City of Culture 2021: Swansea Bid

John Glen Excerpts

Tuesday 5th December 2017 Westminster Hall

[The Parliamentary Under-Secretary of State for Digital, Culture, Media and Sport (John Glen)]

I congratulate my hon. Friend the Member for Brecon and Radnorshire (Chris Davies) on securing this important debate on Swansea’s bid to become the UK’s city of culture 2021. As always, I acknowledge the contributions of all Members who have spoken so passionately this afternoon. The full spirit of the UK city of culture has been on show, and a great depth of knowledge has been shown about Swansea and all its cultural attributes. This has been a very worthwhile debate as we get into the final stages of this competition.

The House has already heard similar debates on the four other towns and cities shortlisted to be the next holders of the UK city of culture title—Coventry, Paisley, Stoke and Sunderland—so this debate will be the last in the present series. The hon. Member for Cardiff West (Kevin Brennan) managed, with typical skill, to include in the debate the issues of the tidal lagoon and electrification. I will not be able to respond to those points from my position in DDCMS, but I acknowledge his concerns and will take them back to my colleagues.

Before I begin the substance of my speech, I wish to say a few words about the European capital of culture programme, which has featured in the headlines in recent days. I am sure that many Members of the House were, like me, shocked and dismayed by the position taken by the European Commission two weeks ago, which is that the UK cannot host the title in 2023. That went against everything that had happened up until that point, and we had no expectation that it would occur. Five UK cities have, like Swansea, invested huge amounts of time, resource and commitment in developing their bids, only for the Commission—at a point when the bids had already been submitted—to sweep the rug from underneath them. I know that Swansea, together with the cultural sector right across Europe, has expressed its solidarity with the five UK cities of Belfast, Dundee, Leeds, Milton Keynes and Nottingham. We are in urgent discussions with the European Commission about its action, and in positive talks with the five cities themselves—I met representatives from them all last week, and I hope to update the House more substantively in the near future.

The UK city of culture programme grew out of the success of Liverpool’s tenure as European capital of culture in 2008. As Minister for the arts, I see this programme as one of our nation’s Crown jewels. The winning area must build a high-quality arts and cultural programme of national significance that reaches a wide variety of audiences and participants. As we have seen with Hull, winning the city of culture title must be a catalyst to regenerate and transform an area. Cities must demonstrate that they are ready and able to grasp the opportunity provided by the title. I was moved by the speech by the hon. Member for Islwyn (Chris Evans), who spoke about how things were when he was growing up, and the cultural gap that was perceived to exist. Providing an opportunity for transformation is exactly the purpose of this programme, and that case will be made by all the bidding cities.

This year, 11 places from across the UK set out their ambitions to become the next city of culture. Following a recommendation from the independent panel, chaired by Phil Redmond, I agreed a shortlist of five in July. It is hugely gratifying to know that those areas that regrettably did not make the shortlist—Hereford, Perth, Portsmouth, St Davids, Warrington and Wells—are all continuing with their ambitions. They see their bids as the beginning of something, not the end. I sincerely believe that that will be the case for all those that are unsuccessful this week. As has been referred to, Swansea bay was shortlisted for the UK city of culture in 2013 when it narrowly lost out to Hull, and it is clear that, while ultimately unsuccessful, the bid was an important step in the city’s cultural development.

Now, for the shortlisted towns and cities, decision day is fast approaching. We have about 51 hours to go, and as we speak my officials and the independent panel are en route to Hull, where they will receive presentations from all five areas before making their final recommendation. As the hon. Member for Swansea East (Carolyn Harris) said, Swansea will present its bid on Thursday morning, and I will announce the winner later the same day. Some might say that is an unusually quick and efficient process for Government.

[Geraint Davies]

I know that the Minister will be looking, as the panel will be, at the past, present and future cultural offering for Swansea and other places, but will he be looking very carefully at relative deprivation? I say that because, as he knows, the average UK gross income is £19,106 but the average in Wales is £16,341 and in Swansea, £15,604. Weekly, that is £550 for the UK and less than £500 for Swansea. Can he confirm that he will be looking at the impact on deprivation and the inclusivity of these bids?

[John Glen]

I thank the hon. Gentleman for his intervention. The independent panel will be looking at a whole variety of factors. It will be looking at what advantages, and the extent of those advantages, the different bids are likely to accrue to their given cities, and the economic advantage will be one of the elements that they will look at very carefully.

As with the other debates, I thought it would be helpful to set out the benefits of the city of culture. Speaking of Hull, it is helpful to reflect in this debate on how much is to be gained from winning the UK city of culture title. Hull City Council estimates that the local economy has benefited from £3.3 billion in total investment since being awarded the title in 2013. Seven out of 10 Hull residents say that the UK city of culture status is having a positive effect on their lives. As I have mentioned in previous debates, Hull 2017’s volunteers have already undertaken more than 300,000 volunteer hours. City of culture status has helped to restore local pride, and who can forget Hull City’s fans singing, “You’re only here for the culture!” at a premier league match earlier this year? Ironically, I think they were playing Swansea at the time.

[Jo Stevens]

Although this is just an anecdote, does the Minister think it represents Hull? I remember going to a Cardiff City match against Hull where the Hull fans had a big banner saying, “Ghetto of excellence.” I think they can lose the “ghetto” bit now, after city of culture.

[John Glen]

The hon. Lady makes a fine point. Hull has seen brilliant engagement with the arts.

