Creative Education Access Bill [HL]

Earl of Clancarty Excerpts

2nd reading
Friday 11th September 2026 Lords Chamber

[The Earl of Clancarty (CB)]

My Lords, I look forward to the maiden speech of the noble Baroness, Lady Mackenzie of Sherwood. I note that a DCMS Minister is answering an education debate; I hope that is a sign that joined-up thinking is finally going to be a thing. I very much support every part of the Bill and congratulate the noble Baroness, Lady Featherstone, on introducing it. Arts education in schools is important on many levels. The arts are an integral component of a democratic society, and it is the right of young people—indeed, a UN right of the child—to have both access to the arts and an opportunity to engage with them at an early age.

We talk a lot about literacy—conventional, digital and even financial literacy—but less about cultural, visual or aural literacy. Within that context, I will make a particular point about neurodivergent students. There are estimates that up to a third of NEETs, or even more, have some form of neurodivergence. The question must arise: if we know there is a connection between creativity and neurodivergent conditions, how much is the decline of creative education in schools and the lack of opportunities responsible, at least in part, for the high numbers of NEETs? I am not convinced that putting a lot of these young people into retail is necessarily the right long-term answer.

Research into these areas is sparse, though what there is points in a certain direction. Might the Government consider commissioning research into this whole area, which would be of help to both education and employment? One thing that many would want to change is the negative perception of those with neurodivergent conditions. What is a negative is the narrow belief that the academic route should necessarily represent the gold standard or the only approach to education.

The major problem that creative education in schools currently has is the structural deficit from so many years of a decline that is still continuing, despite the removal of the EBacc. As Arts and Minds points out, GCSE entries to creative subjects are down by 47% since 2010. In many schools, there is now an institutionalised bias away from the arts that needs to be reversed; that will be difficult. This Bill puts the hours in place, but there is also the shortage of specialist art teachers, including in primary schools. We need, as has been said, to bring back ITT bursaries for art subjects, and in a big way. The reference point should be not the last year but 2010, since when there has been a huge loss in arts teachers. Much more money must be spent on arts in schools, so that we get back musical instruments, art materials and studios. The Bill says “may”, but it ought to be “must”.

School libraries are also important. Books are not just about the written word—they include art books. As Julia Donaldson pointed out at the Publishers Association reception on Tuesday, we also need school librarians to point students in the right direction. Rightly, the Bill encourages partnerships with theatres, museums, galleries and established artists.

In my Question on Monday, on the 100% cuts to the Government’s day-to-day funding of higher education creative courses, my noble friend Lord Hampton made the pertinent point that if we start losing graduates in the creative industries, where will the next generation of specialist school teachers come from? We would not, of course, expect everyone who has a creative education to have a creative career, as the noble Baroness, Lady Featherstone, said, but those opportunities should be there from the outset. What affects HE will feed back into schools, just as what happens in schools will determine the demand for the arts in higher education. We can have either a virtuous circle or a destructive cycle. What surely is required is an overall strategy for creative education that looks closely at the effect of such decision-making across the whole education ecosystem, including the excellent recommendations that the Bill makes.

Touring: Impact of EU Exit

Earl of Clancarty Excerpts

Tuesday 1st September 2026 Lords Chamber

Asked by

[The Earl of Clancarty]

To ask His Majesty’s Government what action they plan to take in response to the report commissioned by the Department for Culture, Media and Sport, The economic benefits of touring and impact of EU exit.

[The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Baroness Twycross) (Lab)]

The report provides important new evidence on the economic and practical impacts of EU exit on UK artists touring in the EU for both the UK and the EU. We remain committed to our manifesto pledge and will use the report to strengthen the case that practical solutions will deliver benefits to both the UK and the EU alike. We are sharing the findings of European partners and the Cultural Exchange Coalition to allow them to be used in engagement with European counterparts.

[The Earl of Clancarty (CB)]

My Lords, I give all credit to the Government for commissioning what is a devastating report, if predictably so. Will the Government use the detail of this report to inform the next UK-EU summit, including especially the significant effect of Brexit on the creative economies of EU member states? Clearly, we need to stress the mutual benefits of sorting out what, frankly, should have been sorted out years ago.

