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.

Broadcasting: Recent Developments

Earl of Clancarty Excerpts

Thursday 8th January 2026 Lords Chamber

[The Earl of Clancarty (CB)]

My Lords, I congratulate the noble Lord, Lord Fowler, on a thoughtful opening speech.

The phrase I became heartily fed up with was “punching above our weight”, usually uttered by Ministers whose Government continued to wield the axe for further cuts to the arts. According to Voice of the Listener & Viewer, from 2010 to 2024 the BBC suffered 38% in funding cuts—a horrendous statistic—invariably affecting every area of programming, including the arts. We do not punch above our weight. There is reduced output and the added danger that mistakes may be made, as we have heard.

What the BBC is surviving on to a significant extent is a huge residual feeling of good will across the world, its dogged impartiality in terms of news reporting, and, for what survives of the World Service, still a considerable reach. Remarkably, the BBC is still considered a beacon of democratic values, but without the necessary investment and, more importantly, a belief in those values beyond seeing the BBC as a money-spinner for the growth agenda, that good will will dissipate—a major reason why the World Service, a necessary aspect of foreign policy, needs again to be properly funded by the Foreign Office.

In the early 1960s a young, unknown playwright was given not one but three slots for plays on BBC radio years before “Rosencrantz and Guildenstern Are Dead” made Tom Stoppard’s name. It was the first play I ever saw at the theatre, courtesy of a school trip. Famously, Stoppard turned down the opportunity to write the screenplay for Steven Spielberg’s film “Jaws” because at the time he was working on a play for the BBC—for radio. It is difficult to imagine such a thing happening now. What remains in terms of the arts is still great but needs to be built on, including restaffing. Music is still well served, with five orchestras, although in-house drama and coverage of the visual arts are diminished. I miss drama on Radio 3, which was such a good fit.

The BBC urgently needs to be future-proofed, particularly against structural threats, which could be worse even than the loss of funding, bad as that has been. I agree with the Broadcasting, Entertainment and Arts Unions’ plea that the BBC should not be compelled to commercialise because of funding restraints. There has to be certainty—a forever charter without the nail-biting review. The BBC needs to be properly independent in terms of government appointments. That independence should be extended in certain ways to other channels, and the Ofcom code strengthened, as the noble Baroness, Lady Wheatcroft, has said. As an instance, for obvious historical reasons, participation by German politicians in their media is strictly controlled. They cannot present programmes except in rare circumstances. That policy should be enforced here. We have seen what is happening in America in terms of the destructive interference of government in its institutions and media outlets. Unless measures are taken now, it is not inconceivable that with a Farage Government GB News becomes, in effect, a state broadcaster.

Beyond streaming, and certainly in the face of mis- and disinformation, there remains a strong moral case for a substantial public service broadcaster for the good of society, which is why a universal funding model needs to be adopted—less liable to be undone than the licence fee, which I fear could too easily be turned into a subscription.

Arts and Creative Industries: Social Mobility

Earl of Clancarty Excerpts

Wednesday 3rd December 2025 Lords Chamber

Asked by

[The Earl of Clancarty]

To ask His Majesty’s Government how they intend to improve social mobility for careers in the arts and creative industries.

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

My Lords, making creative careers accessible for everyone is a key priority for the Government. I agree wholeheartedly with the premise of the Question that there is an issue for us to address. That is why our refreshed £9 million creative careers service will focus on supporting priority areas where young people face the greatest barriers to accessing creative opportunities. It is also why last month we announced new funding for the King’s Trust to support direct routes for underrepresented groups into jobs, education and training in the sector.

[The Earl of Clancarty (CB)]

My Lords, the Sutton Trust finds that there are barriers to young people from lower socioeconomic backgrounds at every stage of the creative industries pipeline—in schools, higher education and job opportunities. Does the Minister agree that the continuing loss of arts courses in higher education, from the loss of the prestigious undergraduate drama course at the Bristol Old Vic to the suspension of music courses at Nottingham University, does not sit well with the Government’s intent to improve arts education in state schools and increase social mobility in the creative industries?

[Baroness Twycross (Lab)]

High-quality arts education cannot be for the privileged few. To provide certainty over future funding, we are increasing tuition fee caps by forecast inflation next year and the year after. Alongside this, we continue to invest in creative arts through the strategic priorities grant, which includes support for world-leading creative institutions. We will also revitalise arts education in schools through a reformed curriculum and support for teachers.

