Arts

Baroness Hooper Excerpts

Thursday 1st February 2024 Lords Chamber

[Baroness Hooper (Con)]

My Lords, I, too, welcome this debate, and thank the noble Lord, Lord Bragg, for securing it. As a general point, I emphasise that the arts/creative industries sector provides us with an important ingredient of soft power internationally. The status and recognition of the UK and its economy is based on a mixture of our history, the importance of the English language, our education system and the BBC, but it is enhanced by the role of the arts, whether music, dance, theatre or anything else that can claim inclusion in the definition. In this, the British Council has an important role, which I believe could and should be extended.

In the short time available, I will concentrate my remarks on dance and classical ballet, in particular. As a former co-chairman of the All-Party Parliamentary Dance Group, a position now enjoyed by my noble friend Lady Fraser of Craigmaddie, I can point to the importance of the role of dance in education, health, well-being, discipline and international relations as well as in its sheer beauty and entertainment value. In recognising the importance of excellence and high standards in performance, a perhaps less-known institution, the Royal Academy of Dance, plays a vital role. Here I must declare an interest as a former governor of the RAD, which teaches the teachers of ballet, provides the syllabus and examination system and maintains standards. It is recognised for this throughout the world. Indeed, I have come across RAD examiners working away in South Africa and New Zealand and even in El Salvador.

In terms of culture, the Royal Ballet has, of course, a leading role. Again, I should declare an interest as a former governor in the days when my late friend Lord Sainsbury of Preston Candover was the chairman. I was also privileged to attend the Royal Ballet School at the ripe old age of 10, so long ago that it was still known as the Sadler’s Wells Ballet School. The Royal Ballet, at its home in the Royal Opera House, represents a centre of excellence renowned throughout the world and is a huge attraction for tourists and British balletomanes alike. In talking about the Royal Ballet, let us not forget the Birmingham Royal Ballet under the brilliant artistic directorship of Carlos Acosta and in the safe hands of its CEO, Caroline Miller. The BRB delights audiences at its home base in Birmingham, but also brings joy and pleasure to the citizens of Southampton, Bristol, Plymouth, Sunderland, Salford and elsewhere in its capacity as a touring company. We are fortunate in other companies, such as the English National Ballet and the Northern Ballet, to name but two which are also world class. All are struggling with budgetary restrictions.

If I may raise a specific question for my noble friend, given the funding cuts we have been hearing about, the higher rate of theatre tax relief introduced in 2022 has provided a lifeline for theatre, opera and ballet. It has made it possible to invest in various productions, fostered innovations and supported employment for actors, dancers, designers, producers and stage crew who would otherwise be out of work. To take one example from the Birmingham Royal Ballet, it supported the highly innovative “Black Sabbath - The Ballet”, which last year thrilled sold-out audiences across the country, many of whom had never seen ballet before. The current rate of tax relief is due to end in 2025. Could it be extended? Such a move would be cheered across the performing arts sectors. Can my noble friend give me hope?