Creative Industries

Graham Leadbitter Excerpts

Monday 27th January 2025 Commons Chamber

[Max Wilkinson]

That sounds like a good idea. I think there are some really logical ways we could do this by ringfencing some assets for local value—attaching them to car parks, which are already producing revenue in local areas. There are creative ways that different local areas could do that. However, it is a concern, and I do not think that discussion on this matter has been had as part of the discussion on devolution and local government reorganisation.

[Graham Leadbitter (Moray West, Nairn and Strathspey) (SNP)]

I want to go back slightly to the point about health and social care spend by local authorities. Is there a good argument to be made that as more and more people require social care and support, particularly in care homes, there may be advantages in investing in the arts and culture in order to take them to people who would otherwise find them difficult to access?

[Max Wilkinson]

The hon. Gentleman is absolutely right. Older people in care homes can benefit from such creative outlets—both from having people bring arts and culture to them, and from days out at our local cultural institutions.

As some of the challenges we face are global, I will finish with a look at how other Governments are supporting their creative sectors. Since 2010, Germany, France and Finland have all increased their budgets. In the same period, the UK reduced its budget for arts and culture provision by 6%. More recently, Governments of EU nations and others around the world have begun spending more on their creative sectors, with the cultural centres of China, Russia, Portugal, France and Spain all increasing their budgets. This year, we cut the British Council budget by £12 million.

--- Later in debate ---

[Graham Leadbitter (Moray West, Nairn and Strathspey) (SNP)]

As we mark Holocaust Memorial Day and the 80th anniversary of the liberation of Auschwitz-Birkenau, it seems appropriate that we are debating the creative industries. I say that because the Holocaust was a brutal attempt by the Nazis to wipe out people and their cultures, and it is creative industries that are at the heart of growing and protecting our culture and helping wider society to thrive, rather than just survive.

What is culture? On a lighter note, was it me when I was at university many years ago, busking with an accordion in Sauchiehall Street in Glasgow? That might be stretching it a bit. Hunted Cow Studios in Elgin perhaps has a better shout. It produces a range of massively multiplayer online role-playing games, and its game graphics have included a 3D-rendered Elgin cathedral. Is it Fèis Spè or any of the other fèis across Scotland that promote Gaelic culture through poetry, music and song, particularly with primary schoolchildren and secondary schoolchildren, bringing new generations to connect with that wider culture and making the traditional artists of the future? Is it those involved in making the critically acclaimed “Outlander” TV series, which has been filmed in the heart of my constituency in the Cairngorms at Newtonmore? Is it even my wife’s aunt Margaret, who is a master kiltmaker in Grantown-on-Spey? Is it the luxury designer brand, Johnstons of Elgin, a family business that has been producing designer cashmere and tweed products for more than 200 years and employs around 650 incredibly highly skilled craftsmen and women? Could it be my tenuous link to creative genius? That is not my great-grandmother, who was a midwife in the valleys of Wales, but Richard Burton, whom she delivered.

I have not even touched on museums, touring dance groups, orchestras, Scottish Opera or amateur dramatic groups, which employ writers, set designers and sound and lighting engineers. We have music venues, from a function room above a pub to the OVO Hydro in Glasgow and Murrayfield in Edinburgh. In music, my hon. Friend the Member for Perth and Kinross-shire (Pete Wishart) has a past life as the keyboardist in a well-known Celtic rock band, Runrig. Being a shrinking violet, he does not tell anybody about that. They were the first band to get in the UK top 40 with a song entirely in Gaelic, “An Ubhal as Àirde”. That underlines the vital links between the creative industries and a thriving society and culture.

I recently attended a book launch in Elgin by Iain MacLachlain, a local writer who has written many books and struggled to get them published, as niche writers often do, however well they write. He has written it in Scots, and traditional language publishing is even harder to do. His book has been published by the small specialist publisher Rymour, with the support of a grant from the Scottish Government to support Scots language development.

Despite all these incredible creatives, it is not all positive. Some of the most creative people create their best work in the beauty and splendour of the north of Scotland, across the highlands and islands, Moray and Aberdeenshire. Where I live, the Government’s closest priority region for funding is the Edinburgh-Dundee corridor, which is well over 100 miles and a two-and-a-half-hour drive away. That is considerably further than the distance from the constituency of the hon. Member for Caithness, Sutherland and Easter Ross (Jamie Stone). The most fragile rural economies, especially those at the heart of Scotland’s Gaelic culture, run the risk of being sidelined, despite the sterling efforts with productions such as “An t-Eilean”.

Another area of concern is the BBC’s regional spend. The funding allocated to regional spend could be used to pay for production and editorial work much further away from that region. We need to be careful about that and scrutinise regional spend carefully to ensure that it is being spent in the region it is meant for.

On AI, many others in the Chamber have said things that I would have said, so I will not go deeply into the subject; I agree with pretty much everything that has been said. We have to be incredibly careful with AI. The creative industries are an economic growth success throughout these islands, so we should not try to put artificial regions or boxes around them. We should support those industries to grow and thrive wherever our creatives are living and working, and we should not tie them up in copyright changes that reduce their output and force them to chase the protection they rightly expect for their creative work.