Creative Education

Tuesday 9th December 2025 Westminster Hall

16:09

[Graham Stuart (in the Chair)]

I remind hon. Members that they may only make a speech with prior permission from the Member in charge of the debate and the Minister. There will not be an opportunity for the Member in charge to wind up, as is the convention for 30-minute debates.

[Dr Simon Opher (Stroud) (Lab)]

I beg to move,

That this House has considered creative education in schools.

It is a pleasure to serve under your chairmanship, Mr Stuart. I welcome the Government’s curriculum and assessment review, which recognises the need for a broad and balanced curriculum and recommends the removal of the English baccalaureate, allowing greater space for arts subjects. At present, far too many children do not have access to these opportunities. Research from the Arts and Minds Campaign reveals that participation in arts subjects at GCSE has fallen by 42% since 2010, even though 90% of young people want to study a creative subject. The decline is sharpest in the most disadvantaged communities. School leaders in socially deprived areas are almost 50% more likely to report being unable to find specialist arts teachers, and one in four schools does not have the funding to run creative GCSEs at all.

[Tim Farron (Westmorland and Lonsdale) (LD)]

I am grateful to the hon. Gentleman for giving way and sorry to intervene so early in the debate. I want to make a point about outdoor education, which is also about enrichment and helping young people to be resilient and to have better outcomes. Is he aware that among state schools in wealthier postcodes, 52% of young people get an outdoor education residential opportunity while at school, while in the poorer areas, only 18% have this opportunity? Does he think that the Government need to be aware of this and fund access to outdoor education experiences for children, wherever they are from?

[Dr Opher]

I totally agree. In fact, there is evidence that creativity outside is even more effective for people than inside. This is clearly about access to natural spaces.

I am chair of the all-party parliamentary group on creative health. There is really strong evidence that creativity reduces mental health problems in children.

[Jim Shannon (Strangford) (DUP)]

I commend the hon. Gentleman for bringing forward this debate; he is right to do so. Creative education is so important. Creative education will give thousands of children the opportunity to thrive, and will be the tool that gets them the careers for the future. Those children who have special educational needs must have additional opportunities so they are not left behind, and must have the opportunity also to succeed. Does he agree that helping those people who are less well-off educationally and at a disadvantage is important, and that the opportunity is here, in the creative industries, to do the best for them?

[Dr Opher]

It is interesting that creativity is particularly important for children with special educational needs. Indeed, there is some evidence that including creativity can actually make them attend school on a more regular basis.

I have visited loads of schools in Stroud over the last 18 months, and one common theme has been the rise in mental health problems in young people, who are under countless assessments and the pressure of living in a 24/7 social media world. I do feel that this is pushing a lot of children to the brink, and that creativity may be a way of repairing that. One in five young children has a probable mental health condition, and this figure is rising every year. As a GP, I have been using art to treat mental health in children and adults for about 26 years, quite often with really spectacular results. The lack of art subjects has contributed to this pandemic of mental health problems. The Southbank Centre just across the river is doing a project as we speak around introducing creativity to children who are on the child and adolescent mental health services waiting lists. It will be quite exciting to see whether that can make them better as well.

[Matt Rodda (Reading Central) (Lab)]

My hon. Friend is making an excellent speech. Does he agree that the role of community-based arts organisations is central to supporting our schools? I hope he will also support my campaign to turn Reading Gaol into an arts and heritage hub, which, one day, in showing the possibilities of an arts-based education, may be able to support local schools across the Reading area.

[Dr Opher]

I know that my hon. Friend is incredibly supportive of the developments in Reading. I commend him on that.

Because I am a scientist, I thought I could provide some reasoning on why the creative arts can help. They help on three different fronts. Biologically, they can influence physiological symptoms of anxiety—they reduce anxiety. Psychologically, they can improve self-expression, confidence and, probably most important, self-esteem. That is because often when we do a creative thing, we feel that it came out a little bit better than we anticipated. It is the same for children. There is good, strong evidence that the creative arts build self-esteem in children, and in social terms, they build connections and a sense of belonging.

I want the Minister to join me in a campaign to make teaching children how to play musical instruments available in every primary school. I shall talk a little bit more about music. In Stroud, schools such as Bussage primary school are leading the way by making sure that every key stage 2 child has exposure to musical education. Last week, we had a roundtable in the House of Lords with a group called Rocksteady, which takes rock music into local schools. I was really impressed by what I heard. Not only were the effects of the group’s work really impressive, but there was a measurable reduction in pupil absence rates. It had an effect on the whole school, and made everyone feel better.

