European Union: Visa-free Touring for Musicians
Lord Black of Brentwood Excerpts(3 years, 11 months ago)
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Baroness Barran (Con)
There were a number of drawbacks to the EU proposals, which did not meet the requirements of our sectors, as I mentioned; they covered only ad hoc performances, they were non-binding and did not address technical staff or work permits. Our door absolutely remains open to reviewing these points, but in the meantime we will do everything we can to support our sectors.
Lord Black of Brentwood (Con) [V]
My Lords, I declare my interest as chairman of the Royal College of Music. Will my noble friend acknowledge that the current impasse will have a profoundly damaging impact on UK students, who need to travel to progress their careers but, as they will not earn large fees at that stage of their lives, will find themselves priced out of the market because of expensive and complex visa requirements? As there seems to be political will on both sides to ensure that musicians can continue to work freely in Europe, do we not owe it to students, above all else, to get back to the negotiating table to sort this out?
Baroness Barran (Con)
My noble friend raises a very important point. There are two different issues here: on going back to the negotiating table, as I said to the noble Lord, Lord Clement-Jones, our door is absolutely open but, in the short term, understanding the picture for students and how we can support them is part of our work—if there are specifics my noble friend would like to share with me, I will endeavour to make sure that fellow Ministers are briefed on them.
Covid-19: Arts Sector
Lord Black of Brentwood Excerpts(4 years ago)
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Lord Black of Brentwood
To ask Her Majesty’s Government what steps they are taking (1) to support freelance workers in the arts sector during the COVID-19 pandemic, and (2) to ensure a return to live performances in that sector as soon as possible.
Lord Black of Brentwood (Con)
My Lords, I beg leave to ask the Question standing in my name on the Order Paper and declare my interest as chairman of the Royal College of Music.
The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Baroness Barran) (Con)
My Lords, the Government recognise the significant challenge that the current pandemic poses to our arts sector and to the many individuals, including freelances, working across it. We are working very hard to help freelancers in those sectors access support, including through the self-employment income support scheme and funding from Arts Council England.
Lord Black of Brentwood (Con)
My Lords, the Covid emergency has been a catastrophe for music and other parts of the creative economy, and in particular for the freelancers who make up 72% of those working in the performing and visual arts. Nearly four in five of them earn less than £30,000 per year and many are having to rely on universal credit. Can my noble friend tell us what steps are being taken to ensure that the support that the Government are giving to music and the arts, including the £165 million recently announced, will directly benefit freelancers, and when will freelancers have the security of a revised road map to return to live performances once restrictions are eased?
EU: British Musicians
Lord Black of Brentwood Excerpts(4 years, 6 months ago)
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Baroness Barran
I am sorry if I was not clear; I was aiming to refer specifically to those in the performing arts. There are not currently plans for a unilateral agreement. We are optimistic that we can reach an effective reciprocal agreement. We are not looking for a bespoke or unique deal. We are trying to build on existing free trade agreements and ensure that they are appropriate for our performing arts and wider service sectors.
Lord Black of Brentwood (Con)
My Lords, I declare my interest as chairman of the Royal College of Music. At the end of the transition period, new customs requirements will come into force which mean that musicians will be required to purchase an ATA carnet, costing up to £700. For many musicians who struggle financially at the best of times, let alone after the disaster of Covid, that is a big cost which many will not be able to afford. Will the Government either cover the cost of these carnets or include a cultural exemption for musical instruments, so that they are not required?
Baroness Barran
My noble friend is right that the carnet can be expensive, particularly for individual musicians. That is why we are trying to negotiate a reciprocal deal, which may mean that there are new processes that musicians will have to comply with. But we hope that they will be practical and workable for them.
Charitable and Voluntary Sector
Lord Black of Brentwood Excerpts(4 years, 7 months ago)
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Lord Black of Brentwood (Con)
My Lords, I declare my interests as a trustee of a number of charities. This virus is making us all appreciate what is really important to us. One thing that unites many of us is our love of our pets, which are especially important for many lonely and vulnerable people.
