Kelvin Hopkins
Main Page: Kelvin Hopkins (Independent - Luton North)(10 years, 11 months ago)
Commons ChamberRead Full debate Read Hansard Text
Jonathan Reynolds
Absolutely. I am as delighted as my hon. Friend and, indeed, everyone in Greater Manchester is at this exciting development, which will ensure that this site, building and institution go from strength to strength.
Culture can attract people to an area—I know that, because as a shy, young 18- year-old, the crucial factor that led me to choose to study in Manchester over anywhere else was probably my deep love of the Stone Roses, and Manchester is also home, of course, to The Smiths, Oasis, Joy Division and New Order. I could go on, but I fear I would lose some of the more venerable Members of the House!
Kelvin Hopkins (Luton North) (Lab)
Would not my hon. Friend like to mention the Hallé orchestra as well?
Jonathan Reynolds
Absolutely, but I do not have time to mention all of Manchester’s cultural attractions and would probably get into substantial difficulty if I tried to fit them in.
According to research by YouGov, young people from other countries are substantially more likely to be interested in work and business opportunities in the UK if they have been exposed to British art or cultural activities in some way. Our culture reaches investors and overseas markets that our diplomats and trade envoys cannot, boosting trade and encouraging foreign investment.
There is an even greater example of Greater Manchester’s cultural wealth, which until yesterday seemed to be at risk of closure. I refer, of course, to our beloved Museum of Science and Industry—MOSI—and I echo the previous remarks about it. It is a huge, universally recognised success. With between 600,000 and 800,000 visitors each year and more than 100,000 school visitors, its popularity reflects its quality. Anyone who has never been there is losing out. It is a museum for anyone who is interested in our nation’s history—anyone fascinated by stories of the extraordinary people whose remarkable feats built the Britain we know today and forged a revolution that would shape the world. It is a place of learning, inspiration and pride in our city’s —and our nation’s—industrial revolutionary past.
My favourite section of the museum, the Cottonopolis exhibition, tells the story of the cotton industry. It contains many original pieces of equipment from the mills, but MOSI is not just about the past, as it is also about inspiration for the future. It inspires people to remember a time of invention and technological breakthrough and the tremendous social change that followed it—and, indeed, our response to it. Every recess, I take my daughter to MOSI, and I can see a spark of inspiration in her eyes. She loves it, and so do I, and the idea of closing it down is simply unconscionable. The soul of our city is wrapped up in that museum, so it is no surprise that 40,000 people have already signed a petition organised by the Manchester Evening News to save it from closure. I absolutely welcome what the Minister said yesterday, but for me there is still some uncertainty about those remarks. Will he specifically address the situation of the northern museums and assure us all that they are safe from closure?
Our cultural institutions are invaluable educational resources and powerful economic multipliers. We must not overlook the value of museums like MOSI in the difference they make to the education of our children and the inspiration they give to greatness. We must protect the cultural hubs in our regions—the museums, the galleries, the music venues—because they are the breeding grounds of the cultural icons who become global adverts for our country, its economy and the opportunities within it. They spark the imagination of our children, foster the talents of our creative people and capture the attention of the whole world. We must not allow those opportunities to wither on the vine.
Alex Cunningham
My hon. Friend is also an angel; I congratulate him and my hon. Friend the Member for Hartlepool (Mr Wright)—who personally constructed the angel, if we are to believe some of the stories that I have been hearing.
During the decade that followed the erection of the Angel of the North, some £350 million was invested in new and established arts venues, which saw the beginning of an under-recognised British success story. It has provided a major boost to the regional economy and resulted in the creation of not hundreds but thousands of jobs across the culture and tourism sectors. The result of that clever combination of investment and foresight is that the north-east, often one of Britain’s poorest and most deprived areas by many other measures, has established some of the finest creative arts infrastructure in the entire country.
We can boast of not only international attractions such as the Baltic Centre for Contemporary Art and the Sage Gateshead concert hall, both in the constituency of my hon. Friend the Member for Gateshead (Ian Mearns), but national and regional establishments such as the ARC in Stockton and the Middlesbrough Institute of Modern Art.
Kelvin Hopkins
I am not from the north-east myself, but it strikes me that this is being driven by many visionary Labour councillors in the area.
Alex Cunningham
That is very much the case, none more so than in the work of the leader of Gateshead metropolitan borough council.
