Independent Schools: VAT Exemption

Baroness Bull Excerpts

Thursday 5th September 2024 Lords Chamber

[Baroness Bull (CB)]

My Lords, the disparity of outcomes between private and state school pupils is well evidenced, and I welcome the commitment to equalise opportunities by rebalancing investment, but I hope Ministers will heed calls for more nuance in how proposed changes are applied.

As we have heard, “private schools” is a catch-all term, encompassing both schools paid for by choice and schools providing specialist education for pupils whose needs cannot be met in the state sector. I share concerns already expressed in relation to special educational needs, but I will use my time to expand on the concerns that the draft legislation inadvertently captures a small number of schools providing education for another group of children whose needs cannot be met by the state sector—by which I mean schools providing world-class music and dance vocational training to exceptionally talented children, regardless of background or ability to pay.

Successive Governments since the 1970s have recognised that if gifted dancers and musicians are to achieve their potential, they need a level and intensity of training that is impossible to achieve within the structure of a standard curriculum. In 1973, the Yehudi Menuhin and Royal Ballet Schools became direct grant aided, with means-tested DfE support for talented children from low-income families.

I declare an interest here, as I was one of those children. I joined the Royal Ballet School in 1974. The fees were well beyond my parents’ means, but they had no choice, because professional ballet training must start young if a dancer is going to compete in a global marketplace. It takes 10 years of daily practice under expert tuition to achieve the flexibility, speed and strength that characterise world-class performance, and those 10 years must take place before puberty sets in.

DfE’s music and dance scheme was established in 1981 as the successor to direct grant aid. The nine designated schools in England and Scotland have little in common with typical private schools. They recruit on talent first, and the majority of parents would not, in other circumstances, choose private education. At non-specialist private schools, around 7% of students receive a bursary or means-tested support. At music and dance scheme schools, it is 90%. The schools are costly to run, requiring specialist, world-class teachers, equipment, studios and theatre spaces, but there is no wealthy parent body, no large endowments and no eligibility for government building maintenance grants.

Earlier this year, the now Prime Minister spoke of the country’s

“huge talent … waiting to be unlocked”,

promising that people from every background and every region would have the opportunities they deserve. The Music and Dance Scheme is pivotal to this ambition, removing barriers to entry and allowing children from diverse backgrounds to dream of a career at the highest level. But 12 years of funding freeze mean the schools are already operating at full stretch. Further financial pressure will impact on quality of training, reduce diversity in the student body and severely impact the UK’s ability to produce the home-grown, world-class talent for which it is renowned.

This legislation aims to break down barriers to opportunity, but including these specialist schools in its scope will have the opposite effect. Prodigiously gifted children with the potential to become world-class artists need specialist education from a very early age, education that will never be possible in the standard curriculum. Raising barriers to entry will mean that only the most advantaged children will be able to access the training fundamental to career success. I would not have become a ballet dancer.

I join the noble Baroness, Lady Fraser, in asking the Minister: will she convene a round table with interested parties and experts to explore how this legislation can avoid irreparably damaging the schools that underpin the UK’s success on the world stage?

Schools: Mental Health and Poor Attendance

Baroness Bull Excerpts

Wednesday 24th July 2024 Lords Chamber

[Baroness Smith of Malvern (Lab)]

The noble Lord is right, of course, that, for many children, schools are the stable part of their lives, but teachers, although they provide enormous levels of support along with other school staff, need to be able to focus on teaching children. Family hubs indeed play an important role in helping families to access vital services to improve the health, education and well-being of children and young people. We are already considering the overall approach to early childhood and family support, and how it can support this Government’s opportunity mission. That includes reviewing the future vision and intentions for family support, including the core role played by family hubs.

[Baroness Bull (CB)]

My Lords, may I press the Minister on what the Government will do to ensure access to mental health support for those children with disabilities and special educational needs? We know that they are disproportionately represented in absence and persistent absence figures, and that mental health is often a contributing issue. She spoke in her Answer about the evidence link between absenteeism and life chances. Does she agree that failing to address this risks widening even further the existing gap between attainment and life chances for those children who live with disabilities and educational challenges and those who are fortunate not to live with those challenges?

[Baroness Smith of Malvern (Lab)]

The noble Baroness is absolutely right that, where special educational needs come alongside mental health problems and other issues in children’s lives, they are more likely to be absent from school. Of course, while they are absent from school, they are not learning and it is also likely that mental health issues will increase, not reduce. That is why, for the vast majority of children with special educational needs who are being educated in mainstream schools, early intervention through the use of access to mental health support workers will be an important first way to support them and prevent conditions from becoming worse.

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.