The main point I want to make is that our pets, along with the animal charities that care for them, have been impacted by the onslaught of Covid-19 and need support. These charities are doing all they can to help, through, for instance, short-term fostering of pets where owners, including key workers, need respite care when they have been affected by the virus and, crucially, supporting victims of domestic abuse.
However, the emergency presents huge challenges. First, it has reduced the ability of charities such as Cats Protection and the Dogs Trust to rehome stray, unwanted and abandoned animals. A recent survey of members of the Association of Dogs and Cats Homes found that nearly nine in 10 had ceased rehoming, at a time when increasing numbers of domestic animals are being abandoned. During the second week in April, Cats Protection admitted just 47 cats, compared with 690 in the same period last year.
Secondly, there is inevitably pressure on income, with nearly half of those same homes surveyed saying they do not have enough funds to operate for more than three months as a result of the closure of charity shops and an end to most fundraising events. One in five have so few funds they could close at any time.
Finally, as vets are rightly prioritising emergencies, there is limited access for other treatments, especially neutering. As we approach the kitten season, this will mean higher numbers of unwanted litters, placing ever greater burdens on charities that are already under huge funding pressure.
Will my noble friend ensure that animal charities, which are such an important part of civil society and so important to many vulnerable individuals, get the support they need and deserve during this crisis?
The Deputy Speaker
My Lords, I announce that the noble Baroness, Lady Pitkeathley, will shortly take over the Chair from me as Deputy Speaker. In the meantime, I call the noble Baroness, Lady Barker. Baroness Barker?
Since we do not appear to have been able to connect to the noble Baroness, Lady Barker, I call the noble Baroness, Lady Hayter of Kentish Town, and we can reverse the order of these two speakers.
Covid-19: Music Sector and Creative Economy
Lord Black of Brentwood Excerpts(4 years, 7 months ago)
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Lord Black of Brentwood
To ask Her Majesty’s Government what assessment they have made of the impact of COVID-19 on (1) the United Kingdom music sector, and (2) the creative economy.
Lord Black of Brentwood (Con)
My Lords, I beg leave to ask the Question standing in my name on the Order Paper, and in doing so I declare my interest as chairman of the Royal College of Music.
The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Baroness Barran) (Con)
My Lords, the Covid-19 pandemic presents a significant challenge to many of DCMS’s sectors, including, of course, music and the wider creative industries. The Government have announced unprecedented support for business and workers to protect them against the current economic emergency, including the Coronavirus Job Retention Scheme, £330 billion of government-backed guaranteed loans to support businesses, and the self-employed income support scheme. We are continuing to work very closely with partners across music and the creative industries to understand the impact of Covid-19 on their activities and to provide the necessary support.
Lord Black of Brentwood
I thank my noble friend for that Answer. Music, the bedrock of our creative economy, is in deep trouble. The virus has had a terrible impact on the sector, because music cannot exist without audiences and human contact, and both have disappeared along with the livelihoods of thousands of musicians. Is my noble friend aware that four in 10 creative organisations, where many hourly-paid musicians are employed, have seen their income drop by 100%? The truth is that the music business model is being destroyed as a result. As it becomes clear that mass gatherings are likely to be the last to be reintroduced after lockdown, and with many event cancellations having started in January, this will be a devastating lost year for the whole sector and so many individual artists. Does my noble friend agree that there must be an urgent sector-specific package of financial support for music and the arts, similar to the €50 billion programme in Germany, to ensure that the sector and all those who work in it survive the emergency?
Baroness Barran
My noble friend is right to highlight the huge challenges to cash flow for these sectors of our economy. The Government, as I said earlier, have focused on offering very broad support, and doing so at scale and at pace. My honourable friend the Minister for Digital and Culture is meeting representatives from the music industry and the wider creative industries on a weekly basis to understand individual impacts, gather the evidence and then see what we can do to support them on any issues that emerge from that.
