Creative Sector

Baroness Prashar Excerpts

Thursday 4th November 2021 Lords Chamber

[Baroness Prashar (CB)]

My Lords, I too thank the noble Baroness, Lady Featherstone, for securing this debate and introducing it with such clarity and passion. This debate is taking place on the auspicious day of Diwali, so I hope that future omens for the revival of creative education and industry are positive. May I also congratulate the noble Lord, Lord Spencer, on his inspiring maiden speech? I was delighted to hear about his Kenya connection, where I was born.

The coronavirus pandemic brought unprecedented challenges to culture and creativity across the UK. The theatre and music industries were probably hit the hardest, but we must all marvel at their resilience and ingenuity, on which we must build going forward.

The economic importance of the creative industries is beyond doubt. The figures, which we are all familiar with, speak for themselves. However, this sector is not just economically important; it is the lifeblood of innovation and diversity. This sector is the glue that holds local communities together and engenders a sense of identity and belonging. It is through creative activity that people express their sense of being. It is our greatest soft power asset, and its social and educational benefits are incalculable.

It is indeed welcome that, in response to the impact of the coronavirus pandemic, the Government introduced several schemes, established the Culture Recovery Fund and made some helpful announcements in the Budget. However, while these schemes have helped some, there are other issues that need greater attention. These include the impact of the pandemic on freelancers, small organisations and some specific groups; and, of course, as we have heard, the need to bolster creative education in schools for the reasons so eloquently expressed by the noble Baroness, Lady Featherstone, the noble Lord, Lord Storey, and the noble Earl, Lord Clancarty.

Freelancers and the self-employed, given the way government support was structured, were excluded from direct support and were not eligible for the furlough scheme. Freelancers are important to the creative economy. ONS data shows that at the end of 2019, around 15% of the workforce were self-employed, but that figure rose to 30% of all creative occupations and 88% of music, performing and visual arts occupations. Freelancers are very vulnerable and are overrepresented in music, performing arts and visual arts. During the pandemic, we saw their number decline.

While the recent Budget makes more support available for freelancers, it is unclear whether this will be enough for those in music, performing and visual arts. Women and young people appear to have been distinctly affected. This points to a need for more specific targeted support for these groups. Are the Government looking at this and will they be providing specific support to freelancers, particularly women and the young?

The reintroduction of the minimum income floor for universal credit will have a negative impact on freelancers with variable income. Equity has called for the abolition of the minimum income floor and the introduction of a more meaningful alternative to support freelancers. Will the Government consider this?

The pandemic crisis and the heightened debate about race following the Black Lives Matter movement raised awareness of structural inequalities and injustices. While greater efforts are being made to encourage diversity and minority representation, this is an opportunity to respond positively to structural inequities, ensuring greater involvement of minorities in decision-making, access to capital, capacity building and skills training. Apprenticeship funding is welcome, but how will this be made more attractive for the creative industries and how will the Government ensure equity in accessing these apprenticeships?

A reinvigorated debate about racial inequality has highlighted structural inequities and this provides an opportunity for an overdue conversation on how to respond to entrenched inequalities. I hope that the Government will engage with relevant groups and organisations to garner ideas and learn what effective action is needed. What action are the Government taking to ensure that this opportunity is not lost?

Research also shows that it is much harder for people from deprived backgrounds to start their career post 18 in a creative industry without a good foundation in creative education in school. As we have heard, despite the commitment to level up there was no sign of the £90 million arts premium in the Budget, as the noble Baroness, Lady Fleet, and others have said. Has this pledge been shelved? If so, why?

The role of the Government and their agencies in providing targeted policy interventions is clear. More targeted support means more devolved and place-based strategies, which are central to achieving the objectives of the levelling-up agenda. What is the Government’s sustainable strategy to ensure that the creative industries are integral to their levelling-up approach? I look forward to the Minister’s response.