[Gavin Newlands (Paisley and Renfrewshire North) (SNP)]

Will the Minister give way on that point?

--- Later in debate ---

[John Glen]

Let me make a little progress and then I will come back to the hon. Gentleman. I wonder what he has to say.

Hull has seen brilliant engagement with the arts, with nine out of 10 residents attending or experiencing at least one cultural event in the first three months of the year—it might be higher now as we get to the end. That is more than double the number engaging in such activities before the city’s successful bid.

[Gavin Newlands]

I was going to have a watching brief in this debate and hold my tongue because there have been many great speeches on why Swansea should be the city of culture. Based on the football element, the Minister will be aware that the local football side St Mirren has renamed its stadium the Paisley 2021 stadium in support of the bid. That highlights the huge support it has across Paisley, Renfrewshire and indeed Scotland.

[John Glen]

The hon. Gentleman, as expected and quite rightly so, makes another plea on behalf of his home bidding city of Paisley. I have received so many representations and passionate requests on behalf of the bidding cities. We do not have long to wait, but I do acknowledge the quality of the bids across all five cities, and it is very sad that only one can win this week.

I pay tribute to the many national institutions, from the BBC to the Government Art Collection, that have also contributed to the success in Hull. We have seen genuine collaboration across the whole of the arts and cultural sector.

I now come to the substance of this afternoon’s debate: Swansea’s bid to become the UK city of culture 2021. One of the enormous pleasures of my job is learning about the history and culture of towns and cities across the UK, and I try to visit as many of them as I can. I have learned that Swansea has an incredible 32 miles of stunning coastline, that Swansea Museum is Wales’s oldest public museum, and that Welsh National Opera originated in Swansea. I was clearly already familiar with the “ugly, lovely town” described by Dylan Thomas and now a thriving city, as the hon. Member for Cardiff West pointed out.

Swansea is rightly proud of its most famous son and I know that the Dylan Thomas Centre is one of the city’s great attractions, with ever-increasing participation figures. Back in 2013, the Heritage Lottery Fund awarded nearly £940,000 for a three-year project that centred on the celebration of the centenary of the birth of Dylan Thomas. A range of organisations across Wales participated in the celebrations, including the National Library of Wales, which showcased an archive of Dylan Thomas material in a major exhibition. Most importantly, the Dylan Thomas Centre has the lasting legacy of a permanent exhibition, “Love the Words”, which opened on 27 October 2014—Dylan’s 100th birthday. This interactive exhibition tells the story of the work, life and cultural context of Dylan Thomas, and includes a learning space, activities for children and a temporary exhibition area.

I acknowledge other important cultural institutions, including the National Waterfront Museum, the Glynn Vivian Art Gallery, Plantasia and the Grand Theatre. In fact, VisitBritain has included the Glynn Vivian Art Gallery’s hosting of the “Leonardo da Vinci: Ten Drawings from the Royal Collection” exhibition as a key reason why international tourists should visit Britain in 2017. There are also many independent galleries and artists’ studios, digital workspaces and live music venues. Wales’s first dedicated space built purely for use by the creative industries is located in Swansea’s Urban Village development in the city centre, and both the University of Wales Trinity Saint David and Swansea University offer a range of graduate and undergraduate courses in the creative sector, encouraging new and exciting start-ups and performing arts companies to thrive.

[Geraint Davies]

I am enjoying the Minister’s speech, but I just want to point out to him that we have two engines in the universities there that are producing enormous numbers of qualified people in both the arts and the sciences. One of the things we lack is the retention of those people in the city. Does he agree that city of culture status would enable them to stay in their home and build the economy, with visitors and tourism helping to fuel that fire?

[John Glen]

Throughout this debate the hon. Gentleman has made a number of passionate interventions showing an encyclopaedic knowledge of Swansea, as anyone would expect, and he is absolutely right on this point. The effect of cultural investment in creating a stickiness and a magnet for businesses to want to continue to invest and for employees to want to stay is really important. That is a significant feature of what we have seen in Hull: more investment and people wanting to stay there. Whichever city is successful later this week, we hope that that will be replicated in four years’ time.

Swansea has its own international arts festival and an international jazz festival, which I believe is now the largest in Wales. The Heritage Lottery Fund has provided almost £25 million for projects in Swansea, including the aforementioned Dylan Thomas exhibition, a number of HLF Young Roots projects and the All Saints Church restoration. As we have heard, following its city deal, Swansea is also going through a period of major physical transformation, investing in the largest regeneration programme the city has seen since world war two. I am very heartened to know that culture, creativity and this city of culture bid are right at the heart of these plans.

From all we have heard this afternoon, it is abundantly clear that Swansea, in common with the other shortlisted areas, has the heritage, vision, infrastructure and cultural leadership to be the next city of culture. Whichever city wins, I am sure it will be a very worthy winner. and will continue the journey that began in Derry/Londonderry in 2013 and has continued so spectacularly in Hull this year.

In conclusion, I sincerely wish the city of Swansea the best of luck in presenting its bid to the panel this week. As I said, in just over 51 hours, I shall announce the winner on the recommendation of the independent panel, chaired so well by Phil Redmond.

Heritage Statement

John Glen Excerpts

Tuesday 5th December 2017 Written Statements

[The Parliamentary Under-Secretary of State for Digital, Culture, Media and Sport (John Glen)]

I am today publishing a Heritage statement, setting out the direction and priorities for the heritage sector in the coming years.