[Baroness Twycross (Lab)]

The report does indeed provide evidence of an issue many noble Lords have raised with me, and the sector has raised with the Government: the impact of the post-Brexit restrictions on artists. The report provides new evidence of the impact on UK artists and on the EU itself—significant amounts of income are lost as a result. We will ensure that its findings inform our engagement with European partners as we continue to pursue practical improvements for touring artists. As the noble Earl will understand, the agenda for the UK-EU summit has not yet been finalised and it would not be appropriate to pre-empt discussions between the UK and the EU on its contents.

Performing Artists and Musicians: Access to the EU

Earl of Clancarty Excerpts

Wednesday 22nd July 2026 Lords Chamber

[Baroness Twycross (Lab)]

I saw the Bayeux Tapestry last week, and it was one of the most amazing experiences of not just my career in your Lordships’ House but my entire life. Obviously, the process goes back to discussions that took place over a number of years, including under the previous Government. We can learn from it about working closely with colleagues in Europe from the very top, because it is clear that the President of France is as engaged in this as senior people in this Government. It is basically a gesture celebrating and building on our shared heritage. I urge all noble Lords to make sure that they go along and see this incredible tapestry when it is open to the public.

[The Earl of Clancarty (CB)]

My Lords—

[The Lord Bishop of Hereford]

My Lords—

--- Later in debate ---

[Baroness Twycross (Lab)]

I am not clear whether we have done that assessment, so I will look into it. I am happy to talk to the right reverend Prelate about that and the contribution this makes to the congregations, choirs and performers involved, as well as the opportunity for our young people.

[The Earl of Clancarty (CB)]

My Lords, perhaps the most intractable problem is that of work for artists in Europe, whether temporary or permanent. As the noble Lord, Lord Berkeley, said, this is affecting not just musicians but dancers and actors, who often fall at the first hurdle because they do not possess an EU passport. For many artists, a position in Europe has been an essential part of their career development. Will the Government ensure that this, alongside all the other concerns, will be on the agenda at the next UK-EU summit?

[Baroness Twycross (Lab)]

I do recognise how some creative professionals have found it more difficult to take up opportunities in Europe, as practical barriers, including whether they have an EU passport, can have a disproportionate impact. That is why we are working with the European Commission and member states. The Government remain 100% committed to resolving this issue and to improving opportunities for UK artists of all ages to access European audiences and develop international experiences, recognising the cultural and economic value that those exchanges bring.

Arts Education

Earl of Clancarty Excerpts

Tuesday 7th July 2026 Lords Chamber

[Baroness Twycross (Lab)]

My strategic misalignment was to get answers that relate to music and arts education but not to journalism. I am happy to write to the noble Baroness on this issue.

[The Earl of Clancarty (CB)]

My Lords, we need a full debate on the important Hodge review, but, out of the many recommendations, do the Government support the recommendation that the government indemnity scheme, which saves a lot of money, could nevertheless be made more effective to allow more items to be shown more widely across the country? I am referring here to normal loans, not the Bayeux Tapestry.

[Baroness Twycross (Lab)]

Like many noble Lords, I went through the British Museum’s queuing system to get my tickets for the tapestry; clearly, it is exceptional, including the indemnity scheme around it. The Government will be responding in detail to all the commitments within the Hodge review. I look forward to the noble Earl, now that he is back in his place, securing a debate on the Arts Council review led by my noble friend.

Live Music

Earl of Clancarty Excerpts

Thursday 2nd July 2026 Lords Chamber

[The Earl of Clancarty (CB)]

My Lords, I congratulate the noble Lord, Lord Brennan, on an excellent speech. In policy terms, the guidance provided for culture as an area of competence for the mayoral strategic authorities—we discussed this at length during the passage of the devolution Bill—is that it needs to be a consultation from the bottom up. The DCMS and the Ministry of Housing, Communities and Local Government are, I hope, coming together on this. Every level of government should be involved, as well as stakeholders such as live music venues. I ask the Minister to confirm that. The danger with a larger governmental body will be rationalisation of assets.

On community assets, I applaud the Government’s intention explicitly to include cultural assets within that grouping, although I would still prefer them to have their own designation—as the noble Lord, Lord Brennan, asked for on another occasion. I welcome the £61 million the Government have set aside for that scheme, but I am disappointed that there was no reference to cultural assets in the recent announcement. It is important that local authorities and the public are fully aware that cultural assets are covered by this scheme, and the guidance clearly states this, with pertinent examples such as live music clubs and recording studios.

I am grateful to the Musicians’ Union for its briefing on the risk to live music in theatres. The disbanding of the RSC’s music department earlier this year is an unwelcome sign of the times; costs are cited and it is all too easy to replace real musicians with sophisticated software, which has its place in music but can never be a substitute for live music. I ask the Minister what thought the Government have given to those concerns.

