Young People: Democratic Participation

Lord Storey Excerpts

Thursday 24th October 2013 Lords Chamber

Asked by

[Lord Storey]

To ask Her Majesty’s Government how they will ensure that young people acquire a practical understanding and awareness of how the United Kingdom is governed, its political systems, and how citizens may actively participate in its democratic systems of government.

[Baroness Northover (LD)]

My Lords, the new national curriculum for teaching from 2014 includes an improved programme of study for citizenship education at key stages 3 and 4. It is organised around core knowledge about democracy, government and how laws are made and upheld. Citizenship education seeks to equip students with the skills and knowledge to explore political and social issues, and to take their place in society as responsible citizens.

[Lord Storey (LD)]

I am grateful for my noble friend’s response. She may be aware that various youth democracy groups such as the British Youth Council, Operation Black Vote and Bite the Ballot are organising for next year’s National Voter Registration Day. How will the Government support and promote this initiative?

[Baroness Northover]

I thank my noble friend for his question. We are very supportive of that initiative. Citizenship education, too, should help to underpin students’ interest in how our democracy works.

Arts: Contribution to Education, Health and Emotional Well-being

Lord Storey Excerpts

Thursday 25th July 2013 Lords Chamber

[Lord Storey]

My Lords, I, too, thank the noble Baroness, Lady Jones, for securing this debate and for her important contribution.

I want to look at children in schools and in particular at how disadvantaged children can access the arts. The great and the good can go to the opera, visit art galleries and hear symphony orchestras, but how do we make sure that children living in abject poverty on council estates also have the joy and benefits of the arts?

Before I develop that theme, I have a message for Mr Gove. The attainment in maths and English of students who engage in the arts improves, particularly in the case of children from low-income families. I will give two examples from my own city of Liverpool. The first is in West Everton, which is one of the poorest, most deprived communities in the country. There is a project there where every primary school child—not just some, every single primary school child—learns a musical instrument. They form an orchestra, which has performed within the community, with the Royal Liverpool Philharmonic Orchestra and here at the Royal Festival Hall, and when they leave their primary school a second orchestra is formed at secondary school level. That has been hugely significant for those young people.

My second example came from Liverpool being the European Capital of Culture in 2008. A programme was set up called Creative Communities. Ordinary communities could bid for and secure grants for arts projects. We are talking not about arts organisations but about individuals within the community, or groups of individuals, securing grants. One school for 11 to 16 year-olds in one of the most deprived parts of inner-city Liverpool, with high truancy and absenteeism rates, problems with drugs and very low attainment, applied for a grant to make a film. It secured a £20,000 grant, and a film producer worked with those young people. They made the film, and I remember going to the opening night; they were all in black tie, with a red carpet and all the rest of it. That project was life-changing for those young people, and I mean life-changing. When they had finished working with that film producer and put on the premiere night of the film, they wanted to carry on with what they had been doing. The school was for 11 to 16 year-olds, but they wanted to do A-levels, so the drama teacher, who was called Miss Jones, continued to work with them on Saturday mornings. Of that group of 12 children, two went on to be teachers. Truancy and absenteeism at the school decreased and results improved. Arts really can inspire young people. Projects like Kids in Museums and Shakespeare in schools are hugely important.

I want to mention one final point in my allotted four minutes. I am terribly impressed by how the Arts Council’s Artsmark has encouraged schools to focus not only on visual arts but on performing arts. Over the past four years we have seen a 44% increase in the number of schools recognising the importance of applying for an Artsmark, be it bronze, silver or gold. Does the Minister have any information on how we can encourage that Arts Council programme to continue?

Tourism: Music

Lord Storey Excerpts

Thursday 11th July 2013 Lords Chamber

Asked by

[Lord Storey]

To ask Her Majesty’s Government what plans they have to support and promote the impact of music upon tourism.