The statement builds on the commitments we made in last year’s Culture White Paper. It links the heritage agenda to our wider agendas and strategies for industry, for regeneration and place-making, for skills, for the environment, and for an internationalist, outward-looking Britain. It applies to England only, except where it relates to international issues and UK-wide policies and programmes.

The statement is structured around four key themes: places, people, international, and sustainability and resilience. It focuses on areas where the Government can help to support and develop the heritage sector and add value to the work of heritage organisations and the many thousands of specialists, professionals and volunteers who care for and manage our heritage.

The Heritage statement is available at: https://www.gov. uk/government/publications/the-heritage-statement-2017.

[HCWS311]

Dr Elsie Inglis and Women’s Contribution to World War One

John Glen Excerpts

Tuesday 28th November 2017 Westminster Hall

[The Parliamentary Under-Secretary of State for Digital, Culture, Media and Sport (John Glen)]

It is a pleasure to serve under your chairmanship, Mr Davies, and I thank the hon. Member for Edinburgh South (Ian Murray) for introducing the debate. I know the subject is close to the hearts of many Members across the House, and that has been reflected in the nine moving and poignant speeches and the several interventions made this morning.

We have heard of the importance of Dr Inglis’s work and how it serves as one of many examples of the contributions of women to the war effort. This is a very important subject as we reflect on the first world war 100 years on. I pay tribute to my parliamentary neighbour, my hon. Friend the Member for South West Wiltshire (Dr Murrison), who has done so much, alongside other Members of the House, including the hon. Member for Barnsley Central (Dan Jarvis), to commemorate the first world war. There has been a significant number of events, and those taking place in 2018 will be announced early in the new year.

As hon. Members have observed, Dr Inglis was a hugely inspirational woman. As one of the first female doctors in the UK, a pioneer of women in medicine and an ardent campaigner for votes for women, she is a remarkable figure in our history. The hon. Members for Plymouth, Sutton and Devonport (Luke Pollard) and for Cardiff West (Kevin Brennan) spoke about the collection of data. I am open to representations on that matter, but it is important that many commemorations have been based on decisions made in different local authorities. It is about getting the right balance between spending money and allowing local campaigns to come to fruition in the right way. A large number of commemorations that have taken place over the last few years reflected inputs from local communities. Although I do not rule anything out, there are a number of communities across our history—perhaps even ethnic minorities—whose contributions have not been reflected. There is a judgment to be made on where we draw the line on that, but I note the sensible points that have been raised.

Through the upheaval of the first world war, Dr Inglis achieved international fame for the drive, dedication and compassion that were woven into her life, as well as her determination to do what she believed was right—refusing, as the hon. Member for Edinburgh South said, to go home and sit still. She is an enduring inspirational role model for us all. Instead of sitting still, she turned her energies to establishing field hospitals for service overseas.

As has been mentioned, Serbia in particular was in dire need of doctors, and some 600 British women served there as volunteers during the war—in large part due to Dr Inglis’s pioneering work to raise awareness and funds for that cause. She arrived in Serbia in January 1915 with the Scottish women’s hospitals, and used her skill and tenacity to save lives and alleviate suffering in extremely harsh and hazardous circumstances. She demonstrated extraordinary leadership and great loyalty in refusing to abandon Serbian troops in the field, and was herself sent into German captivity with the wounded, rather than withdrawing when the opportunity arose.

I am delighted that the Scottish commemorations panel, ably led by Norman Drummond, is delivering a number of events to commemorate the work of Dr Inglis and her fellow members of the Scottish women’s hospitals movement. A wreath-laying ceremony took place on Sunday at the grave of Dr Inglis in Dean cemetery, Edinburgh, as the hon. Member for Edinburgh South mentioned. Tomorrow, a commemorative service will take place in the presence of Her Royal Highness the Princess Royal in St Giles’ Cathedral in Edinburgh, timed to start 100 years to the minute from Dr Inglis’s funeral there.

As with all its previous events, the Scottish panel has produced an historical publication, available to members of the public on its website. The impact of Dr Inglis’s contribution reflects the sacrifice and courage of so many women—something that has been raised by hon. Members across the Chamber. My hon. Friend the Member for Berwickshire, Roxburgh and Selkirk (John Lamont) gave a moving and poignant account of the contribution made by individuals from his constituency. The hon. Member for Plymouth, Sutton and Devonport spoke about the work of Chris Robinson and the sacrifices made by those who worked with poisonous chemicals in Plymouth—a city that is close to my own heart, following my extensive attempt to get elected there several years ago.

The hon. Member for East Lothian (Martin Whitfield) spoke of Bessie Bowhill and her enormous contribution. Such contributions were often under-reported; that theme has run across many of the individuals we have discussed. We did not really know about their contribution, and that is not right.

The hon. Member for Edinburgh West (Christine Jardine) spoke movingly about the many women who made such strong contributions and sacrifices in difficult circumstances, and about the premature death of her own mother—as with my father—through asbestos poisoning.

In 2015, the British residence in Belgrade, as was also mentioned in some very well-researched speeches, was named in Dr Inglis’s honour, as a reflection of her service in Serbia and the historical relationship between the UK and Serbia. She was also featured on stamps issued by the Serbian Mail in 2015, along with other British women of the Scottish women’s hospitals movement. Closer to home, I understand that the Edinburgh & Lothians Health Foundation has an annual Elsie Inglis staff development award, and there is a permanent memorial to her in St. Giles’ Cathedral in Edinburgh.

