural initiatives such as Creative Europe. The decision to end our participation in the programme not only erects barriers to cultural exchange but sends a loud and clear message to our closest neighbours that Britain is closed for collaboration. With non-EU members such as Norway, Ukraine and even Tunisia participating, can the Minister explain the UK Government’s decision to withdraw from Creative Europe as anything other than narrow-minded Brexit isolationism?

[Caroline Dinenage]

I have already explained that we intend to find an alternative to the Creative Europe fund, which will be set out as part of the comprehensive spending review. I do not really like having lectures from the hon. Gentleman about what is “good enough”. This Government have worked round the clock with the sector to provide £1.57 billion of support in the form of a cultural recovery package, £97 million of which has gone to Scotland, and yet—guess what?—only £59 million of that has so far been announced for disposal. What have they done—trousered the rest of it?

Arts, Culture and Heritage: Support Package

Debate between Caroline Dinenage and John Nicolson

Tuesday 7th July 2020 Commons Chamber

[Madam Deputy Speaker (Dame Eleanor Laing)]

We now go to John Nicolson, who has one minute.

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

All of us are conscious of how tough these months have been for our galleries, museums, cinemas, theatres and live music venues. For too long, the UK Government left our creative communities to languish in uncertainty and accumulating debt. I regret that this help comes too late for organisations that have already gone under. That said, I welcome the announcement of a £1.57 billion lifeline after weeks of campaigning by the creative communities and my SNP colleagues. To date, however, the UK Government have shown no intention of supporting those not eligible for the self-employment income support scheme. If that is not addressed, we risk losing a generation who cannot afford to survive without income. Will the Minister clarify how much, if any, of this funding will go to self-employed workers in the creative industries who have slipped through the net? How will she ensure that these funds urgently reach the organisations that have been desperately pleading for help?

[Caroline Dinenage]

I am sure that the hon. Gentleman also meant to welcome the £57 million that will be going to Scotland via the Barnett formula but incidentally forgot to do so. He is right to mention freelancers who are not swept up in the self-employment income support scheme. We have been working tirelessly over recent weeks and months with the sector to understand what enables people to fall through the gap and what more we can do to support them. As a result of these grants and loans, organisations will be able to resume cultural activity, albeit in a socially distanced way, which will increase employment opportunity for freelancers—at the end of the day, that is what they want more than anything: to be able to get back to work. There is also £120 million of funding for capital projects, which will enable projects that have been paused to resume and all the different craftsmen and specialist heritage construction workers to be employed. This package complements the announcement made last week by the Arts Council that it will reopen its project grants competition and make £59 million of funding available to support creativity, in particular from freelancers. We must not forget that, of the £215 million that the Government have already pledged to this through the emergency support package, £160 million was from Arts Council England, of which £20 million has gone to individuals, including freelancers.