Leaving the EU: Tourism and the Creative Industries

Debate between Chris Evans and Christine Jardine

Tuesday 17th April 2018 Westminster Hall

[Christine Jardine]

While air passenger duty might have an economic impact, it cannot overcome the biggest single problem: it will not allow planes to take off. We need a deal on coming out of the EU that will allow our flights to continue to take off and land in Europe, and travel across Europe with the same ease that they do today.

For the creative industries, the figures are, if anything, even more impressive: these industries are worth an estimated £90 billion to the economy and account for one in every 11 jobs. That is something we often overlook. Those jobs are in fashion design, video games, television, theatre, furniture design, radio and many other sectors. International broadcasters alone invest more than £1 billion a year in Britain. It is our fastest growing sector and the UK is currently a world leader in the field, with creative exports from Stormzy and Shakespeare to “The Great British Bake Off”, which define what the UK is to visitors we want to attract from across the globe.

[Chris Evans (Islwyn) (Lab/Co-op)]

In the light of what the hon. Lady just listed and the importance of the creative industries to our wider economy, does she think it will be pertinent for the Government to appoint officials from the Department for Digital, Culture, Media and Sport to the Department for Exiting the European Union?

[Christine Jardine]

That is not a point that I had previously considered, but I think it is well made. Perhaps that would help to alleviate the problems those industries might face and actually draw attention to some of them.

As I said, international broadcasters contribute about £1 billion to the economy. All of that economic strength—jobs, growth and potential—is undermined by Brexit. If our creative industries are not protected, world-class events such as the Edinburgh festival, Glastonbury and many others, will find that for musicians and artists who used to tour Europe freely, with no issues over EU crew, equipment licences or visas, the whole process will become slower, more expensive and in some cases not possible at all. Fashion, lighting and furniture designers will lose the benefits of cross-EU design rights. The video games, advertising, publishing, television and film sectors will lose access to the talent that is their lifeblood. Funding from Creative Europe is at risk.

If the UK’s creative industries are threatened, there will be an impact on tourism. As I said, the Edinburgh International Festival is the biggest event of its kind in the world. To put it into context, if we imagine the FIFA World cup coming to the UK every summer, we begin to understand the value and impact on the country’s economy that the Edinburgh festival has. In 2016 it was estimated that festival audiences accounting for around 4.5 million ticket sales generated £300 million for the economy, and that is not unusual.

The festival is the biggest, most high profile and most diverse in its scale and scope, with everything from street theatre to major orchestral concerts. Because of that, it offers a unique insight into why organisations representing our musicians, hotels, venues and performers are campaigning hard for protection against the potential damage of Brexit. The festival is regarded as one of the most important cultural events in the world. The Fringe in its own right is the world’s largest arts event, and there are affiliated events in film, art, books, science and television. Together they guarantee that throughout the summer my city is awash with tourists, often visiting the festival as a gateway to the rest of Scotland and the UK. Only the Olympics and the FIFA World cup are bigger attractions.