In Gloucester, we have the Music Works, where quite deprived children can learn how to DJ, to play the drums or guitar, or to sing. That has been transformative for many children. There are other examples, such as the fantastic Big Noise in Scotland. Some big organisations, including the Royal Liverpool Philharmonic, the English National Opera and the Royal Opera House have big programmes that reach into schools. There is some evidence that they can teach the teachers, which is one of the problems I will explore.

[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.

[Anna Gelderd (South East Cornwall) (Lab)]

I thank my hon. Friend for securing this important debate. Every child deserves a broad curriculum that values creative subjects alongside the core skills, but financial education from an early age is also vital. In communities in rural coastal settings such as mine, we face specific barriers to allowing children to access these important subjects. Does my hon. Friend agree that we need to examine the barriers and include these subjects as part of our offer to children across the whole of the UK?

[Dr Opher]

That is very true, and it comes back to the capabilities and confidence of the teachers, particularly in smaller schools. My children all went to smaller schools and they were lucky to have an inspirational music leader, but not every school has one. We can go further; we could have a world-class curriculum, but it cannot be world-class if we sideline the arts. All schools need the resources, staffing and flexibility to deliver meaningful creative education. I believe that the curriculum review provides that flexibility.

To finish off, I have requests of the Minister. I would like the Government to consider funding free music lessons for all less well-off children, and teacher training in the arts for all teachers. I would like them to expand the arts in the curriculum and offer all children in primary schools musical instrument teaching by the end of this Parliament. For the sake of our young people’s wellbeing and our future creative industries, we must restore creativity to its rightful place in our schools.

16:23

[Shockat Adam (Leicester South) (Ind)]

It is a pleasure to serve under your chairship, Mr Stuart. I thank the hon. Member for Stroud (Dr Opher) for allowing me to say a few words in this important debate. I will keep my comments brief.

Art is intrinsic to humankind, whether it was our forefathers painting in caves or, as stated in the United Nations article 31, a child’s right to participate freely in cultural life and the arts. We are all born hardwired with the capacity to enjoy, love and learn via art and creativity. I firmly believe that talent is everywhere, but unfortunately opportunity is not.

In my Leicester South constituency, De Montfort University is undertaking a 25-year study called Talent 25, tracking the impact of arts, culture and creative activity on young children’s development, including their educational outcomes. The programme offers babies aged three to 12 months free workshops in music, storytelling, messy play and creative activities. Their five-year interim findings are positive, demonstrating how participation in the arts has helped those children to build strong relationships and improve their mental resilience. It also helped to develop coping mechanisms during covid, which is when the study started.

The Education Endowment Foundation shows that participation in the arts at school has a positive impact on other academic outcomes. Music helps to improve children’s mathematical skills, drama helps children with their English literacy. and participation in structured arts activities increases cognitive ability.

We live in polarising times. If children can experience other people’s art and culture from a young age, it will foster harmony and resilience against the many who wish to divide us along ethnic lines. For example, spreading greater understanding of black stories through arts and culture could have avoided a lot of ignorance surrounding the Windrush scandal abomination; Opal22 Arts in my constituency is doing that excellently. An understanding of Islamic art—its architecture, calligraphy and poetry—would help different cultures in our great nation to understand that we have much more in common than dividing us.

Sadly, as the. Member for Stroud pointed out, research has shown that children living in poverty are even less likely to have access to arts education, meaning that the kids in greatest need of the enrichment and hope given by the arts are the least likely to receive it. That increases the divide between the richest and the poorest in our society. In 2016, the right hon. Member for Islington North (Jeremy Corbyn) brought forward a Labour manifesto that would have invested £160 million in arts education via an arts pupil premium. I urge the Government to do the same, because when we invest in our future generations, we not only ensure that they are fully furnished with the skills needed to live harmoniously in society, but build their confidence and wellbeing.

16:25

[The Parliamentary Under-Secretary of State for Education (Olivia Bailey)]

It is a pleasure to serve under your chairship, Mr Stuart.

I am hugely grateful to my hon. Friend the Member for Stroud (Dr Opher) for opening this valuable debate on creative education and for his thoughtful suggestions and campaign work. I also thank other colleagues for their contributions, which have included interesting comments about outdoor education and the importance of community-based arts organisations. I commend my hon. Friend the Member for Reading Central (Matt Rodda) for his campaign work on Reading Gaol, and my hon. Friend the Member for Stroud for his campaign on musical instruments. The Government have invested £25 million in the last year on funding for musical instruments, and I will say more on that later. Finally, the hon. Member for Leicester South (Shockat Adam) reminded us of the benefits of the arts to the wider curriculum.

