Creative Arts Education

Jess Brown-Fuller Excerpts

Wednesday 18th December 2024 Westminster Hall

[Jess Brown-Fuller (Chichester) (LD)]

I beg to move,

That this House has considered creative arts education.

It is a pleasure to open this debate about the importance of creative arts education. I refer Members to my entry in the Register of Members’ Financial Interests, both as chair of the all-party parliamentary group on performing arts education and training and as trustee of Chichester Festival Theatre.

Throughout December, my diary, like those of all Members across the House, is jam-packed with wonderful occasions that feature a celebration of the arts—be they carol concerts in local churches, school plays or pantomimes. I have loved the live music on my high street at the Chichester Christmas market. I had a fantastic time as the guest judge at the Priory Park pantomime, and once the House rises I will be off to enjoy the Chichester Festival Youth Theatre’s production of “Cinderella”—a professional production on the main stage—with my family. I had the privilege of performing on that stage as a member of that very same youth theatre: an experience that I still treasure as an adult, and one that encouraged me to continue my education in the creative arts.

After studying drama at GCSE and A-level, I went on to the University of Chichester and obtained a degree in performing arts. Before this giddy world of politics ensnared me, I had the privilege of teaching the next generation performing arts at various organisations and in schools. I am living proof that a creative education can lead anywhere, including to this place.

The arts and cultural sector contributes well over £8 billion to the UK economy each year. It puts £2.5 billion directly into the Treasury through taxation, and the creative industries as a whole generated £125 billion in 2022. They account for almost 6% of the UK economy, create 2.5 million jobs and have a huge impact on the tourism economy, with one in 10 tourists to the UK visiting a theatre. Theatres sell 34 million tickets a year across the UK.

[Matt Rodda (Reading Central) (Lab)]

The hon. Lady is making an excellent speech, and I commend her for her work in this area. Does she agree that many wonderful venues could be developed across towns and cities in this country? In my area, Reading Gaol has incredible potential. It has been derelict for some time, although it was bought recently. We are trying to see what arts provision can be offered there. Is there not enormous scope for developing more theatre and art space across the country, which can provide incredible value to local communities?

[Jess Brown-Fuller]

I thank the hon. Member and commend him on his work in trying to get Reading Gaol opened as an arts space.

A project in Selsey in my constituency is trying to restore a beautiful old pavilion, which used to hold many events but was then left to go to rack and ruin. The Selsey Pavilion Trust is working tirelessly to try and get that venue up and running so that the Selsey community can once again enjoy arts in their own town.

As a country, we have a duty to ensure that the next generation of employees is suitably equipped to join a sector that can drive the growth and innovation that the UK needs now more than ever. We must ensure that a career in the arts continues to be seen by our young people as a viable and valuable choice well into the future.

I remember having that debate with my mum, in an Italian restaurant at the age of 18, after I had been accepted to go to university to study business. I confessed that I was following that path so that I could get a proper job, and that I did not believe that she could possibly support me in following my real desire: to study theatre. Luckily, she did, and it paid off—I turned down that place at university, and a year later went to the University of Chichester to study theatre. My degree not only taught me the craft of performing arts, but developed valuable personal and employment skills, such as collaborative working, demonstrating initiative and problem solving.

To be clear, the creative arts are a broad field that includes many artistic disciplines. Although my background is performing arts and drama, when I talk about a lack of creative arts in our education system, I refer not just to drama, but to music, dance, visual arts, creative writing, textiles, and the design and technology subjects.

In this debate, I want to focus on the structure of the English baccalaureate, and the failure to include arts subjects in it. This is putting arts education in the UK in an urgent state of crisis, and will have a wider impact on the creative sector if not addressed by this Government. The English baccalaureate requires children to take up GCSEs in several subjects, none of which is in the arts. Since its introduction in 2010, arts subjects have seen a drastic decline in the number of students taking them further in their education: a 29% decrease in drama, a 24% decrease in music, and a 65% reduction in the six design and technology subjects. Compare that with geography, which has seen increase of 42%; history, which has seen an increase of 33%; and the single sciences, which are up by 38%.

The issue is very apparent in my constituency. Chichester College is investing in a state-of-the-art science, technology, engineering and maths building, which is due to open shortly—I applaud its work in getting that building up and running—while cancelling its drama A-level for new students this coming year, because of a lack of take-up. That has upset many students in the Chichester constituency.

[Jayne Kirkham (Truro and Falmouth) (Lab/Co-op)]

I come from Falmouth, which has a world-leading arts university. The idea of STEAM—science, technology, engineering, arts and maths—adds the creativity of the arts, and unlocks some of the creativity in science and tech. That is where we get breakthroughs. Does the hon. Member agree?

