Supporting UK Artists and Culture

I beg to move,

That this House has considered the matter of supporting UK artists and culture.

It is a huge pleasure to serve under your chairmanship, Mr Hollobone. The UK is an international cultural powerhouse. Our arts and creative industries have the capacity to regenerate communities and to drive global exports, and to put a boot up the backside of our stagnant economy, but it feels like we have not always supported or nurtured our world-leading creative talent as we should as a country, or understood our arts and culture as the golden economic goose that it is.

Just look at what the sector currently contributes to the UK. Our creative industries employ 2.1 million people and contribute £116 billion to our economy each year. UK exports were worth more than £37.9 billion in 2019—12% of total UK service exports. The creative industries also help shape the UK’s image around the world. British musicians, artists, writers and actors command a global audience, while many of our cultural beacons draw millions of visitors into the UK. As soft power goes, there is simply nothing like it. That is why we must never underestimate the potential of our arts and culture, and the vital role of its people, the creators and performers, who underpin this success story.

Globally, some modern emerging economies really get this. South Korea’s creative industries have taken the world by storm, with K-pop and drama, from “Parasite” to “Squid Game”, at the forefront. What makes that even more remarkable is the fact that the language is barely spoken outside of Korea. Just as South Korea implemented industrial policy for the export of electronics, cars and chemicals, it applied a policy approach to develop its creative industries. In less than a generation, South Korea transformed from being effectively a third-world country to an industrial powerhouse and the world’s seventh largest cultural player, with its creative cultural sector making nearly $11 billion in exports and supporting 700,000 jobs last year.

Meanwhile, dedicated music or creative industry export hubs have been springing up in countries across Europe, funded by Governments and industry keen to ride the wave of this growing market. At a time when worldwide recorded music trade revenues are set to double by 2030, British music exports could increase to more than £1 billion by the end of the decade. That will require a supportive policy environment that maximises UK export potential against a backdrop of intensifying global competition.

Funds such as the music export growth scheme will be crucial, but we also need a hardcore strategy to underpin this. What do the Government have in mind? Could they look again at the idea of dedicated British music or creative industry export hubs to drive this forward, because at the moment the support is simply not good enough? A creative industries trade and investment board website has had only three posts in the past 12 months, and the Creative Industries Council has just one upcoming event over the next 12 months advertised on its website.

By its very definition, this is an innovative and agile sector. That was demonstrated during the pandemic in how some organisations swiftly pivoted to using digital to ensure that the band played on. One example is the Bournemouth Symphony Orchestra, which responded to the first national lockdown in 2020 with an exclusive series of live concerts streamed online. During the first six months of this series, it increased its audience by almost 30%, with 65,000 views by audiences around the world. We have digital innovation to thank for that.

Digital has completely transformed how people consume culture and driven appetites for cultural works. A recent survey showed that 81% of people think that accessing cultural works through a digital device is important to their daily lives. Despite this shift, there has not been a corresponding benefit to artists, many of whom operate as creative freelancers. That is why more than three quarters of survey respondents support the Government considering new ideas and initiatives to sustain the UK’s creative industries.

The public understand and value our culture and our creative talent. They also see the huge difference that culture can make in their local neighbourhoods. Funding the arts delivers investment in left-behind communities and aids economic regeneration. There are no two ways about it. There is evidence right across the country. For example, in Margate, thanks to the legacy of local artists such as Tracey Emin, the Turner Contemporary opened in 2011 and has contributed more than £70 million to the local economy in the last decade. This week, I will be really pleased to attend the reopening of Gosport Gallery, part of Hampshire Cultural Trust. That was a massive regeneration project funded by high street heritage action zones. We thank the Government so much for that investment, because it is breathing new life into our beleaguered high streets.

There is no doubt that the Government recognise how arts and culture can be a significant driver of levelling up, and I welcome the recognition that redistributing some of the national Arts Council spend away from London to the regions is a way to achieve that. However, I am going to urge a little bit of caution on the Minister: it needs to be done in a way that supports investments in projects and organisations that can genuinely start a snowball of growth, not as a tick-box exercise and certainly not as tokenism.

