Covid-19: Cultural and Entertainment Sectors

Baroness Laing of Elderslie Excerpts

Tuesday 2nd March 2021 Commons Chamber

[Jo Stevens (Cardiff Central) (Lab)]

Madam Deputy Speaker, may I thank the other Madam Deputy Speaker and the Minister for their kind words? I also thank the very many Members and staff across the House who wished me well during my hospitalisation and recovery, and the wonderful NHS staff in Wales.

Let me turn to the business of the debate. It is the eve of the Budget, and it is right that we debate the severe problems facing one of the UK’s most important economic sectors. Our cultural and entertainment sector is globally renowned and economically critical. It showcases innovation and creativity; develops specialist knowledge, skills and jobs; drives opportunity, significant inbound tourism and economic regeneration; and, as we know, improves our health and wellbeing. The Opposition believe that our cultural sector is integral to our national recovery from this crisis, and that it also has a key role to play in shaping the kind of society that we want to see in the future. But to do that, the jobs, skills and talent need to survive and be supported.

In the most recent Department for Digital, Culture, Media and Sport annual report, the Secretary of State talks about preserving our cultural heritage, but our culture is not something to be preserved in aspic. Instead, it is a sector that is built on people and their dynamic connections with one another. It is this misunderstanding that lies behind the lack of appropriate provision to support the brilliant professionals in the sector, hundreds of thousands of whom have fallen through the gaps because of the Chancellor’s rigid criteria for support and his complete refusal, despite numerous requests, to provide financial help to those he has excluded and who have become known as “the excluded”. There are more than 3 million such people, and many of them are in the cultural sector.

During this fast-moving pandemic, there has been a great deal of sympathy for the Government having to react quickly to events, but we are almost a year on from the first lockdown and the refusal to help people in the cultural sector can only be seen as a choice—a choice to ignore them for an entire year. We know from the decisions taken in Wales that it did not have to be that way. The Welsh Labour Government’s freelancer fund has already supported thousands of freelancers in three phases of support.

The Opposition believe in fairness and equitable access to support during the pandemic and that no one should be excluded because they are engaged to work outside of permanent employment contracts. The rich patchwork of creative talent in this country is built on freelancers—people who work across different projects or genres, and it is that cross-pollination of ideas that makes it so rich. But because they do not fit the Chancellor’s model, this Government have excluded them from support, even speaking about those in the cultural and creative sectors as if they were people exercising their hobbies rather than world-class skills.

Tomorrow, nearly a year after the start of the first lockdown, the Chancellor has another opportunity to right that wrong and level the playing field. We have heard today about the topping up of the pot for theatres, but people who work in theatres still do not know how long they can be furloughed for. Self-employed people have no idea what level their next grant will be. Freelancers have still been left out of support altogether, as I have described. The industry faces a VAT cliff edge at the end of the month, and none of that needed to wait until tomorrow’s Budget: it should have been clarified by the Government weeks ago.

At least 55,000 culture jobs have already gone—nearly a third of the arts element of the workforce—and two thirds of people who have lost their jobs in this sector have already decided that they cannot risk returning to it, meaning that those skills and talents are lost to our economy. The Government should be going out of their way to save those jobs, but we have heard virtually nothing about those jobs from either DCMS or the Government as a whole. Is that indifference or incompetence? I know what the cultural sector’s verdict is.

Last July, we welcomed the announcement of the culture recovery fund but, as I said at the time, it came too late for some people and organisations. The distribution of the fund was delayed, characterised by slowness when the need was immediate, and it has still not reached some of the places where it is required. The criteria are rigid, and its hallmark is to protect institutions rather than jobs. It could have been designed in a much better way, to provide protection for people’s livelihoods, had there been a proper understanding by Government of the ecology of how employment works in this sector. The top-up announced in the press release last night still does not address those problems and it does not say when the money will be distributed.

I also hope that the Chancellor will tomorrow heed Labour’s call to continue the VAT rate of 5% on tickets. That scheme could not be used by many in the cultural sector because the restrictions meant closure and, in the short periods outside lockdown, there simply was not enough time while open to be able to sell any tickets. We need to see an extension of the reduced rate, so that venues and festivals can start to benefit from the scheme and the public can be incentivised to buy tickets.