[Jess Brown-Fuller]

I am glad that the hon. Member is the first person in the room to raise STEAM. Adding arts to the STEM subjects is such an important and viable way of opening up the curriculum.

When I visit private schools in my constituency, their arts departments are flourishing. An article in The Times in November found that nearly half of all film and television directors nominated for British Academy of Film and Television Arts awards were educated at independent schools, and one in six was educated at Oxford or Cambridge. That highlights the stark class inequalities in access to the creative industries, which will worsen if the trend of de-prioritising arts education in state schools and colleges continues.

I will not ask hon. Members to take my word for it. Earlier this week, I spoke to Hugh Bonneville—yes, I am willing to name-drop my friend—who wrote in his book “Playing Under the Piano” about a school he visited in 2019: a newly built academy that taught around 2,000 students. It was an impressive school, but it had no music provision, no choir, no band, and no studio space for drama or dance. The students who were working on scenes from “Romeo and Juliet” had pushed the bookshelves to one side in a corner of the library to create a rehearsal space. As Hugh wrote:

“How on earth is the next generation of those who drive the multi-billion pound entertainment and creative industries to be discovered, or even to take part?”

The current structure of the English baccalaureate is opposed by teachers, education experts, trade unions, artists and the creative sector. Perhaps more importantly, a survey by the Cultural Learning Alliance concluded that one of the advantages of arts-based studies is stronger educational attainment generally, and there are well-acknowledged connections between participation in the performing arts and stronger self-motivation, as well as improved physical and mental wellbeing and the development of inner resilience.

Any organisation or charity currently working to support young people can describe the acute mental health crisis that our young people face. One example is the Young People’s Shop, a charity operating in Chichester that, alongside its counselling service, runs arts-based group sessions, recognising the link between mental health and creative expression. The Liberal Democrats have long called for a mental health professional in every school and I applaud that. Given the connection I have laid out, I strongly advocate working closely with creative arts provision in schools as an outlet for expression and stress relief.

I take this opportunity to acknowledge the role that outside organisations play in giving our young people a creative education. Some of my happiest memories are of evenings spent at my local amateur dramatic society rehearsing for the upcoming panto, and Thursday evenings throughout the year with my friends at Chichester Festival Youth Theatre.

I pay tribute to organisations such as Chichester Festival Theatre, which has one of the most ambitious youth theatres in the country. It acknowledged that its youth theatre was not reaching as well as it could the communities that would benefit from access, so it created seven satellite youth theatres across West Sussex to ensure that each of those communities has access to top-quality education, classes for students with additional needs, and theatre-based courses for school refusers and those out of mainstream education. CFT even launched a technical youth theatre for young people more interested in the workings of the backstage than the front stage.

I recognise how lucky we in Chichester are to have a theatre, such as CFT, that puts learning and participation at the core of everything it does, but I want every child in this country to have the opportunity afforded to my constituents.

[David Chadwick (Brecon, Radnor and Cwm Tawe) (LD)]

It is a pleasure to serve under your chairmanship, Mr Mundell. I thank my hon. Friend for securing the debate. Wales is very proud of its reputation for producing great musicians, actors and actresses—I will not try to name them all lest I forget people. My hon. Friend talked of the difficulties faced by people entering the profession and the worrying fact that the numbers might be dropping off. How does she think our state would be best placed to encourage people to go into the profession? Would that be through investing in buildings and education, or something else?

[Jess Brown-Fuller]

I thank my hon. Friend. I think it is both; it is about making spaces that are accessible to communities so they can explore the creative industries, but the Government can also do something. Government money could be used more wisely in consolidating those funding pots so that they are utilised to best effect by focusing on specialist world-class providers, delivering both in communities and via our education system.

I finish by reflecting that since the general election the Government have made all the right noises to suggest that a stronger emphasis may be put on creative education. Will the Minister, when she responds, commit to a reform of the English baccalaureate and set out a timeline for our schools to reintegrate arts education into the core curriculum? Will any further work be done on the integration of in-school and out-of-school provision of arts education, such as additional funding for music hubs to include dance and drama?

Finally, I thank the Council for Dance, Drama and Musical Theatre for its work in this area. I encourage the Minister, in her spare time over the Christmas recess —in between enjoying carol concerts and pantomimes—to please read its manifesto for performing arts education.

[Several hon. Members rose—]

--- Later in debate ---

[Jess Brown-Fuller]

I thank hon. Members, the shadow Minister and the Minister for talking about the importance of creative arts education and how it will foster the next generation of well-rounded and emotionally intelligent young people, who can thrive.

Motion lapsed, and sitting adjourned without Question put (Standing Order No. 10(14)).