Much as I would love to see English National Opera relocate to Gosport, under the current proposals the out-of-London version will receive significantly less funding than its current form, so it will have to stop funding projects like ENO Breathe, its game-changing response to long covid. That has been operating in 85 NHS trusts across the country, including my own. The current proposal risks the work that the ENO has been doing with schools across the country, and it could stop it being able to offer free or discounted tickets to a younger audience. That work means that one in seven of its attendees is now under the age of 35. In fact, it risks the organisation becoming the opposite of what we want and the opposite of what it is—it risks it becoming an elite organisation for those who can afford to pay £300 for a ticket, albeit one outside London.

I am very pleased to rise under your chairship, Mr Hollobone. I congratulate the hon. Member for Gosport (Dame Caroline Dinenage) on having secured this debate. I should declare an interest, in that I chair Theatre Royal Stratford East, in London. I wanted to come in on the issue of English National Opera and the cut that will mean the closure of an absolutely unique facility in London. Does the hon. Lady agree that one cannot level up by destroying excellence? We have to embrace excellence and ensure that it is enjoyed throughout the country.

Will the hon. Lady also join me in congratulating the ENO on partnering with Theatre Royal Stratford East to put on a production of “Noye’s Fludde” by Britten? We engaged a lot of young children from east London, who need as much levelling up as those elsewhere in the country, and we managed to secure out of that an Olivier award.

The right hon. Lady makes an excellent point. The ENO has been groundbreaking in the way it has appealed to younger audiences and reached out in partnerships. It has done TikTok videos seen by hundreds of thousands of people. It has even done beatboxing in a car park. It has done virtually more than anybody to bring opera, which is often regarded as a bit of an elitist art form, to the masses and to a newer, younger audience. It will be a disaster if such organisations —not just the ENO—lose that unique identifying factor in the move. I have nothing against driving investment outside London, but we have to do that in a careful way and not as some form of crazy tokenism. I therefore ask the Minister to look again at giving the ENO more time and more resources to deliver the appropriate change and to continue its excellent work.

We also have to face the fact that we cannot rely exclusively on public funds to support the creative industries; we need new ideas. Funding and income streams across the UK remain a massively pressing issue—the Minister will know this—with most creators and performers earning less than the minimum wage. A strong copyright framework is a key element. Freelance creators and performers rely on royalties from the use of their copyright-protected works in order to earn a living, but they are currently not receiving fair remuneration when their works are copied, stored and shared digitally. I therefore ask the Minister to look at the Smart fund proposal to address that. It is suggested that in the UK it could raise up to £300 million a year for creators, performers and communities. Similar schemes already operate in 45 other countries, generating almost £1 billion a year globally. They do so by diverting a small percentage of the sales of electronic devices, which copy, store and share creative content, into a fund that is paid out to creators and local community projects, with a focus on digital creativity and skills.

The benefit of such a scheme is huge for creators. In France alone, it raised over £250 million in 2021, supporting artists and funding almost 12,000 cultural activities a year. Most importantly, there is simply no evidence that when tariffs change, device prices change, too. The potential for something similar for communities in this country is huge, and I ask the Minister to look at it. It is also supported by the Design and Artists Copyright Society, the British Equity Collecting Society, Directors UK, and the Authors’ Licensing and Collecting Society, which represent over 330,000 creative workers between them. Will the Minister meet representatives of the creative organisations that support the Smart fund to discuss this issue?

The debate can last until 5.30 pm. I am obliged to call the Front-Bench spokespersons at no later than 5.7 pm, and the guideline limits are five minutes for the Scottish National party, five minutes for His Majesty’s Opposition and 10 minutes for the Minister. Dame Caroline will then have three minutes to sum up at the end.

Six Members are seeking to contribute. To get everybody in, we will have to have a time limit of four minutes. I gently remind right hon. and hon. Members that if you wish to speak in Westminster Hall, you are meant to write to Mr Speaker in advance, but I will endeavour to get everybody in. The first speaker will be the House’s most distinguished musician, Kevin Brennan.

Thank you, Mr Hollobone. I was not expecting that and I am not sure that it is true, either, but I am a member of the Musicians’ Union, as you know. I declare that as an interest, as well as my membership of PRS for Music, Phonographic Performance Ltd and various other bodies. I occasionally receive some payment for that work.

I thank the hon. Member for Gosport (Dame Caroline Dinenage) for securing the debate. The Minister should listen to what she said, because she knows what she is talking about. She was a distinguished Minister until she was cast aside brutally, as happens in this place as soon as somebody shows some gumption and knowledge of a subject. Her expertise should therefore be of great value to the Minister, who should listen to everything she said. I agree with pretty much everything she said—I hope she is not too worried by that.