Cairncross Review
Lord Black of Brentwood Excerpts(4 years, 10 months ago)
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Lord Black of Brentwood (Con)
My Lords, I declare my interest as deputy chairman of the Telegraph Media Group and my other media interests. I am also a member of the Select Committee on Democracy and Digital Technologies.
Dame Frances’s review was the first time that the Government acknowledged that the sustainability of our media is in jeopardy and that public policymakers needed to do something to help. Her report was welcomed across the industry because it identified practical steps to support the media on its path to fundamental change. The causes of the stress on the sector are straightforward. The news media faces brutal competition on two fronts. On one side are Google and Facebook—70% of UK online advertising spend now flows through this duopoly. This means that they take over £9 billion a year in digital ad revenues while the news media companies that create content for them earn only around £500 million. Then there is competition from the BBC, whose guaranteed £3.8 billion income produces a massive market distortion that makes it challenging to grow subscription businesses.
The Cairncross recommendations are a step in the right direction, but I have two points of concern. One is time: Cairncross was established in 2018, reported in early 2019 and the Government have only just responded at the start of 2020. Most of the recommendations have still to take practical effect. The grim truth is that help is needed now if many local newspapers are to survive while they bridge the gap between print legacy and digital future. My noble friend understands that. Will she tell us more about the timetable to implementation, particularly on the issue of VAT zero-rating for digital products, which could make a rapid difference to businesses building subscription models, and other financial measures, including tax reliefs, which will give time for the report’s structural measures to take effect?
My second concern is clarity. The Cairncross recommendations are just part of a plethora of other reviews, consultations and policy documents. We have the Furman review, initiatives from the Information Commissioner, reviews by the DCMS on brand safety and the supply chain, an investigation by the CMA, ongoing work from Ofcom, and the online harms White Paper. These are all important pieces of work, but there is real danger that we cannot see the wood for the trees. Too many initiatives from too many separate departments and organisations present a real risk that nothing will end up happening or that it will simply take too long.
Does my noble friend agree that the best way forward is to identify a handful of strategic issues where action to support the industry during its transformation can be taken speedily and preferably without the need for legislation, which will take far too long? I agree entirely with my noble friend Lord Wakeham that a consolidation review of ownership laws must be one of them.
There is speculation that my noble friend does not wish to continue in this role. She would be much missed. If she does move on, will she consider leaving a note in her desk for her successor saying simply, “The media needs your help. Many local newspapers face closure. Other publishers struggle to support high-quality journalism. There is no time to lose if we are to save our democracy. Please act now to help them”?
Brexit: Movement of People in the Cultural Sector (European Union Committee Report)
Lord Black of Brentwood Excerpts(5 years, 7 months ago)
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Lord Black of Brentwood (Con)
My Lords, I join other noble Lords in congratulating the noble Lord, Lord Jay, on securing a debate on an issue vital to the future of our creative industries. The report sets out comprehensively and compellingly the benefits of freedom of movement for the cultural sector, something it rightly describes as crucial, and the various ways that we can mitigate its disappearance if Brexit happens. It highlights many of the key issues the sector faces: for instance, the need to attract talent, the high rates of self-employment and freelance work alongside less than median salaries, and the often short-term—indeed, almost instantaneous—nature of the work. The report makes it clear that vital to finding a way through the huge issues that Brexit poses for the sector is for the Government to be flexible. That is spot on; flexibility is the key and the EU Select Committee is to be commended on a really important piece of work.
I declare an interest as the chairman of the Royal College of Music, and it is music that I wish to talk about today. Music matters, of course, for us as individuals, for the education of children, for the sort of society that we are and for our national identity. We do not need to rehearse those arguments today but in a post-Brexit world music also matters in hard economic terms, which we must have at the forefront of our minds when considering these policy issues. I will briefly highlight two of those which have already been touched on a little.