Dr Inglis’s contribution also reminds us of the role played by other remarkable women who made history during the first world war, such as Gertrude Bell, who played an extraordinary role in the middle east; Edith Cavell, the nurse executed in 1915, who was commemorated in a series of events in October 2015; Flora Sandes, who also served in Serbia with the Serbian army; and Vera Brittain, the Voluntary Aid Detachment nurse, who left a powerful account of her experiences and the reality of modern war. Those well known heroines are the most recognisable women of the first world war, but we should also remember the vital role played by many less well known, but no less inspiring, women—a theme of some of this morning’s speeches.

The range of organisations established during the war reflects the range of contributions made by women, and the strength of their desire to play their part. Although it is not possible in the remaining time to recount every organisation founded by, or for, women during the war, I will highlight some of the most prominent to give an idea of the scale and breadth of their contribution.

Under military control from the start of the war, Queen Alexandra’s Imperial Military Nursing Service, and its part-time equivalent, the Territorial Force Nursing Service, were greatly expanded and served throughout the war on every front and in every campaign, often in the harshest conditions. Their professionalism and compassion feature in the recollections of many of those who experienced their care. They were supported by the Voluntary Aid Detachment of the Red Cross—staffed by both men and women—which was tasked with nursing, the administration of hospitals and rest stations, clerical and transport duties, and, in response to new developments, air raid duties. Working in Royal Army Medical Corps hospitals from February 1915, they numbered more than 82,000 members by 1920.

Women also served in the Army, the Navy and the newly-founded Royal Air Force in a range of roles previously performed exclusively by men. The Women’s Army Auxiliary Corps was formed in February 1917 and eventually numbered 57,000 volunteers. In recognition of that service, the corps was renamed Queen Mary’s Army Auxiliary Corps in April 1918. The Women’s Royal Naval Service, universally known as the Wrens, was also formed in 1917, with 5,500 women serving by 1918 in a wide range of roles. On 10 October 1918, 19-year-old Josephine Carr from Cork became the first Wren to die on active service when RMS Leinster was torpedoed by a German U-boat.

The Women’s Royal Air Force was created as part of the newly-established RAF on 1 April 1918, and 9,000 women already serving alongside the Royal Flying Corps and Royal Naval Air Service volunteered to join. Many will remember Harry Patch, the last Tommy. However, the last surviving veteran of the first world war from any country is believed to be Florence Green, who served with the WRAF in the UK and died at the age of 110 in 2012. More than 100,000 women served in Britain’s armed forces during the war.

Other auxiliary forces assisted with the war effort at home. The Women’s Land Army, formed in February 1917, provided a dedicated agricultural workforce and went on to employ some 113,000 women as field workers, carters, milkers and ploughwomen. Indeed, by the end of the war women made up around one third of all agricultural labour. The first female police officers also served during the first world war. The women’s patrols were tasked with supervising women around factories and workers’ hostels, as well as patrolling railway stations and public spaces.

In addition, a huge number of auxiliary and volunteer organisations were established, which reflected the desire of women across the country to take part in the war and serve their country. The enthusiasm with which women joined the groups and the way they performed their roles played a large part in the decision to increase recruitment of women in the forces.

The Women’s Legion, which was formed in July 1915, eventually became the largest entirely voluntary body. Its volunteers were involved in many forms of work and the strength of response is often cited as a factor in influencing the Government to accept and organise female labour on a more formal basis.

Women began to contribute more than ever to Britain’s industrial output. Although women made up a substantial part of the industrial workforce before the war, largely in the textile industry, as the demand for shells and munitions increased, women were employed in the munitions industry in larger numbers. As has been mentioned a number of times in the debate, working long hours, in difficult and sometimes dangerous conditions, women helped to supply the troops with weapons, ammunition and equipment. By 1918, almost a million women were employed in some aspect of munitions work. Women also began working in much larger numbers in the transport industry. During the war, the number of women working on the railways rose from 9,000 to 50,000. Elsewhere, they worked as bus drivers, conductors, ticket collectors and porters.

I am very pleased to say that that huge range of activity will be reflected in “WomensWork100”, a programme led by the Imperial War Museums and the Centenary Partnership. An international programme of exhibitions, events, activities and digital resources will be launched in February 2018 and will recognise and celebrate the working lives of women during the first world war. Through the stories of those who joined the workforce and against the backdrop of the campaign for female suffrage, it will use the IWM’s Women’s Work Collection to explore the breadth of women’s roles.

The creation of that collection is closely linked with the establishment of the museum. Almost immediately after its creation in 1917, the museum formed a committee to source material to ensure that the role of women would be recorded. That material included items donated by Dr Inglis’s sisters, some of which are on permanent display at the Imperial War Museum North. It is particularly appropriate that next year Imperial War Museums will be sharing stories from the collection.

The Department for Communities and Local Government, which has responsibility for commemorating women’s suffrage, has plans for a project called “Inspirational Women: Speak Up”. It will enable schools across the country to research and present content about the contribution of women to society and will include women such as Dr Elsie Inglis and Sophia Duleep Singh, who served as a Voluntary Aid Detachment nurse, tending wounded Indian troops in Brighton.

