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)).

Educational Opportunities

Jess Brown-Fuller Excerpts

Wednesday 13th November 2024 Westminster Hall

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

Thank you, Mr Pritchard, for your chairmanship. I wish to contribute to this debate by talking about education opportunities that are close to my heart in the creative industries, and the barriers in this country to a creative education. I come to this place as a proud graduate of University of Chichester in my constituency, and I am living proof that a creative qualification can lead someone down many paths, including to this place.

Years of underfunding and poor organisation means that, despite a booming creative industry in the UK, young people are finding it increasingly difficult to attain the education they need to enter the sector, especially through the state system. There has been a significant drop in arts enrolment at A-level, with a 29% decline since 2010. Government grants for arts education have fallen 40% in real terms over the past decade, and the number of those teaching arts-based subjects dropped by 27% between 2011 and 2024.

I refer Members to my entry in the Register of Members’ Interests as a trustee of Chichester Festival Theatre, which has a thriving learning, education and participation department, and it is leading the way in giving access to performing arts education to those from underprivileged backgrounds. Pallant House Gallery also has a fantastic education and outreach department, and both Chichester College and the University of Chichester are creating the next generation of creatives who will feed into a creative industry, which the hon. Member for Folkestone and Hythe (Tony Vaughan) mentioned, is worth £126 billion to the economy and creates 2.4 million jobs.

The work that charities and organisations are doing in this space to reduce barriers to opportunity is immeasurable, and their work is at risk if local authorities are not appropriately funded to ensure that their non-statutory obligations are protected. The nature of the English baccalaureate means that it restricts take-up of the creative subjects and adds additional barriers to artistic education, which is why the Liberal Democrats are committed to including arts within it and ensuring Ofsted monitors schools so they provide a broad curriculum, including arts, with links to the creative and digital sectors. That would encourage young people to continue with an arts-based qualification, which is shown to be beneficial to their mental health. It would also improve results in subjects such as English and maths, and attainment in education as a whole.

The UK arts and creative industries are crucial to the UK economy and cultural identity, so there should be no barriers to the educational opportunities the sector can bring. I look forward to hearing the Minister commit to recognising the importance of a creative education.

Special Educational Needs and Disabilities

Jess Brown-Fuller Excerpts

Thursday 24th October 2024 Commons Chamber

[Catherine McKinnell]

I would be happy to meet my hon. Friend. He has outlined just one example of how the system is broken and needs to be fixed.

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

Parents and children in Chichester have lost confidence in the SEND system, with families effectively pitted against each other and against Conservative-led West Sussex county council, which this year delivered only 10% of its EHCPs within the 20-week statutory framework. Does the Minister agree that is unacceptable, and will she meet me and other West Sussex MPs to discuss this specific issue that West Sussex county council seems to have?

[Catherine McKinnell]

The hon. Lady has outlined how the system is broken. We know it is broken. We want to fix it, and I am happy to work with colleagues across the House in order to do so, so I would be happy to meet her, as she suggests.

SEND Provision

Jess Brown-Fuller Excerpts

Thursday 5th September 2024 Westminster Hall

[Victoria Collins (Harpenden and Berkhamsted) (LD)]

I thank the hon. Member for Leeds East (Richard Burgon) for securing such an important debate.

An Ofsted report for Hertfordshire deemed that there were widespread systemic failings in the county, and that the area had not acted with the necessary urgency to address long-standing, systemic and significant weaknesses in the area of special educational needs and disability provision. This is reflected again and again in the heartbreaking stories of families across Harpenden and Berkhamsted being let down by a broken system.

One of my constituents, Charlotte, is a parent to three children, all with EHCPs and complex SEND needs. Being in constant battle mode has become the norm for Charlotte and her family in securing educational support, and it has resulted in her eldest child having to travel almost 100 miles a day to get to school. The emotional wellbeing of Charlotte and her children has taken a toll, and her youngest child has barely attended school since October 2023.

Although progress is being made, there is still much more work to do. We have been let down by not only Conservative-led Hertfordshire county council but a flawed national funding formula inherited from the previous Conservative Government. The formula means that children in Hertfordshire receive far less funding per head than in neighbouring Buckinghamshire. Hertfordshire is the third-lowest-funded authority per head for higher needs funding and would receive £85 million more per annum if funded at the same rate as its neighbour.

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

With only 3.6% of EHCPs in Conservative-led West Sussex county council being delivered within the statutory 20-week framework, does my hon. Friend agree that funding, which is currently a postcode lottery, needs to be reviewed across the country?

[Victoria Collins]

My hon. Friend took the words right out of my mouth. At the current rate in Hertfordshire it would take 15 years to achieve parity between the two counties. This is a lost generation. A three-year-old in Hertfordshire today with SEND needs would have to finish all their formal education before they would get equal funding to a similar child in Buckinghamshire. The formula has created a postcode lottery for pupils with special educational needs, and it is unacceptable.

Most importantly, we should listen to the experience of local families to truly understand the human cost of the outdated formula. Unfortunately, stories such as Charlotte’s are not isolated cases, as goes for much of what will be shared today. The formula has pushed many families away from their local communities and support networks and into the minefield that is SEND provision. The funding formula must move with the times. It must be updated to reflect the present, increasing demand. So I ask the Minister: when will the Government change the funding formula to reflect the current need?