Contemporary Cultural Boycotts

“Discrimination against Jewish people has become normalised in the arts: it’s now simply part of doing business as a Jewish creative in modern Britain”.

The report notes something else that has changed. If boycotts were historically public, involving external bodies bullying arts organisations, today they have evolved into an internal, systemic dynamic within arts organisations. Sometimes, it is a leadership team more driven by ideological agendas than artistic excellence, but more often it is insidious, with weak management capitulating to staff complaints demanding that their well-being is protected from allegedly dangerous performers. Last year, comics Philip Simon’s show “Jew-O-Rama” and Rachel Creeger’s “Ultimate Jewish Mother” had their acts pulled at the last minute by a fringe venue. The reason? Staff at the venue complained of “feeling unsafe”. Apparently, a fictional comedic Jewish mother was a threat to employee safety.

The report is full of similar evidence of employees activating internal HR procedures to reframe political demands. There is an additional institutional vehicle used similarly, especially in publicly funded arts organisations, and that is values frameworks and equality, diversity and inclusion policies. I know that the Government can be a little defensive about the virtues of EDI, but I hope the Minister will examine the documentation of how EDI is being weaponised to demand the boycotting of certain artists. I note that in February, DCMS Minister Ian Murray MP, while stating the Government’s commitment to free speech, caveated it. He quoted the Secretary of State’s ambition not to stoke the culture wars, and stressed the need to protect people from hate speech. But does the Minister acknowledge that, in many institutions, the culture wars are stoked by EDI enthusiasts and that hate speech is often a euphemism for speech someone disagrees with? Arts organisations often state that their value statements are anti-hate to justify cancelling Zionist and gender-critical artists, for example.

In her moving and passionate speech at the report’s launch, acclaimed singer-songwriter Róisín Murphy, herself a victim of a high-profile vicious boycott after speaking her mind on puberty blockers, made an important, relevant point. She said:

“Public funding, meant to support excellence regardless of politics, has become an ideological points system …This isn’t patronage. It’s patronage with strings attached so tight they strangle the critical thinking it takes to invent anything”.

What can politicians and government do to help the arts escape this censorious stranglehold? While the Arts Council declined an invitation to attend the parliamentary launch of the report, it was notable that a couple of days later, after two Jewish men were murdered in Golders Green, the Prime Minister, Keir Starmer, used the opportunity to put pressure on the Arts Council. He said:

“Where public funding is being used to promote or platform antisemitism, the Arts Council must act, using its powers to suspend, withdraw and claw back funding”.

That is a positive sentiment, but I worry about cancelling the cancellers as a tactic. It perhaps also misses more subtle, silent boycotts, rather than the overt anti-Jewish abuse. Also, it does not note that a wider range of artists with dissenting views are now targeted.

For example, Scottish performance poet Jenny Lindsay, author of the aptly titled book Hounded, explains that after a tweet criticising a trans activist threatening violence against lesbians, she had seven months of private, quiet, bewildering cancellation, losing work without knowing why, unanswered emails, complaints to her publishers, messages saying we are frightened to book you. She notes, “It was clear people had got a memo: Jenny Lindsay’s a TERF”. But with no paper trails, no proof, just commissions swerved in case they cause grief, it can be especially isolating. The real loss is, “artwork that was never made and never seen”.

I therefore hope that the Minister will meet the authors of this report to discuss how the Government can help the sector adopt the report’s proposals to improve institutional capacity to resist this politicisation of programming and employment decisions that is discriminatory in terms of who gets to create, perform, exhibit and publish. Artistic judgments must be centre stage. Leadership from Ministers could include public support for boycotted artists, encouraging publicly funded arts organisations—indeed, the Arts Council—to adopt the Freedom in the Arts free speech charter.

To conclude, artistic creation needs freedom to challenge, explore, surprise and push boundaries. Otherwise, art created and programmed will be risk-averse, narrower, safer, samey, carefully calculated and curated not to offend. What a dreary tragedy. To quote Róisín Murphy again:

“Without that freedom, we don’t get better art, we simply put artists into a chokehold and suffocate the life out of our culture”.

The arts must breathe freely again. How can the Minister help them breathe freely again?.

The report raises important questions about the pressures that some cultural organisations face when making difficult decisions. Whether those pressures are widespread or more limited, it is right that we consider how institutions can be supported to respond with confidence, fairness and integrity. The true test of a cultural institution is not whether it avoids controversy but whether it has the confidence to navigate controversy fairly, openly and with integrity. I therefore ask my noble friend the Minister: what assessment have the Government made of whether publicly funded cultural institutions have the confidence and support that they need to uphold artistic freedom while fostering respectful dialogue and community cohesion? Are there examples of good practice that the Government believe should be shared more widely across the cultural sector?