Obviously, I am the Member of Parliament for Cardiff West, and the creative industries and arts are extremely important to the city of Cardiff’s culture, but also to its economy. I want to briefly mention five things in the four minutes that I have. First, the “Let the Music Move” report was issued earlier this year by the all-party parliamentary group on music. I sent a copy to the Secretary of State and asked for her response, and I also asked my office to contact her private office. I have still not received a response, but I hope that she has read the report and that the Minister will read it—I am happy to give him a copy. It sets out how we can try to solve the issue of musicians touring in Europe, accepting that we have gone through Brexit, which is not the issue here. This is not about immigration, but about ensuring that our great creative industries can flourish. I hope that the Minister will read the report, and that the Secretary of State has read it and will write back to me soon with her response to my letter. If it has not been received, her office can let my office know and I will send another copy.

It is a pleasure to serve under your chairmanship, Mr Hollobone. I congratulate my hon. Friend the Member for Gosport (Dame Caroline Dinenage) on securing this debate. I agree with and endorse absolutely everything that she has said. I will concentrate on English National Opera. I declare my interest as chair of the APPG on opera.

Make no mistake: what the Arts Council is proposing is not the relocation of English National Opera, but the killing of English National Opera. It is, effectively, closure. It has acted in a peremptory manner, with no consultation and a most questionable evidence base. The extraordinary suggestion by its director of music, of all people, that there was no growth in grand opera in the UK has been flatly contradicted by people such as David Buchler, a former member of the ENO board, who set out why that is a false analysis in Opera Now magazine. The chairman of the Arts Council praised the leadership of the ENO—under its chair, Dr Harry Brünjes, and its chief executive officer, Stuart Murphy, who is here today—as being outstanding. But their reward is to be kicked in the proverbial, because, at the end of the day, it was proposed on very short notice, with no consultation whatever, that the company should be required, having lost a third of its income, to move to an unspecified venue. Manchester was floated as a venue, but nobody in Manchester was consulted. The venue in Manchester was never looked at. In fact, it is not suitable for unamplified performance, so opera simply cannot be done there. The Mayor of Manchester knew nothing of it; Opera North, which already operates in Manchester, knew nothing of it. It is wholly unfeasible.

It is impossible to relocate an opera company over three years. When Birmingham Royal Ballet was moved from London to Birmingham, it took five years. It is impossible to anything in less. In any event, moving English National Opera out of London would mean the chorus, orchestra and technicians being made redundant. Three hundred skilled, world-admired people would lose their jobs in London, with no hope of replacing them in the provinces.

I apologise for not giving you advance notice that I wanted to speak, Mr Hollobone. I thank the hon. Member for Gosport (Dame Caroline Dinenage) for securing the debate and I join my hon. Friend the Member for Cardiff West (Kevin Brennan) in paying warm tribute to the work she did as arts Minister. She is on the Back Benches at the moment, but I am sure she will be on the Front Benches again. In the meantime, she is doing very good work, so I pay warm tribute to her.

With everybody incredibly anxious about what is going to happen to energy bills, with food prices soaring and with the NHS and public services struggling, it might seem an odd time to be raising the issue of funding for the arts, but it is absolutely right for us to do so. As well as helping drive our economy, as the hon. Member for Gosport said, our culture and arts are central to how we define ourselves individually and as a nation.

We must not allow public policy to drive the cultural impoverishment of this country, but unless the Government step in to stop that or the Arts Council can be persuaded to think again, that is exactly what is going to happen with the closure of the English National Opera at the Coliseum. We cannot stand by while the ENO, which is artistically excellent, economically vital and culturally important, is closed and, with that, see the end of the social engagement and widening access that is central to the ENO’s mission.

The Arts Council has removed all funding from the ENO at the Coliseum, meaning that, as the hon. Member for Bromley and Chislehurst (Sir Robert Neill) rightly said, 300 skilled artists, dedicated professionals and other employees will be thrown out of work. The Arts Council spin was that the ENO was to be relocated as part of levelling up. The Guardian said that the ENO

“is to relocate outside London”

It is a pleasure to serve under your chairmanship, Mr Hollobone. I thank my hon. Friend the Member for Gosport (Dame Caroline Dinenage) for securing this important and timely debate.

