Arts

Baroness Bakewell Excerpts

Thursday 1st February 2024 Lords Chamber

[Baroness Bakewell (Lab)]

My Lords, I thank my fellow Peer and noble friend Lord Bragg for introducing this debate. He is not in the Chamber at the moment; I think he is out in the Lobby being interviewed for television. He cannot spread the message too far and too fast. I support his proposition that the economy of this country and the well-being of its people benefit both in money and in spiritual well-being from the flourishing of the arts. As the BBC’s arts correspondent for 10 years, I documented week by week the talent and success, reputational and financial, of our outstanding arts community. I will be repeating a lot that has already been said, but repetition shows only how universally these important views are held.

State funding since the war by central and local government has underpinned much of our success and it continues to be subject to the vagaries of political volatility. That is a word we should not need to use. Before that, I should mention the consistent donations made by private individuals and families in the UK. The Blavatniks, the Ruddocks, the Rausings and the Sainsburys, and indeed the noble Lord, Lord Browne, who has just spoken, are some of the most generous but, taking the broader picture, the UK arts depend on the state as both central and local government.

Arguments in their favour are consistent and enduring. At the risk of repetition, here are some of them. The arts make money. They employ some 2.46 million people and train generations to follow. The UK has some 275 arts colleges and arts courses at further education institutions. Many of their talents go on to enjoy international reputations in the world’s galleries and museums. There is soft power: the range of Britain’s writers and its flourishing publishing industry, as we have already heard, support our reputation in universities and in cultures around the world. Our musicians and composers—a number of them have seats in this House—and the popular music industry more than hold their own in concert halls and on stages. Our established artists, who trained at any one of our 275 arts colleges, command huge rewards on the booming UK arts market, currently worth £9.7 billion. For example, the paintings of the Scottish artist Peter Doig, who studied at Central Saint Martins and Chelsea, currently command prices towards £30 million per painting at auction.

Then there are the personal and social benefits, which your Lordships have already heard spoken of several times. Millions of people visit hundreds of the UK’s museums and art galleries. Post the pandemic, theatregoers are now back to a number of around 16 million. More recently, research at Exeter University found that playing a musical instrument or singing in a choir can promote better memory skills and hence brain health in older age. Music is being used to help those with dementia.

The House has already heard and will hear more arguments and examples of how the arts benefit the UK economy, its institutions, its communities and its individuals. The arts are not a fringe activity for randomly filling in our leisure hours. Although they may do that for us individually, they are an ongoing conversation that this culture has within itself. The Government must take notice of that conversation, back it and support it. How that culture comes to define its identity and nourish the lives and happiness of all who live here depend on the arts, and the arts depend on the Government.

Public Service Broadcasting: BBC Centenary

Baroness Bakewell Excerpts

Thursday 3rd November 2022 Lords Chamber

[Baroness Bakewell (Lab)]

My Lords, 1922 was a very special year. It was the year The Waste Land was published and saw the birth of Philip Larkin and the creation of the BBC—cultural events that echo still to this day. My contribution is going to be about the BBC and my personal experience of it. I first worked for the BBC in the 1950s when I made the sound effects for the horses’ hooves in radio drama. I have gone on to have a varied career in all segments of the BBC, largely working with the creative community, of whom I have a continuing and varied experience. I have been close to them and not to the administrators—of whom the noble Baroness, Lady Stowell, is a distinguished one—so I speak from that community.

What do I see of the BBC now? I see the BBC living in fear. It lives in fear of government and government interference and change for the worst. It lives in fear of the right-wing press and its effect on public opinion, always vocal in damning the BBC for the slightest errors and undermining public trust in a national institution. It lives in fear of the public reputation and in fear of the other platforms and the changing landscape of the world of broadcasting; quite rightly, so it needs handling.

What is the consequence that I perceive in the behaviour of the BBC today? I see it as overmanaged, overloaded with managers trying to answer these fears that it harbours. I see too many people designated to sign off programmes—person after person—to sign off a creative enterprise whose managers are perfectly able to deliver in the first instance. I see a timidity from the BBC, overcautiousness about what you can say and how much daring you can display. The great triumph of the BBC throughout the 1950s and 1960s was its openness to adventure and daring and that is where it culled its huge reputation. Now, it drives away people such as Andrew Marr and Emily Maitlis who are fearful of expressing an opinion for fear of overstepping the new rules that apply.

I wish—and this is not the arena to say this—that the BBC had more courage to face down these fears. I call on the Government to endorse the values that existed at the founding of the BBC. I interviewed Lord Reith in this building at the end of his life when he expressed to me how much he regretted that jazz had ever been allowed on the radio. He felt that it was the beginning of the corruption. You can be wrong.