Although the courage, self-sacrifice and determination of such women is inspiring, we should not lose sight of the loss and hardship endured by women during the war, as reflected in the speech by the hon. Member for Strangford (Jim Shannon). In a recent debate introduced by my hon. Friend the Member for Morecambe and Lunesdale (David Morris), it was noted that some 600 memorial plaques were issued to the families of women who died in the first world war in the service of their country. Each plaque represents a very personal and tragic story of loss and sacrifice.

Women’s suffrage is somewhat outside the scope of this debate, but the contribution of women to the national effort was rightly a significant factor in the passing of the Representation of the People Act in February 1918. Although I note the observations of my hon. Friend the Member for South West Wiltshire about what happened subsequently, I am sure that the IWM and DCLG programmes, as well as many other local and community projects, will reflect on that element of women’s experience during the war. The war galvanised women of all ages and social backgrounds to support the war effort and to reconsider their position in society. We should not lose sight of the ever-present contribution of women at home and to the family, maintaining some sense of normality, or looking after the children of those who had entered the workforce.

In those respects and many others, the contribution of women to all aspects of the first world war was hugely significant. I am conscious that the debate has only touched on the many fascinating and moving stories of many millions of our forebears. I am sure that tomorrow our thoughts will turn to Dr Inglis, but as we approach the final year of centenary commemorations, we will continue to recognise and remember the huge role played by women during the first world war and ensure that it is not forgotten.

Heritage Lottery Fund and National Heritage Memorial Fund

John Glen Excerpts

Monday 27th November 2017 Written Statements

[The Parliamentary Under-Secretary of State for Digital, Culture, Media and Sport (John Glen)]

I am today publishing the tailored review of the Heritage Lottery Fund and National Heritage Memorial Fund, which launched on 23 February 2017.

The review sought to provide assurance of the continuing need for the National Heritage Memorial Fund (NHMF), including its activities operating as the Heritage Lottery Fund (HLF), and to identify opportunities to strengthen its effectiveness, efficiency and governance. The review concluded that the organisation’s functions of distributing national lottery funding and providing a fund of last resort for heritage at risk of loss to the nation remained vital, and should continue to be delivered in the current model of a non-departmental public body.

The review found that HLF’s role in distributing funding for heritage was seen as crucial to the conservation of heritage assets, to engaging communities across the UK with their heritage, and to providing support for heritage organisations to survive and thrive. While HLF has a good reputation in the sector, the review found scope for it to become a more strategic organisation by clarifying its priorities; strengthening its partnerships with other heritage organisations and national lottery distributors; using its data more effectively; and focusing on supporting the sustainability of the heritage sector and heritage assets, including by supporting skills capability in key areas such as digital engagement.

The review also recommended that HLF focus its efforts to promote inclusion and diversity by developing a strategy for engaging underrepresented groups and by streamlining its grant application processes. While HLF is a relatively lean organisation, the review supported its efforts to become more efficient, including by reducing its estate, developing an internal digital strategy, and ensuring its consultant network—the register of support services—is cost-effective. Additionally, there are recommendations for the Governments of the UK to clarify priorities for the heritage sector, to update the policy directions given to HLF, and to work with HLF to promote the intrinsic, economic and social value of heritage.

The review was carried out by DCMS with input from the Scottish Government, Welsh Government and Northern Ireland Executive given the UK-wide nature of NHMF/HLF. The review was carried out with the full participation of NHMF/HLF, and an independent challenge panel was appointed to assure its robustness and impartiality. The review gathered evidence from a range of stakeholders from across Government, from the cultural and natural heritage sectors and others with an interest in heritage, and through a public consultation. I would like to thank all those who contributed evidence to the review.

The report is available at: http://www.gov.uk/government/ publications/tailored-review-of-the-heritage-lottery-fund-and-national-heritage-memorial-fund.

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City of Culture 2021: Sunderland Bid

John Glen Excerpts

Tuesday 21st November 2017 Westminster Hall

[The Parliamentary Under-Secretary of State for Digital, Culture, Media and Sport (John Glen)]

I will start by saying what a pleasure it is to serve under your chairmanship, Mr Hollobone. I warmly congratulate the hon. Member for Sunderland Central (Julie Elliott) on securing this important debate on Sunderland’s bid to become UK city of culture 2021. I also thank the other hon. Members who have contributed. It is surprising not to see hon. Members from Swansea, Stoke, Paisley or Coventry here, intervening aggressively, but that says something about the spirit of this competition. As the hon. Lady said, it is an exciting time for Sunderland and for the other four towns and cities shortlisted to be the next holders of that transformative and quite prestigious title.

Before I go further into my speech, I would like to say a few words about Councillor Paul Watson, who was the leader of Sunderland City Council until he died earlier this month. From the many tributes I have been made aware of, it is clear that Councillor Watson was a passionate and influential campaigner for Sunderland and the wider region, and always fought hard to get a good deal for the people of the north-east. As the Minister, I would like to express my sincere condolences to his family and colleagues. I understand that Councillor Watson was an enthusiastic supporter of the UK city of culture programme and of Sunderland’s bid, recognising not only the importance of the title and its ability to help regenerate and bring economic benefits, but its importance as a vehicle for expressing a city’s pride in its heritage and helping to build a new future.

As the Minister for arts, heritage and tourism, I see the UK city of culture programme as one of our nation’s crown jewels. The winning area must build a high-quality arts and cultural programme of national significance that reaches a wide variety of audiences and participants. As the hon. Lady said, and as we have seen with Hull, winning the city of culture also acts as a catalyst that can help to regenerate and transform an area for the people who live and work there.