I am incredibly proud of the vibrant arts and culture offer of my constituency, from the west end’s theatreland to iconic live music venues such as Ronnie Scott’s, the 100 Club or Heaven, as well as the Barbican centre, the Royal Albert Hall, the Royal Opera House and the London Coliseum. According to the Office for National Statistics, 8% of arts and culture businesses are based in the Cities of London and Westminster—over 2,500 businesses. In the time I have, I will pay particular attention to how we can support arts and culture through an incredibly difficult time.

When we look at how we can best support the future of the sector, forward planning is key, especially post covid. Its importance has been made clear to me throughout covid and more recently, during the ongoing decisions on the future of the English National Opera, which is based in my constituency. It is good to see the ENO’s chief executive, Stuart Murphy, in the Public Gallery.

Does the hon. Lady agree that there is a real misunderstanding about how much money is invested in the arts in London? That investment is brilliant, but there is a misunderstanding about it. First, it includes national institutions such as the British Museum, which should not be included. Secondly, the audience for London entertainment comes from the south-east, and the south-east gets hardly any money from Arts Council England. If one were to incorporate the two, one would see that the funding per capita in London is equivalent to the funding per capita in the rest of the country.

I thank the right hon. Member for her very salient point. Given the funding, or lack of it, from Arts Council England, the future of the ENO is dependent on two factors. The key driver is to move out from its current location at the London Coliseum. The debate on cuts to funding could be a standalone issue, so I will not stray into its complexities right now. I will take that up when I discuss ENO funding with Arts Council England this week.

Right now, what I hear is that one of the major issues the ENO faces is not necessarily a prospective move, but the tightening of timescales and a lack of due consultation. My hon. Friend the Member for Bromley and Chislehurst (Sir Robert Neill) mentioned the lack of consultation with the ENO. In fact, Arts Council England expects 20 weeks, between now and April, to be enough for the ENO to start making decisions about its future.

Although I appreciate that a funding decision must be made, moving the ENO in its entirety is a big misstep. As we have heard, it will take five years at least. Is Manchester the right place? I personally want consideration to be given to the model used by the Royal Shakespeare Company, which has a base in the Barbican centre and in Stratford-upon-Avon. That works well: it keeps the London offer, but goes out into the provinces. I cannot see why Arts Council England should not work with the ENO to discuss that type of move, which would keep the London Coliseum alive while perhaps not moving the ENO up north. We have a brilliant Opera North organisation. What about the west country? What about Bristol, Exeter or Plymouth? Those areas need levelling up. Why cannot Arts Council England work with Stuart Murphy and his team to give proper consideration to that?

Will the hon. Lady give way?

Order. I have to protect the time for the two remaining speakers who are seeking to contribute. The hon. Gentleman can seek an intervention if he wishes, but doing so would reduce the time for the last two speakers.

I was just pointing out that the Welsh National Opera does Bristol.

I thank the hon. Gentleman for pointing that out—maybe Exeter and Plymouth, then.

Let me move on to another very important point: the economic drivers that culture brings to areas such as central London. Central London is the powerhouse of the economy and that is because of the hospitality, leisure and culture sectors working together. For every £1 spent in theatres, £5 is spent in the wider local economy. That is tens of thousands—if not hundreds of thousands—of jobs. That is not just in London, but across every major city that has theatres. We have the pantomime season coming up now—oh yes we have! I used to go to the pantomime in Cardiff with my grandparents every year; the local economy really does depend on families going to the theatre and having a meal before or afterwards.

In the very short time I have left, I pay tribute to my hon. Friend the Member for Gosport for securing this debate but also for her outstanding work as a Minister. During covid, the arts and culture sector was on its knees; there were worries. I had calls every day during lockdown from really major players in the culture sector who were worried about whether they would ever open their doors again. I pay tribute to my hon. Friend for working with me to secure the £1.5 billion culture recovery fund. I know that she played a huge part in that; it made a difference not just to my arts and culture sector in central London, but across the country.

I end by saying that we face a very difficult economic time, but we cannot lose sight of the contribution that artists, the arts and culture play in our country—from not just an economic, but a health and wellbeing point of view. I hope we can keep securing all that and that we can save the ENO.