Creative Education

Jessica Toale Excerpts

Tuesday 9th December 2025 Westminster Hall

[Jessica Toale (Bournemouth West) (Lab)]

SoundStorm is a multi-award winning lead partner in the music hub in my constituency. It has helped more than half a million young people since being founded in 2002, but like any publicly funded body, it is worried about future funding, so I welcome the Education Secretary’s commitment to working through music hubs. Does my hon. Friend agree that we must continue to support music hubs in their work to teach teachers and get music into schools, so that kids at all ages can have a great music education?

[Dr Opher]

My hon. Friend has made exactly the point I was coming to about the role of music hubs. There are 43 music hubs in the UK, delivering something like half a million lessons and interventions up and down the country. Their reach is incredible, taking in about 90% of schools, although there is an issue in that they sometimes charge for their lessons, which I shall come back to.

I welcome the upcoming launch of a new national centre for arts and music education, to support the delivery of high-quality arts education in schools and ensure that high-quality arts education is open to all. I would welcome further information from the Minister on the plans for that establishment.

Creativity in education does not just mean musical or visual arts. Recently, I met Tash Alexander, the inspirational director of Head Held High, which ran a comedy and performance workshop for teenage students in London schools; I also met one of the graduates, Ro. What really struck me about the programme is the way it uses creative expression to build confidence, especially among children who do not always thrive in more traditional learning environments. One aspect of creativity and the arts is that they often really suit people who do not get on very well at school. They are made to feel a failure, whereas actually they can make fantastic artworks or music. We must give them that opportunity. That is the real power of a creative education—it reaches young people differently and gives them a space to discover who they are. Despite Tash’s excellent work over the last 12 years, funding is a challenge all the time. I urge the Department for Education to meet her and discuss how we can continue to fund that programme.

One of the main barriers to creativity in education is that teachers are not qualified or do not have experience of teaching the creative arts. The less creativity there is at a school, the less likely the teachers are capable of teaching it. One third of school leaders cannot find specialist teachers, for example, so big national organisations may have a role to play in taking them under their wing, showing them how to teach and giving them the confidence to teach. That is one big problem.

Another problem is cost. Half of all parents cannot afford extracurricular arts activities. As a result, children’s creative futures are increasingly dictated by family income, not by talent or passion. It is already mandatory that looked-after children are provided with free musical instruments. Should that be extended to those on free school meals? Could we use the pupil premium for music lessons? Libraries can lend instruments easily and musical hubs provide the organisational ability to spread teaching through a school.

Groups such as the Ed Sheeran Foundation and the Nicola Benedetti Foundation are supporting music education, and we could perhaps use them more, particularly with less advantaged children. Creativity should never be a postcode lottery. It should not be a luxury for families who can afford instruments, lessons, dance shoes or even theatre trips. If we are serious about tackling inequality, we must rebuild creative opportunities into the heart of every child’s school experience.