A huge variety of other events and festivals grace our region every year, such as the Stockton international riverside festival, and we celebrate some of the largest-scale street festivals in the world. The Billingham international folklore festival, which also takes place in my constituency, will mark its 50th anniversary in 2014.
It is a colossal failure that the Government do not grasp the importance of the sector to the regions. They are missing an opportunity to integrate cultural programmes into the agendas of multiple Departments to safeguard the legacy that previous investment has produced. Culture and the arts not only enhance our lives and promote the ability to achieve our potential; they also support a creative sector that was forecast to grow by 31% by 2020. The additional cuts to the DCMS budget will therefore come at a huge cost, threatening to kill growth stone dead and denying many the opportunity to access the artistic and cultural experiences that shape individuals and help define communities.
The basis for the severity of the cuts is framed in a simple economic argument—that spending on the arts is difficult to justify—yet last week the Arts Council published independent economic analysis by the Centre for Economics and Business Research that found that the sector currently makes up 0.4% of GDP compared with just 0.1% of investment. For every pound of subsidy provided to the arts and culture industry, the sector returned a £7 contribution to GDP. That is a higher return than that from the health and wholesale and retail industries, and it blows the economic viability argument out of the water.
Stockton, at the heart of my constituency, is renowned for delivering a host of arts and culture events with great success. Audiences at events such as the riverside festival and the Stockton Weekender continue to grow year on year. The riverside festival—which this year features “Prometheus Awakes”, a model that is almost as high as this Chamber, and various other performances by local, national and international participants—was central to bringing the Cultural Olympiad to the north-east. Some 80,000 people flocked to the town to experience the events.
It is important, however, to see beyond the obvious economic benefits. The impact of the sector can be seen in many ways, not least in the increased involvement in the arts. ARC arts centre in my constituency is a case in point. Since opening 13 years ago, ARC has developed into a flagship, multi-purpose cultural venue, hosting hundreds of events a year, from music and dance to theatre, film and comedy. As a direct result, engagement has increased substantially. ARC hosted 230 professional performances, as well as 80 community performances, last year alone and this attracted more than 100,000 visitors. It is of real benefit to our economy.
Similarly, more than 100 artists are employed to provide 1,000 creative learning opportunities, enjoyed by more than 14,000 people. That has provided professional development and training opportunities for more than 200 artists and practitioners. With evidence showing that emerging partnering between creative industries and schools has the potential to improve the productivity and learning and earning potential of young people, our future would be markedly bleaker without proper access to the arts.
Just across the River Tees, at the Middlesbrough Institute of Modern Art, 18,000 people took part in formal and informal programmes last year, and it delivered a series of creative workshops in conjunction with Teesside university occupational therapy students for dementia patients and their carers. That highlights perfectly the level of innovation that the creative industries can generate, ensuring significant benefits and stronger communities.
To hammer home the case for Stockton and everywhere else, and in case naysayers have any doubt, recent figures suggest that ARC now generates about £4.5 million annually for Stockton’s local economy. If that does not signify value added—both socially and culturally, as well as economically—I do not know what does.
The arts are a valuable commodity—this much is true. Their real value, however, lies in the wealth of other benefits that they bring. Support for our creative industries is key to encouraging and nurturing the talents and appreciation that were unearthed only relatively recently. Slashing funding to the Arts Council and local government while sidelining creative education is not the way to do that.
Kelvin Hopkins (Luton North) (Lab)
I am grateful for the opportunity to speak briefly. As a former member of the Musicians Union and a current member of the board of the National Youth Jazz Orchestra, I will speak primarily for music, musicians and the wonderful music culture we have in Britain.
We are undoubtedly the leading nation in Europe when it comes to popular music, jazz and, I would argue, classical music, but that culture is in danger from cuts. Music is sustained by the Arts Council, but also by local authorities. The local authority in Luton sustains the Luton music service, an absolutely wonderful service that provides opportunities for literally hundreds and possibly thousands of working-class youngsters who would never have the opportunity to play or learn an instrument if it was not for the support of the local authority.
There is a class component in all this, because middle-class youngsters have their instruments bought for them by their parents and professional lessons paid for by their parents, but working-class kids need the support of local authorities. Local authority support for music is fundamental to sustaining, for the foreseeable future, the wonderful musical culture of which we are rightly proud. Luton is a prime example of what we do well. I want that to continue, which means that we must sustain local authority support and resist cuts to local authority music.