First, music is a remarkable engine of economic growth because it is absolutely fundamental to the success of the creative economy, which contributes so much to our gross national product, to jobs and to exports. The UK creative economy is worth £101 billion each year and makes up a growing 5% of our economy. More importantly, that growth is twice the rate of the economy as a whole, while the number of new jobs in the sector is growing at four times the rate of the rest of the UK workforce. One in 11 of all jobs depends on the sector and it is the UK music industry—worth £4.5 billion on its own, as we have heard—that powers this. If we undermine the music industry as a result of Brexit and an end to free movement, we imperil the whole of the UK’s creative economy.
Secondly, music is an essential part of our national identity and must play a central role as an instrument of the UK’s soft power in a post-Brexit world, a point also made to the Select Committee by those representing museums, among others. If we end up leaving the EU, our musical heritage and worldwide reputation for musical excellence must inevitably form one of the most secure engines for future prosperity. I do not need to underline to your Lordships how extraordinary our musical tradition is, having nurtured some of the greatest composers and performers in the world and forming a powerful musical inheritance and national identity. We are today one of the few net exporters of music worldwide: one in eight albums sold in Europe during 2017 was by a British artist, generating billions of pounds of exports. Music is not just an international calling card, which we will need in abundance if we are to make any sort of future outside the EU; it also brings us millions of overseas visitors. In 2017, over 12 million people journeyed here for musical events. If we undermine the music industry as a result of Brexit and an end to free movement, we undermine our soft power too.
Our globally dominant music industry is vital, not just as an industry on its own but as the engine for the wider creative economy. Who are the people who make up this profession? The vast majority are self-employed, freelance or portfolio musicians, many of whom struggle with low rates of pay and therefore rely on such things as the European health insurance card, and who often take jobs all over the world—but mainly in Europe—at very short notice. That is the key point.
The excellent report published just this month by the Incorporated Society of Musicians, to which we have heard reference, showed that 85% of those responding to a survey had visited the EU and EEA for work at least once a year, with 22% visiting more than 11 times a year, and more than a third spending at least a month in those countries. For many, work comes at little or short notice; their livelihoods depend on their ability to travel easily and cheaply around multiple countries for work in a short period of time. For all of them, freedom of movement is crucial to their work. Undermining freedom of movement without anything to ameliorate it will, let us be clear, undermine music.
As we have heard, even before we have left the European Union, the impact is already being felt by musicians, as the ISM survey mentioned. For almost two-thirds of those who took part, securing future work in the EU/EEA is now the biggest issue they face, with more than 10% reporting that offers of work have been withdrawn or cancelled, with Brexit given as a reason, as the noble Lord, Lord Jay, said. We have yet, of course, to leave. That is a shocking figure, with real human consequences, and we must always remember that.
As well as getting themselves across borders, the vast majority of musicians also have to worry about the transportation of their instruments. Musicians frequently perform in different countries on consecutive days, and getting their instruments and equipment across borders quickly and easily is vital to their work. It is just as important as the mobility of the music workforce, yet most musicians believe that as a result of Brexit and consequently an end to free movement, it will become much more complicated. Things will be even more problematic for someone who has a musical instrument on the list of products restricted under CITES, the Convention on International Trade in Endangered Species and Wild Fauna and Flora.
Brexit will wreak its damage on the cultural sector, as the impact goes two ways. It is also about musicians from the EU wanting to come and work here. We need musicians and talent from the EU to study, teach and perform; they add incredibly to the rich diversity of our musical life.
I am particularly concerned about the impact of Brexit on our great conservatoires, such as the Royal College of Music. I hope that the noble Lord, Lord Lipsey, will add his weight to this issue. We need EU students to enrich our music, not least because they start to learn at a very young age and become highly proficient in a range of musical instruments, particularly woodwind. That is vital for putting together the orchestral experience and learning, which is the bedrock of a conservatoire education. At the moment, about 20% of our students come from EU countries and we need their talent because it simply cannot be replicated elsewhere. Yet at the moment the future of EU students at conservatoires is uncertain because we have no idea of the fee and student loan regime for 2020 and beyond. When students come here, quite rightly they want to be able to work but it is not clear whether they will be able to do so because of visa restrictions.
