European Union (Withdrawal) Bill

Debate between Earl of Clancarty and Baroness Bonham-Carter of Yarnbury

Committee: 7th sitting (Hansard): House of Lords
Wednesday 14th March 2018 Lords Chamber

[The Earl of Clancarty (CB)]

My Lords, I strongly support the amendment in the name of the noble Lord, Lord Puttnam, spoken to so ably by the noble Lord, Lord Stevenson, as well as the amendment in the name of the noble Lord, Lord Wigley. Both noble Lords have set out very well why the creative industries are hugely important for the country, economically and in terms of soft power—and, I would add, in the potential growth of employment in the sector, not just in London but across the whole country, particularly in the area of creative tech.

As has been explained, the sector now faces many serious concerns in the light of Brexit. I will highlight just one: the mobility of the workforce. This concern runs like a thread through the briefings I have received. It is one that affects many who work in the arts and in creative industries, including those who run their own small business. This is not just about creatives coming into the UK but about British artists and creatives journeying into Europe—a direction that is to some extent being overlooked. Europe, as the noble Lord, Lord Puttnam, has said, accounts for 45% of the market.

The potential loss of free movement is the greatest concern of many of the arts, and prompted the #FreeMoveCreate campaign to be set up last year by fine artists and musicians, namely the Artists Information Company and the Incorporated Society of Musicians, but joined now by a wide membership that includes the Creative Industries Federation and the British Fashion Council. That campaign has been gathering data from the industry, specifically about present patterns of movement, which will help the Government to understand precisely the extent of this concern.

The creative industries are naturally collaborative and internationalist in outlook. They are unlike the traditional industries in one key respect: people themselves are an essential aspect of the product. Whether we are talking about artists, musicians, fashion designers, creatives in film and television or creative tech, including video games and advertising, it is absolutely essential that the British creative industries have physical access to the rest of Europe. Free movement of personnel, more than in any other industry—43% of those in the creative industries are self-employed, rising to 90% for musicians—is a crucial element of the creative and, indeed, digital industries as a whole.

It cannot be overestimated how much that movement must be free. Flexibility and the need for rapid response are key aspects of the creative industries, with British musicians, dancers and fashion models, for example, often needed immediately on the spot, a plane’s flight away. Ad hoc visits with work found and taken up abroad are also hugely significant, particularly for the self-employed. As #FreeMoveCreate says, the time taken to secure a visa is lost work, and if every three months, for example, an artist had to turn down a performance or an exhibition to secure an ongoing visa permission, that could cause a major loss in income, or indeed the loss of a project.

Artists and creatives make multiple journeys abroad, move while in Europe and often individually work on many projects. Multiple visas, work permits and tax forms will not be a solution. Have the Government looked carefully at the effect of Brexit on the self-employed, who will often work for many different larger organisations or clients abroad? At present it is simple: their EU passport is their work permit, with the only thing required being their A1 certificate demonstrating the payment of national insurance contributions. Any kind of delay or paperwork additional to what is normal within the EU could kill this work, since UK workers will be immediately at a disadvantage.

The allied concern is that of the movement of equipment, including instruments, sets, costumes and much else, which has to be transported across borders as quickly as it is now without red tape. Finally, we are not necessarily talking about short periods of time abroad. As an example, a placement with an orchestra could last for years.

The recent House of Commons DCMS committee report on the potential impact of Brexit on the creative industries makes the recommendation that,

“the Government should seek to retain free movement of people during any transitional period after the UK formally ceases to be a member of the EU … If the visa system is to change subsequently, an intensive and detailed process of consultation with all those affected will need to begin as soon as possible”.

I hope that the Government are taking very careful note of this, alongside the many other recommendations in that report.

[Baroness Bonham-Carter of Yarnbury (LD)]

My Lords, I rise to add my support to the amendment in the name of the noble Lord, Lord Puttnam, and wish him a speedy recovery. I also speak to the amendment in the name of the noble Lord, Lord Wigley. May I add my thanks for the way in which recent Governments of all hues have got the point of the creative industries and their importance? In my case, it was the late Matthew Evans, Lord Evans of Temple Guiting, who was a Labour Government Minister when I first entered this House. He encouraged me to support and put down debates and Questions on the creative industries—something that I duly did and continue to do. I also add my appreciation for everything that the noble Baroness, Lady Jowell, and the right honourable Ed Vaizey have done to support the sector.

However, their good work and prescient strategy now risk unravelling. To get to the substantive point of Amendment 146, without some form of reciprocal agreement with the remaining EU member states, our creative and cultural sectors will, as the noble Lord, Lord Puttnam, has said, suffer terrible economic and cultural damage. It is absolutely essential that, as well as being at the heart of the Government’s industrial strategy—which they are—the creative industries are at the top table of Brexit negotiations.

As the noble Earl, Lord Clancarty, and the noble Lord, Lord Puttnam, have said, many things are crucial to the continuing success of the creative industries—country of origin, IP legislation and collaboration, portability and funding. For example, the British Film Institute distributes around £50 million per annum in lottery funds, but Creative Europe contributes a further £13 million, which would potentially go. Another crucial issue is freedom of movement, which is access not just to international talent, as others have said, but to much-needed skills. Also crucial are the ability for touring performers to cross borders with minimum red tape; design law; and protection from the EU’s cultural exception rules.