UK and EU Trade: Arts and Creative Industries

Earl of Clancarty Excerpts

Thursday 11th September 2025 Lords Chamber

Asked by

[The Earl of Clancarty]

To ask His Majesty’s Government what progress they have made towards improving the conditions of trade between the UK and the EU with regard to the arts and creative industries, including for touring musicians.

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

My Lords, the Government have reset relations positively with European partners, agreeing a substantial package at the first UK-EU summit in May. This included a commitment to support travel and cultural exchange, recognising the value of artistic exchange, including the activities of touring artists. We will continue to engage with the European Commission to deliver this commitment. It is mutually beneficial and it will help our artists to contribute to Europe’s rich cultural landscape and support shared growth.

[The Earl of Clancarty (CB)]

My Lords, the almost five years since we left the single market have already cost us tens of billions of pounds in trade—that includes the creative industries—not to mention the red tape and frustration that continues to be experienced on a daily basis. For musicians touring, there has been no resolution of the problems of cabotage, carnets, CITES, the need for a visa-waiver agreement and the 90 in 180-day limit, which particularly affects ancillary staff. Bands cannot afford to tour; income and opportunities are lost. I say to the Minister: enough warm words, we need action.

[Baroness Twycross (Lab)]

The noble Earl outlines the range of issues that the Government need to work through. There is action; it is a high priority for this Government, and it was a manifesto commitment to address these issues. The Prime Minister mentioned it as top of the list in relation to the EU reset to the Liaison Committee, and it came up in the Foreign Affairs Committee earlier this week. This is something that Ministers are actively working through, and I know that it is a priority for the new DCMS Minister covering this area and for the Secretary of State.

Parthenon Sculptures: Return

Earl of Clancarty Excerpts

Wednesday 16th July 2025 Lords Chamber

Asked by

[The Earl of Clancarty]

To ask His Majesty’s Government whether they plan to introduce legislation to enable artefacts, including the Parthenon sculptures, to be returned to their country of origin.

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

The Government have no plans to introduce legislation to permit artefacts, including the Parthenon sculptures, to be returned. National museums are prevented by legislation from de-accessioning objects unless, broadly, they are duplicates or unfit for retention. There are two exceptions: human remains less than 1,000 years old and Nazi-era looted objects. Partnerships and loans have been successfully used as a way for museums to share objects with other countries and museums.

[The Earl of Clancarty (CB)]

My Lords, there is a case for amending the existing legislation in a narrow way to allow our national museums to return permanently certain artifacts to their country of origin on a case-by-case basis—none more so than the Parthenon sculptures, so that the frieze and other sculptures can be seen in a museum close to the original environment and, importantly, in as complete a state as possible, as this is the work of a single master builder, Phidias, and his workshop. Surely aesthetically, this is the right solution. Will the Government amend the legislation to allow this and other returns to happen?

[Baroness Twycross (Lab)]

I can only repeat to the noble Earl that the Government have no plans to change the law or introduce legislation to permit objects, including the Parthenon sculptures, to be returned.

Arts Sector

Earl of Clancarty Excerpts

Monday 30th June 2025 Lords Chamber

Asked by

[The Earl of Clancarty]

To ask His Majesty’s Government what assessment they have made of the value of the subsidised arts sector.

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

The Government strongly believe in the benefits of publicly funded arts. The arts are vital to the UK’s economy and our well-being and fundamental to our cohesion as a society and our national story, fostering pride and earning global recognition. A recent report for the Arts Council by the Centre for Economics and Business Research estimated that its national portfolio alone accounted for 7% of the gross value added of the sector, equivalent to £1.35 billion.

[The Earl of Clancarty (CB)]

My Lords, at its best, the ecosystem of the arts and creative industries is a dynamic combination of the non-commercial and commercial, a point well made by the noble Baroness, Lady Debbonaire, in her excellent maiden speech last week. Does the Minister agree that there would be no Steve McQueen, the commercially successful director, without the experimental visual artist supported through the Arts Council by the DCMS? The sectoral plan is a plan principally for the already commercialised creative industries; it is not a plan for the subsidised arts. Is there a plan for the arts and, if so, when will that happen?

[Baroness Twycross (Lab)]

Everything we do at DCMS centres around this point, if you look at the work that Arts Council England does in terms of the huge spend on its programmes. I am happy to have a longer conversation with the noble Earl, but the Arts Council England review will look at the whole piece, and the conclusions of the review and the Government’s response will be published next year.