[Lord Storey]

My Lords, I was tempted—and have decided to do so—to start this debate on music tourism by saying, “Yeah, yeah, yeah”. As we know, in recent decades our music industry has moved from strength to strength. Indeed, we can hardly ignore the explosion of music events, be it classical, dance, folk, jazz, metal, pop or rock; we are spoilt for choice. The world-famous Glastonbury festival, which just hosted an astonishing 120,000 festival goers this year, is but one of hundreds that are now a regular occurrence up and down the land, from the Isle of Wight festival on the south coast to T in the Park in the Scottish Highlands. Festivals undoubtedly play an essential role in local and regional economies. I can speak for Liverpool and comment on the impact that music has historically made upon her tourist economy, but, of course, the same applies to exotic lands further afield, notably, the flourishing St Lucia jazz festival.

As I mentioned, this year’s Glastonbury festival was fantastically successful. It is too soon to gauge the full economic impact, but the last detailed economic assessment in 2007 reported direct spending of £73 million, with 23% going directly into Mendip’s local economy. As well as money pouring into local economies, festivals are attracting unprecedented numbers of overseas visitors. It may interest noble Lords to know that Brazilians are the most active in this regard, followed by New Zealanders and Norwegians. Research undertaken by UK Music shows that international music tourists attending large-scale music events contribute at least £247 million to the UK economy. I look forward to reading its new report, which is due to be published next month, as it will reveal how many people attend live music concerts and festivals each year. Specifically, we will learn what proportion of live music audiences are comprised of music tourists as opposed to the local population, as well as how much this spending benefits the regional and national economies and employment.

It is important to place music tourism in its international context so that we can learn how further to bolster and improve this country as a music destination. Is it any wonder that two of the top five international music festivals take place in the UK? Music festivals underpin our efforts and many places become synonymous with music hotspots. Many cities are excellent at creating such imagery, keen to harness the benefits as visitors descend on their musical events. For example, Berlin’s annual Love Parade—a celebration of club and techno culture—attracts more than 1 million visitors every year. The New Orleans jazz festival draws in over 400,000 people, and the Salzburg festival attracts over 200,000. The St Lucia jazz festival, which I mentioned earlier, makes a profit of nearly $6 million, and the Australian Festival of Chamber Music brings in $4 million to the local economy.

These regions have successfully marketed themselves as attractive music destinations. It is true that large music tourism developments are based in locations with the most famous scenes, styles and individuals. Salzburg has Mozart and Memphis has Elvis, but this has not stopped other cities building upon lesser reputations or seeking to create music tourism economies where little or no musical association previously existed. Great Britain simply has too much potential for musical tourism for the Government to stand idly by. I note from VisitBritain’s survey of 20,000 overseas panellists that music is seen as being very much an integral part of our culture and heritage. Indeed 44% of those asked feel that music is a cultural activity that they would expect to be produced by UK plc.

We are a talented nation. This House and the country can be extremely proud of last summer’s Olympic and Paralympic Games. The events brought untold success for our athletes, but they were also very significant for the capital and the nation as a whole. There is a catalogue of economic reports about the Games’ legacy and impact. However, I would suggest that what is missing is an attempt to take a broader look at the impact that music played during the Games. Many of us will have watched the brilliant opening and closing ceremonies that celebrated the success of British music throughout the ages. They showcased how British music has been and is of world-class standard. By the time of the closing ceremony, Chinese media were showering Britain with praise as a “holy land for music”. Equally, the Germans believed that the Games showcased the UK as the great power of pop music and culture. Even Russian newspapers believed that British music made the Games truly unforgettable. Our worldwide success propelled UK artists’ share of total global album sales. I firmly believe, and I am sure noble Lords will agree, that the Olympics showcased the importance of British music not only to the nation, but to the entire world. We have a very proud history of producing stellar musicians and the Olympics were an opportunity to celebrate this proud heritage.

However, Great Britain has always had world-class music talent in every genre, from the Rolling Stones to the Halle Orchestra, and I am proud to say that the UK is one of three net exporters of music throughout the world. Our music success has the potential to propel Britain’s profile as a music destination even further and the Prime Minister acknowledged as much at the British Recorded Music Industry’s 40th anniversary party. Now more than ever we must harness the international goodwill that the Games have rekindled for British music. The real impact will not come just from visitor footfall, but from businesses keen to see the country at its zenith. Music tourism, if supported properly by government, can and will play a vital role in attracting even more guests and even more spending, year after year.