We also have to think about the impact of an end to free movement on the recruitment of teaching staff and the talent drain it would trigger. At the Royal College of Music we have many professors from the EU, some of whom come in to teach just one day a week. For them, too, freedom of movement is vital to go about their work. Because they are here for such a short time, there is no way on earth they could ever meet the £30,000 minimum salary threshold.
The Select Committee looked at a number of possible ways forward to ameliorate the situation, but by far the most effective and practical would be the introduction of an EU-wide, multi-entry, short-term touring visa, with a reciprocal arrangement for EU citizens. As the report rightly notes, that would allow self-employed musicians to travel for short-term visits between the UK and the EU in a frictionless manner. I strongly support this proposal—not only would it make life easier for the thousands of musicians who need to travel to and from Europe for their livelihood, it would send out the signal that we are not closed for business as a cultural and artistic nation.
In various debates and Questions in this House over the last few months, I have argued that music in this country faces an existential crisis because of the appalling decline of music education in state schools. That is not a subject for today, but a botched Brexit, where we fail as a result of blind ideology to deal with these issues that are so important to our cultural life, our creative economy and thousands of musicians whose art enriches our life, will make that existential crisis twice as bad. Let us avoid that at all costs and do all we can through flexibility, agility and imagination in our immigration and visa control policies to ensure that the place of music, the arts and the UK’s creative powerhouse is valued, nurtured and supported.
Children and Young People: Digital Technology
Lord Black of Brentwood Excerpts(5 years, 11 months ago)
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Lord Black of Brentwood (Con)
My Lords, I join other noble Lords in congratulating the noble Baroness on securing this debate. Whenever we discuss this enormous issue, I am reminded of the words of Bismarck, who would no doubt have had a thing or two to say about recent events, who once said that people cannot create or divert the stream of time; they can only travel on it and steer with more or less experience and skill. For all of us in 2019, that stream of time is to be found in the transformative power of digital technology, which is sweeping all before it.
This awesome industrial revolution—for that is what it is—is having its greatest impact on young people. Every aspect of their lives and their careers is being shaped by it. A survey for Ofcom last year showed that one-fifth of young people aged 16 to 24 are so addicted to smartphones that they spend more than seven hours a day online, which is equivalent to more than two full 24-hour days per week. For a generation born at the millennium, smartphones are now an indispensable part of life.
We know what the damaging consequences of digital technology on the lives and well-being of young people can be. Social isolation, cyberbullying, radicalisation and an increased propensity to depression are all very real problems but, used properly, with comprehensive safeguards and with parents and teachers playing an active role in informing children about potential dangers, digital technology can be a fantastic enabler, with a central role to play in educating healthy, happy and well-informed students, making them more literate and developing critical thinking skills. Indeed, perhaps instead of focusing quite so much on the dangers of technology, those involved in the development of public policy should also understand the opportunities and benefits it provides, or we will risk restricting its positive impact on creativity, education and well-being.
One area which demonstrates this positive impact extremely well is music education, and here I declare my interest as chairman of the Royal College of Music. Studying music has a profoundly positive impact on young people. It increases cognitive ability, improves attainment in maths and English, boosts employability and helps maintain good physical and mental well-being. So learning music at school is absolutely crucial for the way that children develop, although, shockingly, too many people are currently denied that.
Where children are lucky enough to have access to music education, digital technology can assist extremely effectively, although I must underline that it is an enabler, not a substitute, for proper academic learning. The UK music industry is leading the way in developing the technology to support it and to ensure that a musical experience is accessible to all. Key to that is seeing digital devices as musical instruments, allowing teachers to involve everyone in a class.
One teacher I know from the Royal College of Music told me how he used technology in his classroom to enable a performance in public for every year 9 pupil in the school, playing Pachelbel’s “Canon” on iPads. That technology allows pupils to write and rehearse compositions, to provide context for film music, which allows them to see their compositions combined with film, and to learn new instruments at their own pace. Those are fantastic achievements and point the way to the future. A growing number of digital services and websites are being developed to deliver this essential support, including Tido, Charanga and the innovative daveconservatoire.org, which is used by 3 million people around the world and by schools on every continent.