Live Music Industry: Support

Earl of Clancarty Excerpts

Monday 23rd June 2025 Lords Chamber

[Baroness Twycross (Lab)]

I cannot think of anyone better than my noble friend to carry out this work. We welcome the launch of Parliament’s fan-led review of the live music industry and look forward to considering its findings. From the industry’s own recent fan-led review, we know that fans are deeply invested in supporting live music, particularly local artists and independent venues, but rising financial pressures, dynamic pricing concerns and the closure of beloved venues threaten long-term sustainability. We recognise those same challenges, which is why today, as I mentioned previously, we have announced a major investment to drive growth in the UK music industry.

[The Earl of Clancarty (CB)]

My Lords, will the Government, particularly in the light of the Planning and Infrastructure Bill, ensure that existing music venues are fully protected in areas that face redevelopment? If the agent of change principle were to be incorporated by government into primary legislation, that would be very welcome.

[Baroness Twycross (Lab)]

The National Planning Policy Framework is clear that new developments should be able to be integrated effectively with existing businesses and community facilities such as music venues. Existing businesses and facilities should not have unreasonable restrictions placed on them as a result of development permitted after they were established. We want to enable new developments such as housing to coexist with culture and infrastructure such as music venues.

Craft Industry: Support

Earl of Clancarty Excerpts

Thursday 12th June 2025 Grand Committee

[The Earl of Clancarty (CB)]

My Lords, I declare an interest as the vice-chair of the All-Party Parliamentary Group for Craft. I congratulate my noble friend Lord Freyberg on securing this debate and on his excellent opening speech. I thank Patricia Lovett for her excellent briefing on heritage craft and, indeed, whose expertise in this area informs us all. I thank the Minister for the helpful meeting she had with my noble friend Lord Freyburg, the noble Baroness, Lady Warwick of Undercliffe, and me.

I am a fine artist, so my view of craft is that of a close and equally significant next-door neighbour; indeed, there is considerable overlap in our practice. Yet, whereas we have debates and Questions in this House on many of the creative industries—many on music—I cannot remember the last time we had a debate on craft, so this one is especially welcome, since the infrequency of such debates is sadly also indicative of a public perception about craft that is entirely at odds with the reality of the importance of this area, not least financially.

It is worth repeating the statistic that heritage craft alone contributed £4.4 billion GVA to the economy in 2012, which is about five times more than fishing, which contributed £862 million in 2023. Unlike the fishing industry, it receives no funding from government, while contemporary craft, which is funded through the Crafts Council, still receives nothing like the investment that is made in the fishing industry. I do not want to press this comparison too much, not least because some of the ancillary activities connected with fishing, such as net and withy pot making, are themselves crafts. We should be on the same side, but the Government need to think seriously about a more equitable distribution of direct investment, particularly as they rightly identify the creative sector as a growth area. While it is good that, through the spending review, heritage venues will be better supported—perhaps the Minister can say something about that—the overall cuts to DCMS funding are worrying and deeply disturbing.

I will concentrate the remainder of my remarks on the effects of Brexit on the craft sector. That effect is profound. Europe is the most significant trading partner for craft goods. However, Brexit is not behind us: as in all the creative industries, artists and artisans have to live with it daily. Most immediately, it makes us face enormous concerns over paperwork, costs and delays, but the exchange of ideas, tools, materials, teaching and training between the UK and the EU in the craft industry has all but stopped, including the display of work at European craft fairs and exhibitions. The shop window that such exhibitions afford, even when no work is sold, is hugely important in terms of initial cultural engagement as a precursor to trade. Will the Minister look at this?

Will the Minister consider expanding the list of eligible occupations in the creative sector to include heritage craft practitioners? This would enable knowledge exchange for residencies and collaborative projects under the PPE visa. Will she look at the huge challenges faced by journeymen and apprentices in such areas of itinerant work across Europe due to both Brexit and funding, which is either scarce or non-existent due to rigid eligibility criteria tied to fixed business premises?

Finally, I make a plea that the Government reinstate tax-free shopping for tourists, which would benefit both high-end fashion and craft goods. The Centre for Economics and Business Research found that its removal has deterred 2 million tourists a year from visiting the UK and is costing £10.7 billion in lost GDP, with much of that loss, of course, being the EU’s gain.