The VAT issue is another example of the Government’s lack of understanding of the day-to-day realities of the pandemic for our cultural venues. That was never more apparent than in the run-up to last Christmas, when the Secretary of State was busy encouraging theatres to put on pantomimes, while at the same time knowing that the Scientific Advisory Group for Emergencies advice and data suggested that cases were rising to such an extent that theatres would inevitably have to close. Even the retired Conservative peer Lord Lloyd Webber spoke of his frustration with the incompetent handling of reopening dates.

The sector has been hugely sympathetic to the difficulties facing the Government, but that sympathy is now wearing thin. We see Ministers spending their time feigning concern for statues, rather than figuring out how this resilient and dynamic sector can be best supported through this crisis. The thinly veiled threats to museums and galleries and the attempts to bully independent cultural organisations packed with national expertise that rely on Government funding show where the Government’s priorities for our cultural sector really lie. No matter that the sector was the fastest growing ahead of the pandemic, no matter that the role of arts and culture in social prescribing and education delivers huge returns on investment and no matter the potential for brand GB from our biggest exports—this Government’s priority is stoking a culture war, rather than championing our world-class cultural sector. There are other problems of the Government’s own making that the pandemic has masked. The broken promise on post-Brexit touring by performers has already been laid bare for its failures.

Labour strongly believes in the artistic and creative life of this country not only as a powerful driver of economic growth but as a part of who we are as a nation. There is a reason why so many people still talk about the 2012 Olympic opening ceremony as a great national moment. Not only did it display some of our finest talent; it allowed us to celebrate our history in all its complexities and contradictions, and to do so with a good dose of self-deprecation and some laughs at our own expense. But this Government do not get that. They do not get what it is to be British in the 21st century. They see the world in black and white and we know that this is not how many of us live. The fact is that our arts and culture allow us to examine that—to ask questions, to respectfully disagree, to challenge each other and to find common ground.

There is no doubt that the last year has been one of the hardest in living memory. The work of nurses, doctors, carers, scientists and many more people is rightly at the forefront of our minds when we think about recovery, but to me national recovery—our national recovery—is something greater and wider. This national trauma has caused a huge rupture in the fabric of everybody’s lives. We have lost family, friends, colleagues. We have lost opportunities and missed out on key milestones of our lives. We have had to Zoom watch funerals, unable to properly say goodbye. We have had to send cards for weddings we would rather have travelled across the world to be at. We have all put things on hold. When we are safe and when we still need to grieve collectively, we will do that and move on together.

The cultural sector is not one that typically asks for Government support. Instead, a series of Conservative Governments have reduced public funding and made many theatres and arts organisations radically change so that they rely solely on ticket sales and outside sponsorship. Therefore, when the pandemic hit, this left them utterly vulnerable. Tomorrow, the Chancellor needs to give our world-leading creatives the support they need to get on and create. Can I say this to him? That does not simply mean employing them to make his own promotional videos. It means addressing all those problems with the culture recovery fund and, specifically, a whole year on from when it should have been done, providing support for those whom the Government have deliberately excluded. Our cultural sector is not just a huge and vital part of our economy. For many people, it is what makes life worth living.

[Madam Deputy Speaker (Dame Eleanor Laing)]

It is very good to see the hon. Lady back at the Dispatch Box and fully back to health, and we all wish her well.

--- Later in debate ---

[John Nicolson (Ochil and South Perthshire) (SNP) [V]]

I also welcome the hon. Member for Cardiff Central (Jo Stevens) back to her place. It is very good to see her.

One year ago, the pandemic changed our world. Lockdown came and, as we found ourselves forced inside and away from our friends and families, many found comfort in the arts and culture. In the past year, every hon. and right hon. Member of this House will have, I am sure, searched for escape in a book, lifted their spirits with music, or distracted themselves with film. A world without literature, music or cinema would be intolerable and a lockdown without the arts would have been even grimmer than it has been.

As we continue to weather the crisis, culture still plays a significant role in getting us through the day. The artist has in many ways been an essential worker and one too often overlooked by the UK Government. One of the groups struggling with the impact of covid-19 is the freelance sector. A survey of Equity members found that 40% have not received help from the self-employed income support scheme. Various loopholes have left many out in the cold, unable, due to technicalities, to qualify for UK Government schemes.