It might be helpful if I update the House on where we have got to. This year, 11 places made an application to become UK city of culture 2021. Following a recommendation from the independent panel chaired by the excellent Phil Redmond, I agreed a shortlist of five in July. I have been deeply impressed to see how all the places bidding have engaged so fully in the city of culture process. Even more gratifying is to see how making a bid can in itself be transformational in raising a city’s profile and helping it to develop a clear set of cultural aspirations for the future. The hon. Lady has outlined some of the themes that are clear in Sunderland’s bid. Feedback from the places that did not make the shortlist—Hereford, Perth, Portsmouth, St David’s, Warrington and Wells—confirms that to be the case. I met representatives from some of those areas in September and heard how their participation in the UK capital of culture process is the start of a journey, not its end. Paisley, Stoke-on-Trent, Coventry and Swansea, the other shortlisted places, are nearing the end of the process along with Sunderland, and I will announce the winner next month.

There is clearly much to be gained for the winning city of culture. We know that taking part in the arts can improve self-esteem and confidence. Arts and culture, through their ability to engage, inspire and challenge us, are instrumental in helping to break down barriers to participation and engagement across race, disability, age, gender, sexual orientation and socioeconomic disadvantage. The economic and social importance of culture to place-making, as underlined by the Government’s White Paper on culture last year, is evident in emerging data and evidence coming from Hull, the current incumbent UK city of culture.

Before I address Sunderland, I thought it might be helpful to set out some of the benefits the title brings. I will set them against what we know has happened in Hull. Hull City Council estimates that the local economy has benefited by £3.3 billion in total investment since being awarded the title, four years ago in 2013. Seven out of 10 Hull residents say that the UK city of culture status is having a positive effect on their lives, largely because of the opportunities made available through its volunteering programme and participation at events across the city. Hull’s 2017 volunteers have already undertaken more than 300,000 volunteer hours, the equivalent of 34 years. City of culture status has restored local pride. Who can forget Hull City fans singing, “You’re only here for the culture,” at a premier league match earlier this year?

Finally, and very importantly, Hull has seen brilliant engagement with the arts. Nine out of 10 residents attended or experienced at least one cultural event in the first three months of the year—more than double the number engaging in such activities before the city’s bid. Those are amazing achievements, of which Hull City Council and the Hull city of culture company can be hugely proud.

I now address the substance of this debate, Sunderland’s bid to become the UK’s city of culture 2021. One of the great sincere pleasures of my job is learning about the history and culture of towns and cities across the UK. For example, in preparing for this debate I found out that England’s first ever stained glass window was created in Sunderland, almost 1,400 years ago. I also learned that Sunderland was one of the first places outside London to have a municipally funded museum. It has always been a place that showed cultural leadership. Like many other people, however, I am more familiar with Sunderland’s recent history as one of the world’s great shipbuilding cities. As the hon. Member for Sunderland Central said, the decline of shipbuilding and the coal industry has had a huge impact on the people of Sunderland. In common with Hull and other city of culture candidates, the city has needed to reinvent itself, and in this context it is using arts and culture to forge a new identity.

Sunderland now has a strong network of existing museums and galleries in the area, particularly the National Glass Centre, the Northern Gallery for Contemporary Art and Sunderland Museum and Winter Gardens. There is also good partnership working and engagement with other major regional museums, including Tyne and Wear Archives and Museums, and I know that Sunderland is keen to use the city of culture bid to develop its existing partnerships with other national and international museums. Last week we had an independent review of museums, and that was one of the themes we will be taking up in the Department. Whoever wins will have the opportunity to derive some benefits from that work. The National Glass Centre and the Northern Gallery for Contemporary Art receive funding from Arts Council England of nearly £350,000 per year, as well as funding from the city and the University of Sunderland.

The organisation leading the bid is Sunderland Culture, which has been formed by the University of Sunderland, Sunderland City Council and the Sunderland Music, Arts and Culture Trust. Sunderland Culture will become a national portfolio organisation that receives annual funding from the Arts Council from April 2018. Sunderland has also received £3 million from the Creative People and Places programme and £1.25 million from the Great Places Scheme.

Looking forward, it is absolutely clear that there is a clear cultural vision for Sunderland, including for a new music, arts and culture quarter and the restoration of significant heritage sites, such as Hylton castle and Roker pier. Sunderland is home to Europe’s largest free international air show and will next year host the Tall Ships race, which I hope will bring people to the city in huge numbers and be a fantastic boost to the visitor economy. I hope many of those visitors will also experience the Great Exhibition of the North, which will take place at the same time in nearby Newcastle and Gateshead.

It is clear from what we have heard this afternoon that, in common with the other shortlisted areas, Sunderland has the heritage, vision, infrastructure and cultural leadership to be the next city of culture. I conclude by wishing the city of Sunderland the best of luck in its bid. It has been so well supported by all its MPs here today. The good news for them is that they have only a few weeks to wait.

Question put and agreed to.

Oral Answers to Questions

John Glen Excerpts

Thursday 16th November 2017 Commons Chamber

[Steve Double (St Austell and Newquay) (Con)]

The biggest concern of the tourism and hospitality sector is access to the labour force once we leave the EU. Will the Minister confirm that he has got this message, and will he update the House on what representations he is making to the Secretary of State for Exiting the European Union on the matter?