Finally, European Movement UK calculates that over 25% of British musicians have lost all their work in the EU since Brexit, with average tour earnings down by 45%. In reality, nothing substantial to improve matters has happened in the last two years. With the cancellation of the 22 July UK-EU summit, when will this be discussed and resolved?

National Museums and Galleries

Earl of Clancarty Excerpts

Monday 27th April 2026 Lords Chamber

Asked by

[The Earl of Clancarty]

To ask His Majesty’s Government whether they intend to retain universal free entry to the UK’s national museums and galleries.

[The Parliamentary Under-Secretary of State, Department for Culture, Media and Sport (Baroness Twycross) (Lab)]

I am sure all noble Lords will agree that our national museums are truly exceptional. I can confirm that we are not considering any changes to free entry for UK nationals and residents. In response to the independent review of the Arts Council by my noble friend Lady Hodge, DCMS is working with the museum sector to explore potential opportunities for charging international visitors at national museums and galleries. This is a highly complex issue that requires detailed work with the sector before any evidence-based decisions are taken.

[The Earl of Clancarty (CB)]

My Lords, it is disappointing that the Government are even considering this. They do not seem to realise what a precious, globally recognised brand universal free entry is. Apart from the negative logistical and financial implications of applying a selective charge, including the lack of universal ID, as the noble Baroness, Lady Hodge, has pointed out, would the Government not rather restore the grant in aid to its real-terms 2010 level? The 18% drop in money since then represents frankly peanuts in the overall economy, yet that funding is vital for the success of our national museums.

[Baroness Twycross (Lab)]

We are committed to supporting our national museums and to ensuring that art and culture are accessible, representative and shared across the country. Our £1.5 billion Arts Everywhere package ensures everyone has access to world-class culture. There are no current plans to reduce grant in aid, although I will say that we cannot prejudge spending reviews. We want to enable new income generation for our national museums, and we are going to be working with the museums to explore ideas for how this income could be used.

Class Inequality in the Arts

Earl of Clancarty Excerpts

Thursday 5th March 2026 Lords Chamber

Asked by

[The Earl of Clancarty]

To ask His Majesty’s Government what assessment they have made of the University of Manchester report Class Ceiling, published in January; and what steps they are taking to address class inequality in the arts.

[The Parliamentary Under-Secretary of State, Department for Culture, Media and Sport (Baroness Twycross) (Lab)]

As the report highlights, it is considerably harder for someone from a working-class background to access the arts and pursue an artistic career. This is clearly not acceptable. Our £1.5 billion Arts Everywhere fund will prioritise areas previously undersupported, ensuring the arts should be for everyone, whatever their background. It is also why we are investing £132.5 million of dormant asset funding to increase disadvantaged young people’s access to enrichment and delivering a £9 million creative careers service, which will focus on tackling the greatest barriers facing young people.

[The Earl of Clancarty (CB)]

My Lords, my takeaway from a report that makes many crucial points is how much the starving of arts funding over many years has contributed to the neglect of a particular part of the workforce. Does the Minister agree that, if there is fiscal headroom, there should be major reinvestment not just in Manchester but across the whole country? Two examples from the report are, first, creative infrastructure, such as rehearsal and studio spaces, which has been largely ignored by successive Governments, and, secondly, the paucity of apprenticeships, which need to be far more flexible and tailored to the arts. Will the Government take action on these things?

[Baroness Twycross (Lab)]

The Government are already investing in arts and culture, and over the course of this Parliament they will invest £1.5 billion in capital funding for arts and culture. We are also investing in making sure that opportunities should never depend on background or schooling, and we are committed to ensuring that everyone can succeed in the arts. This includes looking at how we can encourage people to offer and take up apprenticeships. More importantly, it is about making sure the right people are in the room and that everyone knows that that room even exists.

UK Streaming and Cinema Sector

Earl of Clancarty Excerpts

Monday 2nd March 2026 Lords Chamber

[Baroness Twycross (Lab)]

It would be a bit pre-emptive of me to rule out any exception before the reports I have mentioned are published. I would be very happy to return to your Lordships’ House to discuss this matter further once that has taken place.

[The Earl of Clancarty (CB)]

My Lords, with regard to the original Question, decisions such as this have the potential to significantly affect our creative workforce in this area, particularly the freelance workforce, in terms of size and rates of pay. Will these concerns be a significant part of the new freelance champion’s remit, and when will we hear more about this new role?