Digital music technology, safely and intelligently deployed, enables all children to learn the vital skills of collaboration and public performance, and to practise discipline, self-direction and the development of an independent creative voice. Those skills are transferable across a whole range of activities and career choices later in life, which is why they are so important.
Of course, we must be alive to the dangers posed by digital technology. We must keep under review the case for greater regulatory safeguards, as we have heard in a number of speeches; ensure that parents and teachers play an active role in educating children on how to use technology as a balanced part of their lives; and make accessible and affordable high-quality educational resources available online—an area where government has a key role to play. If we do that, it is absolutely right that technology should now be at the heart of every child’s education. Our country’s creative economy and the future of music, which are very much in jeopardy, will be all the stronger for it.
Armistice Day: Centenary
Lord Black of Brentwood Excerpts(6 years, 1 month ago)
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Lord Black of Brentwood (Con)
My Lords, it has been a rare privilege during the last four years to take part in so many important debates in this House as we have commemorated the heroism and sacrifice of those who fell in the Great War. In particular, it was a privilege to lead one on the centenary of the Battle of Passchendaele and another commemorating the role of musicians, artists and poets who fell in the fighting—those special lives whose loss, in the words of Sir Hubert Parry, could never be made good.
It has also been my good fortune during these years to have been associated with the exemplary work of the Imperial War Museums, whose foundation I sit on and I declare an interest accordingly. In 2014, IWM London transformed its iconic atrium as part of a new, permanent First World War gallery, making use for the first time of the power of digital technology to engage new generations. This gallery is the richest and most comprehensive in the world, containing more than 1,300 objects, and in the first six months of opening it attracted an exceptional 1 million visitors—a figure which underlines the power of commemoration. Many millions more have visited since and taken part in some of the key events organised by the IWM, importantly including one on the vital role of women during the war. Its unique digital platform, “Lives of the First World War”, has engaged the public in a remarkable way by allowing them to contribute stories, building a digital memorial to the Great War. I hope that it helps those whom the noble Lord, Lord Clark of Windermere, talked about earlier as seeking a permanent memorial to their ancestors.
Throughout the centenary the IWM has also supported the work of 14-18 NOW, which has played its own energetic role in marking major national moments through the arts—not least through the memorable poppies tour, seen by over 4.3 million people. I pay a heartfelt tribute to both organisations and to the DCMS, which has so immaculately choreographed these last four years.
Today, as the commemorative events in this House draw to a close, I want to highlight a role played by a group which is so often overlooked but was absolutely vital to the waging of the conflict and to our ultimate victory. That is the animals who fought, were injured and died in the war, as my noble friend Lord Shrewsbury mentioned. Animals have been involved in warfare as long as men could ride a horse into battle or train a dog to attack, and they have served other purposes as well—as mascots to raise morale, and to provide companionship and comfort to those fighting. But the First World War presented the greatest challenge ever to face animals in the history of warfare, before or since, and that is why I want to remember them today.
The animals most profoundly affected were the horses that powered our cavalry. Remember that when the First World War broke out the entire British Army had just 80 motor vehicles. All other transportation of men, guns, ammunition, equipment, medicine, supplies and fuel relied on horse power and, with the mobilisation and expansion of the army, horses were required in unprecedented numbers. The British Expeditionary Force proceeded to France with 40,000 horses and mules, each one of which had to be hoisted aboard and into the holds of ships. Despite heroic efforts by the Army Veterinary Corps, for many the trauma of the journey was too much and many died during the crossing, in often terrible conditions.
Horses were then in action right from the opening shots of the war when, at Néry in France on 1 September 1914, every member of L Battery Royal Horse Artillery was either killed or wounded until the bitter end. The last cavalry charge of the war to end all wars was the charge of the 7th Dragoon Guards to capture the Dender crossings in Belgium as the clocks were striking 11 am on 11 November.