[The Parliamentary Under-Secretary of State for Digital, Culture, Media and Sport (John Glen)]

My hon. Friend is a strong campaigner for the tourism industry. I have had numerous conversations with the tourism industry across the UK and I am having active conversations across Government. I look forward to progress being made on this important issue in the very near future.

[Imran Hussain (Bradford East) (Lab)]

T6. In September, the NEC Group agreed to operate the Bradford Odeon as the largest mid-sized venue outside London. This could attract a further quarter of a million visitors to Bradford. Does the Minister agree that this shows a huge confidence in Bradford, and will he look at bridging the funding gap after the local authority has added extra funds? Will he also meet me to look at the restoration of this world-class site?

[Kevin Foster (Torbay) (Con)]

The Minister responsible for tourism will be aware of the importance of the industry to Torbay. It may seem strange to say this in winter, but many people will soon be starting to think about their summer holidays. What work will he do to ensure that people think of coming to Britain’s great coastline next summer when they book their holiday at Christmas 2017?

[John Glen]

My hon. Friend is absolutely right. Extending the season is a key priority for the tourism sector. I shall be down in the south-west very early in March to declare the season open early next year.

[John Grogan (Keighley) (Lab)]

T7. Will Ministers look at the situation whereby the 2018 winter Olympics would in their entirety be a listed event, with the expectation that they would be shown on live free-to-air TV, as before, in their entirety? In fact, most of the live coverage will be on Discovery’s Eurosport without, as yet, any reference to Ofcom.

--- Later in debate ---

[Rebecca Pow (Taunton Deane) (Con)]

The Natural History Museum is embarking on the monumental task of digitising 800 million items, including a collection of dung beetles and flea beetles. These items could hold the keys to our future biodiversity, climate change and pollution problems, so they are very important. Does the Minister agree that this is the kind of project the Government should be supporting in conjunction with our global partners?

[John Glen]

I thank my hon. Friend for that question. The Government are indeed supporting that sort of work, and we have some internationally renowned institutions doing wonderful work. Digitisation is really important, and the University of Sheffield, for example, is working closely with the Natural History Museum to take advantage of some of the pioneering work it has already undertaken.

[Several hon. Members rose—]

The 1954 Hague Convention and Protocols

John Glen Excerpts

Wednesday 15th November 2017 Written Statements

[The Parliamentary Under-Secretary of State for Digital, Culture, Media and Sport (John Glen)]

I am today announcing and publishing measures to support the effective implementation of the 1954 Hague convention for the protection of cultural property in the event of armed conflict and its two protocols of 1954 and 1999 and the Cultural Property (Armed Conflicts) Act 2017.

The United Kingdom ratified the convention and acceded to the protocols on 12 September. They will enter into force for the United Kingdom on 12 December. Commencement regulations have been made to bring the Cultural Property (Armed Conflicts) Act 2017 into force on that date.

I am publishing a document setting out implementation measures in three key areas: cultural property protected by the convention and protocols; safeguarding protected cultural property; and use of the cultural emblem.

Part one of the document identifies seven categories of cultural property in the United Kingdom which we consider meet the definition of cultural property set out in the convention and are therefore protected by the convention and protocols. These categories are indicative and non-exhaustive: there may be other cultural property which meets the definition and which is therefore also protected. The list of categories is UK-wide and has been agreed with the devolved Administrations.

Part two sets out our approach to safeguarding cultural property. It explains that we do not intend to impose any additional or specific safeguarding requirements on the owners, guardians and trustees of cultural property in England to be implemented during peacetime, given that they should already have plans in place to deal with emergencies and disasters and armed conflict affecting the territory of the United Kingdom is not expected in the foreseeable future.

Part three deals with use of the cultural emblem. It explains when permission to use the cultural emblem is required and how to request permission. It also explains that the Government do not intend to grant permission for the cultural emblem to be displayed on immovable cultural property, such as museums and historic buildings, during peacetime, except where a strong, persuasive case can be made for doing so, in order to protect the integrity of the cultural emblem as a symbol of protection during armed conflict.

Initial permissions to use the emblem for education and training purposes and by the Ministry of Defence, for the new armed forces’ cultural property protection unit, the British Red Cross, and the Blue Shield international and national committees of the Blue Shield are included in an annex. These permissions will come into force on 12 December.

Parts two and three and the permissions in the annex relate only to England. The devolved Administrations are responsible for safeguarding cultural property and for granting permissions to use and display the cultural emblem in Scotland, Wales and Northern Ireland.

I am also publishing a separate guidance document on the new offence of dealing in unlawfully exported cultural property which is created by section 17 of the Cultural Property (Armed Conflicts) Act 2017.

Both documents are available at:

https://www.gov.uk/government/publications/protection-of-cultural-property-in-the-event-of-armed-conflict.

I have arranged for copies of both documents to be placed in the Libraries of both Houses.

[HCWS244]

Museums Reviews

John Glen Excerpts

Tuesday 14th November 2017 Written Statements

[The Parliamentary Under-Secretary of State for Digital, Culture, Media and Sport (John Glen)]

Today DCMS publishes “The Mendoza Review: an independent review of museums in England” and the “Strategic Review of DCMS-sponsored museums”.

Neil Mendoza was the lead, independent reviewer. He was supported by officials at DCMS. Throughout the process Neil engaged closely with the museums sector, Arts Council England (ACE), Heritage Lottery Fund (HLF), Historic England (HE), and relevant Government Departments.