Creative Industries: Freelance Champion

Earl of Clancarty Excerpts

Thursday 22nd January 2026 Lords Chamber

[Baroness Twycross (Lab)]

The champion-type role appointed by the Government is designed exactly for the purpose of making sure that these conversations are had and action is taken across government. We are very keen for the person who is appointed to this role to be involved in developing their own work plan, in discussion with the department, the Minister and the sector. The appointee will produce a work plan in their first months in the role, which will set out their priorities and planned actions. I might suggest that they have a conversation with the noble Baroness in that first period, so that she can be assured that they are looking at the right things that will support what is a vital part of the creative industries, but also one that has particular issues, as she outlined.

[The Earl of Clancarty (CB)]

My Lords—

[Baroness Buscombe (Con)]

My Lords—

--- Later in debate ---

[Baroness Twycross (Lab)]

Delivery of our ambitious vision is on track. Key achievements include the £150 million creative places growth fund allocated to six mayoral strategic authorities; we have secured agreement to boost music creator streaming income; we have announced the price cap to ban for-profit resale of live event tickets; and we have secured investment for three Bollywood films in the UK, which are expected to create over 3,000 jobs. We also have an increase in innovation funding of £369 million from UKRI and over £4 billion for scaling creative businesses through the British Business Bank. I am delighted to say that the Culture Secretary announced today that £1.5 billion will be invested to save more than 1,000 arts venues—museums, libraries and heritage buildings—across England from closure. These are just a few of the actions that we have taken so far.

[The Earl of Clancarty (CB)]

My Lords—

[Lord Wigley (PC)]

My Lords—

--- Later in debate ---

[Baroness Twycross (Lab)]

There is strong evidence, including in the report from the trade union Bectu that was published last year, on some of the real issues that the noble Baroness identified within the creative industries. They particularly affect freelancers, who struggle with a huge range of issues—everything from late payment through to not getting paid or not having pensions. The Government are determined to strengthen employment rights, not least to help people thrive in good-quality self-employment. These are some of these issues that the freelance champion will need to look at to make sure that we get the type of creative industries that are fair to all those involved.

[The Earl of Clancarty (CB)]

My Lords, there is concern that the Creative Industries Council, of which the freelance champion will be a member, has very little workforce representation within its newly expanded membership. It includes not one working practitioner in any area. Will the Minister promise to look at this?

[Baroness Twycross (Lab)]

I am happy to take that back to the department. I do not have a list of the make-up of the council, but I will take the point back and write to the noble Earl.

Heritage Craft and Building Sector

Earl of Clancarty Excerpts

Monday 12th January 2026 Lords Chamber

Asked by

[The Earl of Clancarty]

To ask His Majesty’s Government what steps they intend to take to support the heritage craft and building sector; and how they will develop its skills pipeline.

[The Parliamentary Under-Secretary of State, Department for Culture, Media and Sport (Baroness Twycross) (Lab)]

The Government are committed to supporting the heritage, craft and building sectors to protect, maintain and adapt heritage for future generations. Last year, I hosted a round table on challenges facing the heritage skills sector and met my noble friend Lady Smith of Malvern, the Minister for Skills, to discuss the sector’s specific needs. A follow-up sector round table is being organised. The Government are providing an additional £1.2 billion a year towards skills development until 2028-29. We are working across government to ensure heritage skills are supported.

[The Earl of Clancarty (CB)]

My Lords, I thank the Minister for the meetings we have had in this area. Does she agree that, with our heritage in crisis with regard to the repair and maintenance not just of our historic homes and churches but of much pre-1919 build, specialist skills are needed more than ever for an industry that is split across government departments but crying out for a co-ordinated policy? Will the Government provide clear training pathways from school to professional practice, including better level 3 funding and, post-18, a better choice of university-comparable practical courses, building on examples such as York Minster’s apprenticeship centre?

[Baroness Twycross (Lab)]

I agree with the noble Earl about the need for specialist skills and the many organisations around the country that are doing excellent work in this area. I was hugely impressed by the offer at York Minster when I visited last year, and by the calibre and commitment of the apprentices and teaching staff. We are currently working with the heritage sector to identify key skills gaps and on how to protect the future of heritage skills. Through fully funded SME apprenticeships for under-25s, this Government are giving every smaller heritage organisation the opportunity to deliver flexible, affordable apprenticeships.