Supporting this vital, vibrant sector is of paramount importance to our economy, to our country’s sense of itself and to our place in the world. Our rich history of cultural exchange must be maintained within Europe. Unless the interests of the creative industries are protected, leaving Europe will be a disaster for a jewel in the crown of our nation. I hope the Minister will accept the amendment.

Cultural Property (Armed Conflicts) Bill [HL]

Debate between Earl of Clancarty and Baroness Bonham-Carter of Yarnbury

Tuesday 28th June 2016 Lords Chamber

[The Earl of Clancarty]

My Lords, I shall speak to Amendment 18 in this group, and I thank the noble Lord, Lord Redesdale, and the noble Baroness, Lady Bonham-Carter, for their support for this amendment.

I am attacking the problem from the other end to the noble Lord, Lord Collins. The purpose of the amendment is to remove the long-standing culture of secrecy in the art and antiques trade in the UK, which is a hindrance to the protection of cultural property. London is the second-biggest antiquities market in the world and is perhaps the biggest for Islamic objects. Last year, UNESCO stated that looting in the Middle East is operating on an industrial scale. We know that there is significant illegal trade in London in antiquities from the Middle East from considerable anecdotal evidence and from undercover research, such as that carried out for the excellent Channel 4 “Dispatches” programme, to which the noble Baroness, Lady Bonham-Carter, referred at Second Reading, in which Dick Ellis, the founder and former head of the Metropolitan Police art and antiques Unit, which the noble Baroness, Lady Berridge, and the noble Lord, Lord Howarth, referred to earlier, said that the current three-person team of that unit is simply not large enough to deal with the problem.

I say at the outset that the antiques trade and auction houses do an important job. I am not against the trade, which according to the British Art Market Federation’s website, was worth £9 billion in 2014. Indeed, I am one of a large number of people up and down the country who have bought items at auction, of whatever value. However, the convention of maintaining the secrecy of both sellers and buyers is wrong, and runs counter to everything that art historians and archaeologists try to do, which is to build a historical record and discover the provenance of an object. It is worth saying that the major part of the meaning of cultural property lies in its provenance, often as part of that property’s original environment. Where art historians, experts in ancient manuscripts and other experts try to lift the lid on history, the art and antiques trade obfuscates. Auction houses sometimes provide provenance—sometimes whole auctions will be dedicated to the sale of items owned by a particular celebrity collector, for example. However, the auction houses do this selectively when it suits them, when it is clear that it gives a sale a particular cachet; it is not the general rule.

To peg this amendment to the Bill, it is rightly framed in terms of looted property, but there are other reasons to have the amendment. There is the protection of our own cultural property to consider, whether or not it is looted, and we should not be complacent about that protection. I stand corrected by the Minister when she said at Second Reading that there had been one prosecution under the Dealing in Cultural Objects (Offences) Act 2003—just one, it has to be added, in the last 13 years. My substantive point, which was that there had been no prosecutions for looting in the Middle East—the purpose for which the Act was set up in the first place—still holds. The one prosecution, which happened in the last few weeks, is of someone who stole religious artefacts from churches in the UK. Nevertheless, this is instructive in itself, since to make this looting worth while there have to be buyers for such stolen property.

The art and antiques trade of course says that it is doing what it can to tighten up checks on provenance internally and adheres to its voluntary code of due diligence, but that is not good enough—we need transparency. We expect transparency in so many other walks of life, and we should expect it in the dealing of cultural objects. This brings me to the third good reason for this amendment, which is simply that it is an issue of consumers’ rights. Thinking in particular about the possibility of introducing object passports, I do not see why, if in the instance of buying a car we have the right to know its history and previous owners, and have a logbook as proof of that, we do not grant the same rights for the purchase of an artefact above a certain market value. What is it about being a seller or a buyer that is so shameful that one cannot be revealed to the other, let alone to the rest of the public? When I have bought something at an auction, or even wanted to, what I want to hear from the auction house if I ask them for information on the item is not, “Oh, we can’t tell you who the seller is, sir, we have to protect their confidentiality”, but “We will absolutely provide you with as much information as possible about the object’s history”. Until we have a culture of openness, one that will allow the object to be tracked back from the current buyer, however that purchase is made—of course many purchases are now made online—we have an unhelpfully secretive art and antiques market that breaks the links of the historical record for the object at every transaction in its history.

[Baroness Bonham-Carter of Yarnbury (LD)]

My Lords, I support not only the amendment but all the words of the noble Earl, Lord Clancarty. In fact, many of the things I was going to say he has already said.

The looted treasure that the likes of Daesh are acquiring is funding terrorism. As we know, the antiquities industry runs on trust, which cannot always be right. As well as the Channel 4 programme that the noble Earl and I both watched, I read a Guardian investigation. Every time its undercover buyer, who is actually an archaeologist of Iraqi origin,

“zones in on something that seems likely to be from an area now controlled by Isis, the dealer … grows vague about the item’s origin”.

Another suggests that a small statue from either Iraq or Syria,

“was bought at an auction. There is never any paperwork”.

This cannot be right.

The amendment seeks to make the antiquities trade and auction houses transparent about the background to the items that they are selling, to contribute to tackling this illegal trade in combating the source of funding for those who bring terror to our shores. I echo what the noble Baroness, Lady Berridge, and the noble Lord, Lord Howarth, have been saying throughout the afternoon about the need for resources for policing. If the amendment is to be successful, there need to be more than three policemen following up on this terrible trade.