During those terrible years, horses did not just power the war, but provided vital companionship to our troops. As the author JM Brereton wrote in The Horse in War:
“On campaign, riding and reading the horse for months on end, sleeping in the open only a few yards behind the picket lines at night, and suffering the same privations, the soldier came to regard his horse as almost an extension of his entire being”.
During the war, more than a quarter of a million horses were lost on the Western Front alone. Only 58,000 were killed by enemy fire; the rest succumbed to exposure, disease and poison gas, despite the heroic efforts of the men in 1915 who, when that hideous gas first appeared, improvised gas masks for their beloved animals.
Both the Blue Cross and the RSPCA worked incredibly hard for animal welfare in every theatre of war, raising money at home to care for them and then tending to them at the front. These charities, which really came to public attention for the first time during the conflict, provided 180 horse ambulances, tented field hospitals, a convalescent depot and 13 hospitals in France to care for them. Some 2.6 million horses and mules were admitted to their care in France alone, an astonishing achievement. Then, as now, a great debt is owed to the charities that care so much for our animals.
Tragically, the Armistice did not always bring salvation for the horses that had served so valiantly. In many cases, they were destroyed rather than brought home. Perhaps worst of all was the fate that befell 20,000 war horses in Palestine. It was considered too expensive to bring them back here, and they were sold to Egypt where they were cruelly worked to death in quarries.
Of course, it was not just horses involved but other animals as well. In the desert campaign across the sands of the Middle East made famous by Lawrence of Arabia, camels were vital. During the heavy fighting on the advance to Jerusalem in the winter of 1917 alone, the British lost over 3,000 camels.
Important too was the role of dogs in the war. They performed an extraordinary number of military roles. As ambulance dogs, they sniffed out casualties on the battlefield when they were buried by debris. From 1916 they were increasingly used as messenger dogs and a special school to train them was formed at Shoeburyness in Essex. Some were sentry dogs, keeping guard duty on the horror of the Western Front. Others laid telephone wires and many served as mascots. Many of them, such as Pelorus Jack of the Royal Navy ship HMS “New Zealand”, also made good subjects for patriotic postcards, while others raised thousands of pounds for war charities. Bob at Liverpool, Prince at Crewe, and Cymro at Rhyl became well-known names.
Dogs were in high demand. Initially they came from homes in Battersea and elsewhere, but in time the War Office asked the public to send their dogs as gifts. In his excellent book on the subject, the historian Neil Storey records how one woman wrote a moving letter to accompany her dog when she sent it to war:
“I have given my husband and my sons, and now he too is required, I give you my dog”.
Our feathered friends, too, were brought into service. Canaries were used to detect poison gas but, most importantly, carrier pigeons were vital during the conflict in an age before any form of significant communication. The Emergency Pigeon Service was established to ensure a supply of pigeons to minesweepers, which were then able to send news about newly laid minefields to patrol boats. The same was true on the Western Front. During the Battle of Arras, two tanks with pigeons on board saw large bodies of Germans massing behind the hills. Within the hour, our artillery had received word of this via the pigeons and foiled the German counterattack.
Noble Lords would expect me to say a word or two about our feline friends, of course. Cats also played their part, not least in the rat-infested dugouts of the Western Front, where they did a great deal to keep down the rodent population. Often cats simply provided some companionship for our soldiers. Amid the death and despair of the front line, kittens and puppies helped to pierce the muddy gloom and were a welcome reminder of home. Cats, too, were popular mascots for ships in the Royal Navy. Many perished with their crew when ships went down, including Lyddite, the mascot on HMS “Shark” sunk in Jutland, and Togo, who went down with HMS “Irresistible” at the Dardanelles. Indeed, all animal life played its part in this terrible war.
Many of you will know or have visited the Animals in War Memorial in Park Lane, which was opened in 2004. It records the sacrifice of the hundreds of thousands of animals of all kinds who fell alongside our troops. At the conclusion of the inscription, we read movingly these words: “They had no choice”.