As I mentioned earlier, my own city of Liverpool is steeped in musical tradition. We are the city that gave the world The Beatles, but there is still a host up of up-and-coming talented musicians including The Wombats and, although yet to be recognised, The Stopouts. Most importantly, Liverpool’s music scene has always been supported by the community. This has been its key to success. Beat in the Mersey, a tour that opened a few weeks ago, aims to tell the story of Liverpool’s musical history through song, dance and music. It concentrates on the period when Liverpool was the second city of the then British Empire, drawing millions to her port, who brought with them music from around the globe. It is easy to romanticise about the period when Liverpool became a musical sponge, soaking up influences from the many thousands who passed through its docks. As Beat in the Mersey makes clear, the seven miles of dockland spread along Liverpool’s shores were crucial to her musical and cultural development.

Only yesterday, I was delighted to read in the local press that the Liverpool International Music Festival will be boosted by the EU’s commitment to inject more than £2 million into its leisure and tourism offer. This, I hope, means that an extra 2.5 million visitors will flock to Merseyside and pump £200 million into the local economy by 2015. Liverpool as a community has been keen to promote itself beyond a shrine to John, Paul, George and Ringo. It is a city where musical talent is intrinsic to the very people who walk her streets. Indeed, the Royal Liverpool Philharmonic Orchestra has been organising events with schools and the community since the 1940s, when Sir Malcolm Sargent introduced concerts for schools. By 2009, the orchestra was reaching out to some 45,000 people, including 22,000 children, every year. The desire to bring out the best in Liverpool’s musical community can also be seen in the Knotty Ash Youth and Community Centre, which is used as a music rehearsal space for future musical talent. It engages with young people in innovative ways, using music as a way to develop the individual.

Community musical groups, along with up-and-coming musicians, have been aided by the Live Music Act 2012, which was initiated by my noble friend Lord Clement-Jones and shepherded through the other place by Don Foster MP. The Act has removed a lot of unnecessary bureaucratic red tape, and now community organisations and music venues can put on even more events designed to bring local people together. Now that venues have more freedom to host live events, British artists have more opportunities to develop their talents. This will serve only to enrich our local communities and the economy overall. UK Music estimates that the Live Music Act could enable 13,000 more venues to start holding live music events. Who knows? Of those 13,000 venues, we could have another Cavern Club with new musical talent waiting to jump on to the world stage.

The globe’s evident love of our musical heritage must be harnessed and used to support music tourism. I strongly urge the Government to consider how best to implement a well defined music strategy. Northern Ireland is already engaged in such an activity. The strategy rests on enabling the music industry to realise its full economic potential. It has been informed by detailed consultation with more than 80 representatives from the industry, as well as with public agencies interested in the sector’s development. The strategy aims to develop a creative and vibrant music sector to achieve consistent and sustainable economic growth. This will create jobs and contribute to wealth. This, in turn, adds to a positive image of Northern Ireland on the world stage. By devising and implementing a music strategy, Northern Ireland is making the most of a tangible economic and cultural opportunity. We as a nation must do the same to attract even greater numbers of overseas music tourists. Our approach should emphasise and engage with existing tourist bodies and authorities across Britain, and help them to market themselves as music tourist destinations.

I am sure that we all agree that our great cities have provided the world with fantastic music and musicians—from classical to jazz, from reggae to pop. Liverpool launched four young men to unparalleled heights, Manchester gave us Oasis, Birmingham produced Led Zeppelin and London propelled Adele from obscurity to near universal fame. We are extremely lucky to have such a strong and vibrant musical history and, if we are to be successful in the future, not only must we build upon the country’s musical titans, but our communities, schools and people must also play their part. As the song goes,

“I should have known better”.

I suggest that we do know better and I hope that the Government will lead the charge in creating a national music strategy.