I would like the Government to acknowledge positively the role of the BBC today. The BBC has a global brand, an enviable one in the world of brand making; there is nothing to match it. It has global reach: it reaches into Ukraine; it reaches into China; it reaches everywhere, and it has a say. It is a soft power of incalculable value. Ask any of the diplomats. Ask our foreign embassies. They will tell you how much the BBC is valued as part of our diplomatic contribution to the world.

What is more, the BBC has the trust of the public. The public snipe at the BBC; that is what you do with those you love. Overall, the approval rating for the BBC is extremely high, and it is very precious. Unless we endorse it in a positive way, unless the Government say how they agree with the values of the BBC, then it will slide down the reputational ladder in our society. We cannot afford for it to lose heart and to give way to these fears that it harbours. I call on the Government to endorse the BBC and its values and encourage it to hold fast.

Covid-19: Performing Arts Freelance Workers

Baroness Bakewell Excerpts

Wednesday 10th February 2021 Lords Chamber

[Baroness Barran (Con)]

I reassure the noble Viscount that all these options will be considered, but we remain of the view that the support that we are offering the cultural sector through the Culture Recovery Fund, combined with following public health advice so that we can reopen our cultural venues as quickly as possible, is the best route for re-employing freelancers.

[Baroness Bakewell (Lab) [V]]

All the people to whom we are giving birthday wishes—which I join in doing—are women. I draw the Minister’s attention to the fact that women freelancers working in the arts, who constitute a very high proportion, suffer badly for two reasons. Last year, pay gap enforcement was suspended, and many women reduced their working hours to care for children who were home for school. This renders them not qualified for the Self-employment Income Support Scheme. Will the Government adjust their provision to include targeted support for women freelancers working in the arts?

[Baroness Barran (Con)]

As I said to other noble Lords, we are considering all the elements in detail and all the barriers to taking up the support offered. A further announcement on this will be made by the Treasury in the Budget.

Music Sector: Working in Europe

Baroness Bakewell Excerpts

Wednesday 3rd February 2021 Lords Chamber

[Baroness Barran (Con)]

The noble Earl is right to highlight some of the challenges that now face our brilliant musicians and creative artists. As he knows, in the UK-EU trade negotiations the EU tabled a proposal for a permanent waiver for short stays covering UK and EU citizens that drew on agreements such as those with Colombia and the UAE. However, this offer would not have met the needs of touring musicians in the round, nor was it compatible with our manifesto commitment to take back control of our borders. Therefore, our starting point is to listen to and work with those in the sector to make sure that they have the information that they need, in a clear and accessible way, so that they can continue their valuable work once Covid restrictions are lifted.

[Baroness Bakewell (Lab) [V]]

My Lords, the countries cited by my friend the noble Earl have unilateral agreements with the EU, which makes these relationships possible. Will the Government now seek their own new bilateral agreements with the EU and EU member states, separate from the trade agreement, so that they can exempt touring performers and creative people from the visa and work permit regulations?

[Baroness Barran (Con)]

As the noble Baroness has heard me say at the Dispatch Box on several occasions, we are exploring individual options to try to ease the process for our musicians and creative artists, but there are no current plans such as the one that she suggests.

EU: Musicians

Baroness Bakewell Excerpts

Thursday 28th January 2021 Lords Chamber

[Baroness Barran (Con)]

As the noble Lord knows, it takes two people to meet though an open door. I was also very clear in my answers last week that our priority was working with the sector to understand its needs and working bilaterally with individual countries. But we still believe that our original suggestion would have benefited all parties.

[Baroness Bakewell (Lab) [V]]

Clearly, this Brexit situation is unsatisfactory for all those involved. The Secretary of State for the arts, Oliver Dowden, calls the arts sector one of our greatest calling cards. It is indeed soft power with diplomatic significance. Musicians from both pop and classical sides of the profession tell me that cultural attachés in embassies across London are concerned about this situation. Setting aside the blame game, can the Government reopen negotiations and go through this open door, as it concerns an industry worth four times the fishing industry to this country?

[Baroness Barran (Con)]

The Government are also concerned to make sure that our critical and creative sector—and within that, musicians—continue to thrive, which is why we are working closely with the sector to achieve that.

UK Musicians: EU Visa Arrangements

Baroness Bakewell Excerpts

Wednesday 20th January 2021 Lords Chamber

[Baroness Bakewell (Lab) [V]]

My Lords, many, if not most, musicians are freelance or self-employed workers. As such, they are among the 3 million taxpayers who have fallen through the net of the Government’s financial support during the pandemic. Will the Government and the Minister please explain why they cannot at least support musicians in this way?

[Baroness Barran (Con)]

I understand the noble Baroness’s concerns in this area, and we definitely continue to explore routes through it. However, I reassure her that direct funding has gone from Arts Council England to freelancers and, furthermore, to some of the benevolent societies that support them.

Public Service Broadcasting Online

Baroness Bakewell Excerpts

Wednesday 9th December 2020 Lords Chamber

[Baroness Barran (Con)]

The noble Baroness is absolutely right. Obviously, I do not want to pre-empt the conclusions of that committee, but across our legislative programme, the importance of children and young people is pre-eminent.