As we commemorate the heroism and bravery of the gallant who fought and died so that we might be free, please let us remember those who stood by them, who worked with them, who comforted them, but who had no voice or name, then or now. Let us give them that voice today, as we remember them too at the Armistice.
First World War: Empire and Commonwealth Troops
Lord Black of Brentwood Excerpts(6 years, 6 months ago)
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Lord Black of Brentwood (Con)
My Lords, we are all indebted to my noble friend Lord Lexden for initiating this debate. I have known him for more than 30 years, yet the enormous historical knowledge and insight which he brings to bear on the work of this House never ceases to amaze me. I declare an interest as a trustee of the Imperial War Museum Foundation.
Because of a family connection, I want to speak about the colossal contribution to the war of the Canadian people. In 1914, Canada was still a young country—just 47 years old—but it answered the call to arms with vigour. At the onset of war, its permanent armed forces numbered fewer than 4,000 people. By war’s end, 630,000 Canadians, an extraordinary figure in a population of just 8 million, had served as members of the Canadian Expeditionary Force. Some 172,000 were gassed or wounded and another 57,000 were killed in action or died of their wounds. Of particular note was the role played by the indigenous peoples of Canada. Almost one-third of First Nations people in Canada aged between 18 and 45 enlisted: a hugely impressive contribution, given the way in which so many had been treated in the past.
It is, of course, the Battle of Vimy Ridge in April 1917 which has come to characterise the heroism of Canadian troops during the Great War: the moment said by many to mark Canada’s coming of age. It was indeed a stunning Canadian victory, with all four fighting divisions of the CEF fighting together for the first time, at a place where more experienced British and French troops had suffered nothing but defeat. It was one of the most formidable positions on the front and the bravery of the soldiers secured the Canadians’ reputation as the shock troops of the British Empire. The troops took the seemingly impregnable ridge in just four days of fierce fighting and, with 10,000 dead, it was held until the end of the war, forcing the Germans into a retreat in the Arras sector from which they did not recover. Quite justly, Canadian Prime Minister Mackenzie King later said here in Parliament:
“History will look upon the battlegrounds of the Great War as the place of sacrifice. Among the number, no altar will be more conspicuous through the years than Vimy Ridge”.
Yet Vimy was just one of the tales of sacrifice and heroism by Canadian forces that punctuated the four years of the war. Let us also remember their role in the second Battle of Ypres in 1915, when they faced chlorine gas for the first time yet succeeded in stopping overwhelming German forces; the part they played at Passchendaele, when the 1st and 2nd Canadian Divisions succeeded in capturing the fateful village in a final action after months of brutal fighting. During the Battle of Hill 70, under the leadership of Lieutenant General Sir Arthur Currie, artillery was used to huge effect to destroy wave after wave of German attacks—a vital tactical achievement in support of the massive Fifth Army offensive in Flanders. Finally, there is the Canadians’ profoundly important role in the Hundred Days Offensive between August and November 1918 when, as my noble friend mentioned, 100,000 Canadian troops engaged elements of some 47 German divisions, one-quarter of their fighting strength.
Canada played its role in the war in the air and at sea as well. Hundreds of young Canadian men trained to become pilots in the British flying services, and by war’s end a quarter of all the pilots in the RAF were from Canada.
As my noble friend said, the intensely special position of the artists, musicians and poets who died in the War has been highlighted in a number of commemorative debates. It was, of course, a Canadian officer, Lieutenant Colonel John McCrae, who wrote one of the most famous and moving poems of the war, “In Flanders Fields”, in memory of a friend who died at the second Battle of Ypres. It concludes:
“Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields”.
The hundreds of thousands of Canadians, alongside countless others from across the Empire and Commonwealth, whose stories we have been privileged to hear today, did indeed hold the torch high, and through their sacrifice and courage helped us secure victory in November 1918. This House does well to remember them all today.