That injustice has meant that many creative professionals have had to apply for universal credit, with many more considering leaving the culture sector altogether. In pre-covid times, the cultural and entertainment sector not only brought huge benefits to the economy, but gave the countries of the UK international acclaim. It is vital that we ensure that every one of those workers comes back into the industry, so that whenever the pandemic is over the sector thrives again. In the Budget tomorrow, the Chancellor must protect these essential workers and ensure that they no longer fall through the cracks. He must go further by guaranteeing them the backdated support they deserve.

Let us look at musicians as one key group. They are facing long-term worries about the viability of their industry. They are fighting on three fronts. In the last five years, the market for recorded music has shifted towards streaming. Opaque deals cut by the big record labels and the streaming model mean that most no longer have a viable stream of income from recording. The result is that they are almost completely reliant on live performance. Live performances in the Brexit age, a world of limitless opportunity—well, hardly, because the UK Government rejected the EU’s proposed artists’ deal. Musicians have now been landed with the very hardest of Brexits.

The Minister, appearing before the Select Committee, recently looked surprised to discover that a single one-night visa for a UK performer in Spain now costs €600. It is €500 in Italy. When covid lockdown ends, none but the wealthiest musicians will be able to perform across much of Europe. That means the end of orchestral tours. The Minister confirmed to us that no talks are ongoing to resolve this looming Brexit reality. Once again, jobs are being wilfully sacrificed for anti-free movement zealotry. The chaos visited on musicians impacts not just them but their support crews, technicians and haulage companies, all of whom will lose out on work to cheaper European alternatives. Put yourself in the shoes of one of these musicians, with no money coming in from record sales or European tours, the only saving grace being the upcoming domestic festival season—a season once again cancelled. The UK Government had the opportunity to underwrite insurance for festivals but decided not to. Glastonbury was one of the first to cancel. Musicians and their support staff did not get into this business for money but for a love of their craft. They have never asked for much from their Government, but they surely have the right to expect that their Government do not actively work against them.

Musicians, rightly, have received much publicity, but another sector that has been forgotten by the Government is advertising-funded media and entertainment. Local commercial radio stations have provided trustworthy news and a friendly voice for those living alone, but they have seen their revenues plummet. The drop in advertising revenue has also been a major problem for local papers. Some have had to shut their doors after decades of dedicated service to their community. That is why we on the SNP Benches backed a tax credit for the advertising-funded media sector, and I call again on the UK Government and the Chancellor, in particular, to listen and act.

In the time available, I cannot name-check every cultural and entertainment sector damaged by this pandemic and threatened by Brexit, crying out for help, but all are asking that this House hears one overriding message that is vital for their long-term recovery. Just because an industry limps on, it does not mean that the wounds dealt by the pandemic have healed. The Government must offer and maintain their support in the years to come.

The arts and culture communities the length and breadth of these islands eagerly await the Chancellor’s Budget tomorrow. Artists deserve more from the UK Government and I hope that he has been listening and will deliver, but I am not holding my breath. Westminster seems very distant, remote and unresponsive to the sector’s concerns.

The Canongate wall of the Scottish Parliament is covered with quotations from writers from across Scotland and from the length of its history. I will close with one of those quotes by Sir Walter Scott:

“When we had a king, and a chancellor, and parliament-men o’ our ain, we could aye peeble them wi’ stanes when they werena gude bairns—But naebody’s nails can reach the length o’ Lunnon.”

Let us hope I am wrong.

[Madam Deputy Speaker (Dame Eleanor Laing)]

Although this is clearly on the Annunciator and the screens that people have in front of them, I reiterate that there will be a limit of three minutes on Back-Bench speeches.

--- Later in debate ---

[Dame Margaret Hodge (Barking) (Lab) [V]]

I am proud to declare an interest—not a financial one, but a passionate one. I chair Theatre Royal Stratford East, the erstwhile home of Joan Littlewood renowned for “Oh, What a Lovely War!”, “Things Ain’t What They Used To Be” and “A Taste of Honey”. I am immensely proud of our success in regaining our historic reputation for excellence and radicalism under the leadership of Nadia Fall, a hugely talented artistic director of Asian heritage, and her team of mainly women theatre makers.

