King’s Speech

Baroness Bull Excerpts

Friday 19th July 2024 Lords Chamber

[Baroness Bull (CB)]

My Lords, I join the rest of the House in welcoming the Minister, congratulating the noble Baroness, Lady Jolly, and noting the contribution of the noble Baroness, Lady Barran, over the last Parliament. I also declare my registered interests.

Wicked problems required joined-up thinking, so it is encouraging to see cross-departmental working underpinning delivery of the mission to break down barriers to opportunity. The poverty strategy is one example of this; the children’s well-being Bill is another. Children born into poverty have the odds stacked against them from the start, with early disadvantage impacting through the years on educational outcomes, employment prospects, career progression and earnings potential. Measures to tackle this, such as early years investment, free breakfast clubs and “not in school” registers, are very welcome.

Education should be the great equaliser, but when 6% of children attend schools where the spend on education is three times higher than for the other 94%, it can have the opposite effect. I therefore support the Government’s intention to rebalance investment through measures on VAT, but I hope there will be nuance in implementation. SEND provision has already been raised. I ask the Minister: what assessment has been made of the impact on specialist performing arts schools and, by extension, on the future diversity of the workforce?

Success in the performing arts requires 10 years of daily practice under expert tuition—10 years that take place before puberty sets in if you are to develop the extreme flexibility, speed and accuracy that characterise the world-class skills of a Kanneh-Mason or a Darcey Bussell. This type of professional training is not available in the state sector, so parents like mine have no choice but to enter a fee-paying school. Further cost increases for specialist performing arts schools will have the opposite effect to that which government intends, reducing access to talent for less affluent families. Unless talent has access to the best training at the right age, it will not be competitive in a global marketplace—as the noble Lord, Lord Vaizey, said, we are very good at the arts; let us make sure we continue.

I turn to curriculum reform. Speaking in March, the now Prime Minister promised to undo

“14 years of arts subjects being diminished and devalued”,

and so the curriculum review announced today is warmly welcome, as is the expert leadership of Becky Francis. However, cultural and creative education does not happen only in the curriculum. It takes place in theatres, galleries, museums and libraries, in partnership with arts, heritage and youth organisations, charities, local authorities, trusts and foundations, and faith bodies.

This networked delivery model has benefits, in that it enables local and culturally relevant experiences and encourages place-based partnerships across multiple agencies. Sunderland’s Culture Start is one example, aiming through culture to mitigate the impacts of growing up in poverty—Ministers should note this in relation to the poverty strategy. However, networked delivery also presents challenges. First and foremost, the disintegration of structures such as creative partnerships for join-up over the last decade makes it difficult for commissioners to know what is available and providers to know what is needed. Music education has a series of hubs to do this connecting, funded to the tune of £101 million in 2024-25. The other art forms share nothing. Government has announced an additional national music education network, but I ask the Minister whether her department will fund similar services for dance, drama and other art forms.

There is also lack of clarity on the aims for cultural education, making it difficult for multiple providers to target programmes towards agreed outcomes. Different regimes have espoused different reasons: pathways to creative careers; understanding cultural heritage; or a lifelong love for the arts.

With this Government comes a welcome return of the core justification for universal provision of cultural and creative learning: the well-evidenced personal, social, learning and employability skills it engenders—problem solving, curiosity, communication and confidence. I hope this review will articulate a clear set of outcomes for cultural learning that shifts ambition from a tick-box list of things pupils should do or see towards measurable change in the child—change that might equally be achieved through engagement with dance, drama, literature or music. I look forward to this review and its recommendations. I hope it will take account of the contribution of these multiple partners, as well as the needs of the army of freelancers vital to the delivery jigsaw.

The Prime Minister has put his personal commitment behind creative and cultural learning, promising

“from day one … to make sure arts count”.

If this Government turn promise into policy, they will have my full support.