Oral Answers to Questions

Debate between Caroline Dinenage and Paul Blomfield

Wednesday 7th July 2021 Commons Chamber

[The Minister for Digital and Culture (Caroline Dinenage)]

My right hon. Friend is absolutely right to draw attention to this issue. As part of its review of harmful online communications, the Law Commission is considering offences around the sharing of intimate images, including things like cyber-flashing, which she mentioned, and is looking to identify whether there are any gaps in existing legislation. It will publish the results of the review very shortly, and we will consider them all very carefully.

[Paul Blomfield (Sheffield Central) (Lab) [V]]

After I was told by a local school student of her experience of sexual harassment working in a restaurant, and of the power imbalance that made it difficult to raise that harassment with her employer, I have worked with the Sheffield Star, the business improvement district, the chamber of commerce, the council, the police and others on a campaign to “Know The Line” for zero tolerance of sexual harassment in the hospitality sector. Will the Secretary of State back our campaign, and will she say when the Government will finally respond to the results of the 2019 consultation on sexual harassment in the workplace?

Oral Answers to Questions

Debate between Caroline Dinenage and Paul Blomfield

Thursday 10th December 2020 Commons Chamber

[Caroline Dinenage]

I know this is something that my hon. Friend cares deeply about and that he met the Secretary of State recently to discuss it. Festivals are a vibrant and integral part of our creative community and our economy, and I am well aware that many will take decisions very soon about whether they can go ahead next year, so this is an urgent situation. There is a sub-group of my entertainment and events working group looking specifically at how we can get festivals reopened. I have met in the past few weeks with representatives from festivals in Edinburgh, and only yesterday with representatives from festivals on the Isle of Wight.

[Paul Blomfield (Sheffield Central) (Lab)]

What assessment he has made of the effect of the tiered system of covid-19 restrictions on the performing arts.

[The Minister for Digital and Culture (Caroline Dinenage)]

Following the recent introduction of regional tiers, venues in tiers 1 and 2 are open to audiences, subject to social distancing and caps on capacity. Venues in tier 3 are adapting their performances to broadcast without audiences. The Government continue to work with the performing arts sector to assess the impact of the tiers and to develop proposals for how venues can open with fuller audiences when it is safe to do so.

[Paul Blomfield [V]]

The culture recovery fund, which the Minister mentioned earlier, has of course been welcomed by our award-winning Sheffield theatres, along with others across the sector. However, she knows that the performing arts depend on an army of freelancers. They make up some 70% of the theatre workforce alone, not only actors and performers, but more working in lighting, set design, stage management and other areas. She also knows that they have been shut out of the business support that she talked about earlier—more than 200,000 people, part of the 3 million excluded across all sectors—so will she recognise the problem for freelancers and press the Treasury to provide the support they need?

[Caroline Dinenage]

The hon. Gentleman is absolutely right to say that the culture recovery fund has been a lifeline for cultural and artistic institutions up and down our country. Sheffield Central has received over £7 million in funding in 2020-21. The whole thing about supporting freelancers is getting things up and running. For example, the Crucible theatre in Sheffield is in tier 3, but it is continuing to rehearse its panto with the aim of performing it live if restrictions are lifted in time, but whatever happens, it will record its work and stream it into hospitals, schools and, hopefully, to audiences. That is how we get our freelancers back to work—by continuing to produce the high-quality cultural content that audiences are so desperate for.