EU-UK Cultural Exchange Arrangements

Question

Asked by

To ask His Majesty’s Government what progress they have made in securing better cultural exchange arrangements between the creative sectors of the EU and the UK.

The Government recognise the importance of strong cultural exchange between the UK and the EU. On 24 March, the Minister for Creative Industries co-led the first UK-European Commission high-level meeting on culture, with Commissioner Glenn Micallef, building on commitments made at the inaugural UK-EU summit in May 2025 to deepen cultural exchange. We continue to work closely with European partners and industry, including through engagement with the Cultural Exchange Coalition, to support our creative sectors.

I thank my noble friend the Minister for her reply. The Brexit deal delivered complex, costly arrangements for touring artists, now made even worse by the recent introduction of digital passports, or carnets, for equipment. In a recent UK Music creators survey, 43% of those who previously toured the EU stated that it is no longer viable for them to do so—a hit to our growing economy and our soft power, repeated across other art forms. Can my noble friend reassure the House that, in keeping with the Government’s manifesto commitment to seek to resolve this issue, it remains a top priority in the current UK-EU reset negotiations, and update the House on what considerations Ministers are giving to stepping up now to help subsidise the cost of the equipment carnets, until a permanent solution is found?

As my noble friend Lord Hanson made clear, the creative industries are a key sector for this Government. Supporting touring artists is a government manifesto commitment and we deeply value and promote the importance of cultural exchange across Europe. We recognise, as I think my noble friend does, that this is a highly complex issue and we continue to work with our European partners to make progress on practical, mutually beneficial solutions. I can assure my noble friend that the department remains committed, as do the Government more widely, to securing improvements for our musicians and artists, and their support staff, working closely with the creative and cultural sectors as we do so.

My Lords, can the Minister give us some idea of what the Government have done about looking into the amount of red tape created by the Brexit deal and whether they have a strategy for cutting through? At the moment, we seem to be benefiting lawyers and administrators, and stopping everybody else doing their jobs.

I think your Lordships’ House will be clear from the previous times we have debated this issue that it is complex. We are working hard on continuing the reset of our relations with European partners. We are fully aware of this and talk regularly to both the creative sector and EU partners about some of the ways we can simplify things. We want to make sure that we have a strong creative sector and that we continue the exchange with the EU. I remind noble Lords that the EU accounted for 44% of UK services exports in the music, performing and visual arts sector, but this is something that we want to promote and encourage further.

My Lords, this matters economically and culturally. Scotland and the wider UK have an internationally respected music sector, but that reputation depends on the development pipeline. If the artist cannot tour, cannot earn and cannot reach audiences beyond their immediate locality, the sector will lose future headliners, future exports and future cultural ambassadors. Can the Minister give an indication of when these obstacles might be removed?

These are complex negotiations, but we will continue to engage with the EU and member states to explore solutions that improve mobility arrangements for touring across Europe. We welcome the constructive tone of recent UK-EU engagement on cultural mobility, including references in the EU visa strategy to practical flexibilities for touring professionals. We recognise that the 90-day and 180-day limits continue to pose a significant challenge for touring professionals working across multiple EU member states so, as well as working with individual states, we continue to work with partners at a more European-wide level.

My Lords, I hope I am not stepping on anyone’s toes but, to pick up the point that my noble friend Lady MacLeod just made, the focus of this discussion tends to be on touring. In fact, as my noble friend indicated, the lives of many musicians depend on their being able to take up employment in the EU—for example, in orchestras or opera companies—and 90 days is simply not enough to fulfil a contract which goes to build the reputations of those musicians and then, as my noble friend said, enhances the reputation of our creative industries overall. Can the Minister be clear about what efforts are being made to make it easier for people to take up contracts overseas, particularly in the EU?

As I mentioned in an earlier response, Minister Murray co-chaired the first UK-European Commission high-level meeting on culture. One priority for his work in this area is ensuring that, working closely with music and arts industry stakeholders, we engage with European counterparts to work through some of the clear obstacles that we would be keen to address in relation to our creative sector being able to access EU countries. The previous question on visas shows that we are actively looking at this, but there are issues that we need to work through.

My Lords, we all want to see better cultural exchange, not just with the 27 members of the EU but with 200 countries around the world. Issues of visas, cabotage and carnets are not restricted to the European Union. What work are the Government doing on the broader international stage to make it easier for artists, musicians and others to travel the world, not just to those countries immediately on our doorstep?

The UK has made a number of arrangements with non-EU countries that are possible because we have been outside the EU, as part of our work on that since Brexit, so there are opportunities for broader cultural exchange. One of the successes of this Government’s work on culture is in some of the delegations that have taken place to non-EU countries. There has been huge enthusiasm from our sectors here for that, but also from the countries to which UK delegations have travelled.

My Lords, I declare an interest as the chair of trustees of the Council for Dance, Drama and Musical Theatre. Following on from the noble Lord’s question, can my noble friend give a slightly wider view? What are we going to do to support Ukraine from a cultural perspective, after it has had so many years of dealing with a dreadful war?

My noble friend makes a valid and topical point, because in the past week there has been some publicity around some of the destruction wrought on Ukraine’s cultural landmarks. Recently, the UK and the European Commission each committed £250,000 to support cultural heritage protection in Ukraine, aimed at protecting and restoring Ukraine’s cultural landmarks. We have also discussed collaborating on the impact of artificial intelligence in the creative industries with Ukraine, facilitating international cultural collaboration and improving working conditions for creative and cultural professionals. I met the Ukrainian Culture Minister recently and discussed with her how we could work more closely to support them in their cultural recovery.

Why are the Government opposed to a full creative industries mobility scheme with the EU?

We are working through negotiations. I am not going to give a running commentary on negotiations from the Dispatch Box, not least as they are not ones that I am leading myself. We are continuing to engage constructively with EU member states. We are not looking, as I think we made clear in our manifesto, to re-enter a situation where we would have free movement. We committed to that in the manifesto. I am quite clear that in our manifesto we stood on clear red lines in relation to Europe, and those are ones that remain this Government’s policy.