We were on a roll, culminating in receiving an Olivier award for staging Britain’s “Noye’s Fludde”, which involved east end children performing alongside ENO singers. Our mission to create excellent shows and reflect the diversity of our community in everything that we do makes our contribution unique. Then covid erupted and the curtain fell.

Theatres have proved resilient and innovative. We produced an outdoor show called “846”, our response to George Floyd’s death. National Theatre Live has been enjoyed by vast audiences at home. The Kiln’s food programme provides fresh hot meals for hundreds. Battersea Arts Centre delivered digital activity and encouraged young people to keep writing.

Government support has focused too much on buildings, not on people. Life for freelancers, the lifeblood of our theatre, has been grim. We used to employ nearly 200 freelancers annually. This year, it is 75, and mostly on very small projects. With no Government support, freelance actors, directors and designers are walking away, retraining to ensure a secure living. We are haemorrhaging creative talent, most of whom started in the subsidised theatre. Public investment in people led to creative wealth for the nation. Think of Sunday’s Golden Globe Awards: Daniel Kaluuya, who first performed at the Royal Court; John Boyega, who began at Theatre Peckham. Think of Phoebe Waller-Bridge who started at the Soho; James Graham, playwright at Finborough Theatre; Michaela Coel who went from The Yard to critical acclaim on Channel Four. All are big commercial successes today. All are contributing to our vital creative economy, the vibrancy of our city centres and lifting our spirits. They are part of a massively successful ecosystem. Public investment in them drives both commercial success and the quest for diversity and equality. Yet young black and Asian creatives, women and those with disabilities are leaving theatre in droves. Nobody wants theatre to return to being a club for the elite and the well-connected. Investment in people, in the talent of tomorrow, must be our key ask today and only then will the arts bounce back strongly.

[Madam Deputy Speaker (Dame Eleanor Laing)]

I well remember the right hon. Lady’s theatre and its excellent director who happened to be my namesake.

--- Later in debate ---

[Mrs Natalie Elphicke (Dover) (Con) [V]]

I am pleased to have the opportunity to speak in this debate. Dover and Deal is an area steeped in culture and brimming with entertainment; whether for a day, week or month, or throughout the course of a year, there is so much to see and enjoy in our white cliffs country. Our role as guardian of the nation means that we have been involved in some of the world’s defining events, from the rise of the Roman empire to Nelson’s Deal, key battles in world war two and, more recently, being on the frontline of the exit from the European Union.

As such, our two most iconic pieces of history are Dover castle and the world-famous white cliffs. Dover castle is rightly one of the top attractions in the country, and a few miles on we have Deal castle, Walmer castle, with its eight acres of award-winning gardens, as well as Crabble corn mill, the most complete working example of a Georgian water mill in Europe. The mill is one of the many local ventures to have received financial support from the Government’s cultural recovery fund, a fund that has paid out more than £300,000 in my constituency and has been a lifeline for some of our most loved cultural organisations and heritage sites.

However, Dover and Deal is so much more than its cultural heritage, enviable though that unquestionably is. We are ambitious to make our cultural heritage the foundation stone from which we build our culture and entertainment future, for Dover and Deal are also home to leading galleries, artists, potters and live music venues. It is an area rich in the performing arts, with the Astor theatre, the Dover film festival, the Deal music and arts festival, the showcase annual Deal Marines remembrance concert, the Lighthouse music and arts pub and so much more besides. We are planning for the future, through Dover’s bid for the future high streets fund. This further investment would allow us to bring together varied cultural and creative offerings in Dover with a brand new arts and creative centre.

That brings me to my call for a permanent recognition for Dame Vera Lynn. There may be no bluebirds in Dover, but there will always be Vera Lynn in Dover’s heart and its musical soul. She truly encapsulates the enduring importance of entertainment and the cultural arts. It is only right that her contribution to the arts and the nation is given the recognition it deserves, and I am supporting the important campaign for this lasting legacy to her in the white cliffs country.

[Madam Deputy Speaker (Dame Eleanor Laing)]

What a good idea.