[Baroness Bakewell (Lab) [V]]

I raise the issue of urgency about this Bill. There are two circumstances: first, as has already been said, the increasing abundance of fake news on the internet, with its damaging effect on public trust; and, secondly, the renewed sense of civic responsibility engendered by the pandemic. Will the Minister press the Government to seize the moment and give a date when they will introduce this timely legislation?

[Baroness Barran (Con)]

The Government are actively working with all the key stakeholders in this area—the TV manufacturers, the platform gatekeepers and the PSBs—but I am afraid I cannot give the noble Baroness a firm date.

Covid-19: Performing Arts

Baroness Bakewell Excerpts

Monday 13th July 2020 Lords Chamber

[Baroness Bakewell (Lab) [V]]

My Lords, mention has already been made of the national institutions and their international reputations, as well as the spread of small-scale institutions and enterprises around the country and the importance of freelancers in that respect. Going forward, numerous small enterprises are still at risk, so may I suggest that the Government consider underwriting insurance for theatre productions in case they are forced to pause or close?

[Baroness Barran]

I am happy to take the noble Baroness’s suggestion back to the department.

Television Licences

Baroness Bakewell Excerpts

Monday 6th July 2020 Lords Chamber

[Baroness Barran]

The Government are well aware of the sacrifice that many people, particularly elderly people, have made during the past few months. However, the responsibility is absolutely clear and was debated extensively by this House during the passing of the Digital Economy Act in 2017: the BBC is responsible for this matter.

[Baroness Bakewell (Lab) [V]]

The Covid-19 crisis has emphasised more than ever the dependence of the over-75s on their television sets, particularly those who are isolating. The arrival of a new director-general at the BBC gives an opportunity to open up again what was an extremely controversial negotiation with the Government about the licence fee. Will the Government bear in mind during these proposed negotiations that the cohort of over-75s who watch television is very varied indeed? Some of them are extremely rich and can afford it, but many of them, the most dependent, cannot afford it at all. Therefore, there is an opportunity here, given a new negotiation, to offer some scale of payment that the Government and the BBC might consider appropriate.

[Baroness Barran]

There will be a very wide range of issues, I am sure, to be discussed between my right honourable friend the Secretary of State and the new director-general of the BBC when he comes into post. The Government are clear that everyone entitled to claim pension credit should do so, and we are aware that that is not the case universally, so we are also working in particular on that.

BBC and Public Service Broadcasting

Baroness Bakewell Excerpts

Thursday 5th March 2020 Lords Chamber

[Baroness Bakewell (Lab)]

My Lords, I thank my noble friend Lord Young for initiating this debate, which is clearly extremely timely. I agree with the many things said from these Benches about the importance of the BBC. However, limited by time I wish to address a single subject, one hinted at by my noble friend Lord Puttnam: the influence of Dominic Cummings on government policy towards the BBC.

In January 2004, with the Tory party languishing in opposition, as director of the think tank the New Frontiers Foundation, Cummings wrote that until the Conservative Party

“realises that … the BBC is a mortal enemy … then it will continue on its current course.”

Six months later, he wrote:

“It is a mistake in general for a Conservative leader to appear on the Today programme unless he is announcing a major new positive proposal … Effort should be diverted from Today to programmes that affect the public … more. Today itself needs to be audited by a proper media monitoring”


enterprise. The following month, he wrote:

“The privileged closed world of the BBC needs to be turned upside down and its very existence should be the subject of a very intense and well-funded campaign that involves bringing out whistleblowers armed with internal memos and taped conversations of meetings.”


Subsequently, after a programme referring to a complaint about the “Today” programme’s coverage of Iraq, he wrote:

“Another reason why the Right should be aiming for the end of the BBC in its current form and the legalisation of TV political advertising.”


In the autumn of that year, again:

“There are three structural things that the Right needs to happen in terms of communications ... the undermining of the BBC’s credibility … the creation of a Fox News equivalent”


and talk shows

“to shift the centre of gravity”

and

“the end of the ban on TV political advertising”.

Later that year—this is still 2004—he wrote that,

“one thing that can be done between now and the election is fire missile after missile at the BBC every time it engages in this sort of reporting”,

and that the right,

“can only prosper in the long-term by undermining the BBC’s reputation for impartiality … and by changing the law on political advertising.”

Since then, a number of anonymously sourced and funded anti-BBC websites and YouTube channels have been set up over the past decade.

Dominic Cummings went on to run the Vote Leave campaign in the 2016 referendum. Since the 2019 election, he has been chief adviser to Prime Minister Boris Johnson in No. 10 Downing Street. Given that the Government have already implemented his recommended policy of refusing to engage with the BBC’s “Today” programme, will the Minister please confirm whether his ongoing agenda for undermining the BBC is now government policy?