Artistic freedom and the right to peaceful protest are not competing principles. We must ensure that our cultural institutions have the strength of leadership and the confidence to strike the right balance between protecting artistic freedom, respecting the right to peaceful protest and fostering dialogue and community cohesion.

The report’s emphasis on stronger institutional leadership is to be welcomed. Trustees and governing bodies should have the confidence to uphold freedom of expression even when doing so attracts criticism. Publicly funded cultural organisations have a particular responsibility to serve the whole public, not simply the loudest campaigners. The Government also have a role. The protections for freedom of expression in our law are important, but they must be accompanied by clear expectations that publicly funded institutions will defend artistic freedom consistently and transparently. Funding agreements should reinforce rather than undermine this principle.

This debate is not about shielding anyone from criticism. Artists should expect robust debate and peaceful protest. However, criticism is very different from organised efforts to prevent performances, exhibitions or collaborations from taking place at all. The answer to speech that we dislike is more speech, not enforced silence. Our cultural institutions have long been admired because they have welcomed excellence from every nation, every background and every viewpoint. We should not allow them to become places where ideological conformity replaces intellectual curiosity.

Freedom in the arts is not a luxury; it is one of the foundations of a confident, democratic and open society. If we fail to defend it now, we will be all the poorer not only culturally but civically. I commend the noble Baroness, Lady Fox, for raising the report and I commend the founders and supporters of Freedom in the Arts. I hope that the Government will give serious consideration to its recommendations, reaffirming that, in Britain, artistic freedom remains a principle worth defending.

Cultural boycotts have a long and unhappy history and they rarely open a conversation. More often, they close one down, narrowing perspectives and impoverishing the very culture they claim to defend. What has always made British culture strong is confidence: the confidence that ideas can be debated, that disagreement can be aired and that audiences can be trusted to make up their own minds. That confidence should not now be allowed to give way to fear.

I ask the Minister three things. Will the Government make clear to the Arts Council of England that informal exclusion of Jewish artists is antisemitism, not just discrimination? What support will the Government give publicly funded institutions to withstand pressure campaigns? Will the Government tie funding to proof that programming decisions are made on merit, not on fear? Our arts should be open to all. They should reward talent and defend freedom, and they should never become places where an artist has to conceal who he or she is to work.

I conclude with a tribute and a plea—a tribute to a British icon, my friend Maureen Lipman. A couple of weeks ago, I saw her perform brilliantly as “Allegra” in Windsor; it is opening tonight at the Harold Pinter Theatre, but activists have stood outside the theatre that she is playing with leaflets stating “Maureen Lipman supports genocide”. My plea to the Minister is this: is she aware of this, and is it right that Maureen, a proud Jew, has been forced to hire security guards because she is being targeted by anti-Israel activists?

Does the Minister accept that artistic freedom includes the right to hold lawful gender-critical beliefs, even when those beliefs are not popular and considered controversial today? If public bodies are under a statutory duty to uphold freedom of speech, how will the Government ensure that this duty is honoured in practice rather than being quietly abandoned in the face of organised campaigns?

“People felt that ACE was pursuing access to culture in an instrumentalist way and had lowered the priority given to the pursuit of artistic excellence. Art and excellence were sidelined”.

This is the problem. I contend that any artist who is happy to submit to the ruling orthodoxy and prevailing opinions, who finds excuses for squeezing out people who do not agree with him or her or who regards policing ideology as more important than their own creative work will in the end destroy themselves as artists. We can see that at work. As we look around Britain’s artistic scene today and compare it to, say, the efflorescence in the arts of post-war Britain in both visual and written form, we can be confident that, with a few exceptions, the past couple of decades will not be seen as a golden age in British arts. I contend that public conformism, internal bigotry and the driving out of contrary opinions are a big part of the reason why.

I finish by quoting Orwell, this time in Writers and Leviathan. He said:

“To yield subjectively … even to a group ideology, is to destroy yourself as a writer”.

That is true for any artist. It needs to be stopped, and I would like to know what the Government are going to do about it.

Then there are the human impacts. I will touch on just four, which are well covered in the report. First, works that do not fit the current template are not being put on, or, too often, they are being shut down. Secondly, people are being shut down for their beliefs, even where they have no particular connection with their work. Many of the gender-critical artists are suffering from that. Thirdly, people are suffering simply because of who they happen to be. Examples have been given of Israeli and Jewish artists and groups that are unable to perform. That is simply intolerable. The fourth group I draw attention to are the young of this country. The status quo is affecting so strongly how they are shaped, both in education and in the community. They quickly learn what the high-status beliefs and opinions are and what not to say or acknowledge. If they are not allowed to see anything that contradicts those beliefs and opinions or explores a fresh direction, their lives are stunted and distorted.

Too many people have ducked the difficult issues here. It is time for a great deal more openness and discussion about rebuilding true artistic freedom. This report gives a very good platform for that.