My hon. Friend the Member for Stroud is a great advocate for creative education, especially music. I understand that he is a keen flautist. I attempted to play the violin and viola at school, but I suspect that the joys of playing music were felt only by me, and not by anyone forced to endure my performances. None the less, music education gave me, like so many children and young people, a chance to build confidence, make friends and explore my creativity—although I would rather forget my rockstar phase, even if I maintain that Standard Deviation was a great name for a band.

The Government are clear: high-quality arts education must not be the preserve of the privileged few. Arts subjects are important pillars of the rounded and enriching education that every child deserves. As my hon. Friend highlighted, creative education also benefits children’s wellbeing.

[Jess Brown-Fuller (Chichester) (LD)]

Will the Minister give way?

[Olivia Bailey]

Very briefly. I cannot take too many interventions because I am short on time.

[Jess Brown-Fuller]

Does the Minister agree that a creative arts education opens up multiple opportunities and careers for young people that do not necessarily involve being on a stage or creating music? The creative industries need intelligent engineers to make the lights and sound work, so a creative education can open many doors to exciting careers in the creative industries.

[Olivia Bailey]

I agree entirely with the hon. Lady. The creative industries unlock so many skills for the wider economy.

My hon. Friend the Member for Stroud spoke powerfully about the important subject of children’s mental health. We are providing access to specialist mental health professionals in every school, so that every child and young person can access early support. Schools can also play a vital role by promoting good mental wellbeing and providing effective early support to pupils who may be struggling, and we are clear that creative activities can be part of their approach. For example, our targeted support toolkit gives education staff guidance on the use of creative and arts therapies to support pupils’ emotional wellbeing.

Access to the arts starts with the curriculum, as was rightly said. All young people should have the same opportunities that my hon. Friend and I did to develop their creativity and to find their voice. That is why one of our first actions in government was to launch an independent curriculum and assessment review. We will improve the arts curriculum through clear and rigorous programmes of study for music, art and design, and strengthened curriculum content for dance in physical education and drama in English. We are legislating so that academies will be required to teach the reformed national curriculum, including arts subjects, ensuring that creative education is not subject to a postcode lottery.

However, curriculum reform alone will not be enough to ensure that all children have access to a high-quality arts education; we also need to support our schools and our teachers. That is why in March we announced our intention to launch a new national centre for arts and music education. I am pleased to give my hon. Friend the Member for Stroud the additional detail that he requested: this new centre will help us to support schools in the teaching of music, art and design, drama and dance, and our intention is to establish it by September 2026, appointing a delivery partner for the centre through an open competitive procurement that we will issue in the new year.

The centre will also be the national delivery partner for the 43 music hub partnerships across England, which offer whole-class ensemble teaching, music instrument tuition and instrument loans, as well as continuing professional development for teachers. This Government continue to support that crucial programme, with grant funding of £76 million secured for this academic year and longer-term funding to be confirmed in due course.

For some pupils, particularly those facing disadvantage and with additional needs, the barriers to accessing music education can be particularly significant. That is why we are investing in a music opportunities pilot, backed by £2 million of Government investment and £3.85 million of funding from Arts Council England and Youth Music, with targeted support for pupils from disadvantaged backgrounds or with special educational needs and disabilities. The pilot offers pupils across primary and secondary schools the opportunity to learn to play an instrument of their choice or to sing to a high standard by providing free lessons.

We also recognise the importance of specialist training in supporting young people to pursue the most advanced levels of arts education, including through means-tested bursaries through the dance and music scheme. That is why this Government continue to provide generous support to help more than 2,000 students access specialist music and dance education, committing £36.5 million for this academic year. Future funding for the scheme will be announced in due course.

In concluding, I would first like to take a moment of the Chamber’s time to pay tribute to the late Michael Harper, a vocal coach and champion of under-represented voices in the arts. Working with institutions such as the Royal Northern College of Music, the Guildhall School of Music and Drama and the English National Opera, Michael was a passionate advocate for music education in every region of the UK. It is people such as Michael and his husband Tony—friends to many of us in Reading and in the Labour party—who recognise the transformational impact that access to the arts can have on children and young people. We remember him fondly.

This Government are committed to ensuring that all children can access and engage with high-quality arts education. I thank, once again, my hon. Friend the Member for Stroud for bringing forward this debate, and all the teachers, volunteers, music trusts and arts education advocates who work tirelessly to give our children a love for the arts. Creative subjects such as art, music, drama and dance are a vital part of a rich, broad school experience and must not be the preserve of a privileged few. While my violin playing was patchy and Standard Deviation never got our big break, I want every child to have the same opportunity to discover their love for the arts.

Question put and agreed to.