The Mendoza review of museums in England

The Mendoza review is the first in over a decade to examine the English museums sector. It was commissioned in response to the culture White Paper in 2016 which called for

“a wide-ranging review of national, local and regional museums, working closely with ACE and HLF”.

Therefore, it has looked at what the national infrastructure for museums is, what it could and should be, the museums sponsored directly by Government, and the challenges and opportunities for all of England’s museums. While it focuses primarily on the 1,312 ACE accredited museums, it does consider the wider context of the sector, which encompasses approximately 2,000 museums in England. The review does not cover the policy of free admission to the permanent collections of national museums as this is a manifesto commitment.

The Mendoza review proposes recommendations enabling a more strategic approach to public funding for museums from Government and their arm’s length bodies. It highlights the increased importance for Government and their ALBs—including the national lottery—of distributing funding in a more joined-up and effective fashion. The roles and responsibilities for relevant stakeholders are divided as follows:

a more strategic and focused approach by DCMS and its ALBs;

a more prominent and assertive role for Arts Council England;

a more strategic use of lottery funding for museums;

a more active role for Historic England;

and national responsibilities for national museums.

The review also sets out ideas for local authorities on how to make best use of their museums, and best practice suggestions for the sector itself.

The report is available at: https://www.gov.uk/government/ publications/the-mendoza-review-independent-review-of-museums-in-england

Strategic review of DCMS-sponsored museums

Alongside the Mendoza review we publish the “Strategic review of DCMS-sponsored museums”. This is the first clustered review undertaken by any Government Department, following Cabinet Office guidelines for tailored reviews. It examines the form and functions of 16 ALBs (15 museums and the British Library) sponsored by DCMS, their functions, forms, effectiveness, efficiency and accountability. Of particular importance was establishing the extent of the leadership and co-ordinating activity these ALBs provide, nationally and internationally, identifying any areas for improvement. It should be read alongside the Mendoza review for a full picture of the role, importance and significance of the sponsored museums, especially after the UK’s exit from the European Union, and how the findings from this review feed into and support its recommendations.

Both reviews benefited from the independent challenge panel, members of which were appointed to ensure the review’s robustness and impartiality. I am also grateful to the following Government Departments who sat on the programme board: Her Majesty’s Treasury, Cabinet Office, the Department for Education, the Department for Communities and Local Government and the Ministry of Defence. Finally, I would like to thank all those who contributed evidence to the review through the public consultation.

The report is available at:

https://www.gov.uk/government/publications/strategic-review-of-dcms-sponsored-museums.

[HCWS240]

Underwater Cultural Heritage

John Glen Excerpts

Tuesday 31st October 2017 Written Statements

[The Parliamentary Under-Secretary of State for Digital, Culture, Media and Sport (John Glen)]

In the culture White Paper, published in March 2016, we undertook to review the Government’s position on ratification of the 2001 UNESCO convention on the protection of the underwater cultural heritage. Earlier this year we said we were considering plans for a review, with a view to making an announcement.

Since we published the culture White Paper, we have had to reconsider our priorities and our ability to carry out a review in the light of changing circumstances.

As a result, we have decided to defer the review while we focus our efforts and resources on delivering new and more immediate priorities.

The Government have adopted the principles set out in the annex to the convention as best practice in the management of underwater cultural heritage. There is no change to this.

We remain committed to reviewing the Government’s position on ratification of the convention when priorities and resources permit.

[HCWS208]

National Railway Museum and Ownership of National Assets

John Glen Excerpts

Wednesday 25th October 2017 Westminster Hall

[The Parliamentary Under-Secretary of State for Digital, Culture, Media and Sport (John Glen)]

It is a pleasure to serve under your chairmanship, Mr Chope. I thank the hon. Member for Luton North (Kelvin Hopkins) for proposing this debate about the National Railway Museum and the ownership of national assets. I am grateful to the large number of hon. Members who have contributed. In my response I will seek to address the specific points made.

As we have heard, the collections of our national and regional museums are of profound importance. We can be extremely proud of the local, regional and global significance and diversity of many of those items. It is right to ensure that the collections are managed well.

The hon. Gentleman is concerned that the National Railway Museum has disposed of assets that should be retained within the national collection. However, I do not agree with his proposal that the National Railway Museum reopens this question. The museum is bound by the National Heritage Act 1983, but is not required by that to consult the public before disposing of items. Those are curatorial decisions and are therefore independent from Government—and I believe rightly so. I will go into some detail on how the process works.

While the 1983 Act sets out some restrictions on the museum’s disposal powers, the Science Museum Group, of which the National Railway Museum is a part, has a rigorous process in place to ensure that disposals are consistent with those restrictions. Having spoken to Andrew McLean, the assistant director and head curator at the museum, yesterday afternoon, I am confident that the decision to transfer the engines, particularly the engine to Swanage railway, was the right decision in this circumstance. It does not set any precedents, as I think the hon. Member for Argyll and Bute (Brendan O’Hara) suggested, but follows accepted museum practice. It has been undertaken in this way in other situations for many years. It would not be appropriate for me to intervene, even if I desired to do so.

Since I took on this ministerial role, I have had the opportunity to visit many museums and heritage sites all over the country. I have not been to York or Darlington yet, but there is always a new opportunity.

[Kevin Brennan]

We could go together.

[John Glen]

Perhaps we could—I welcome that.

I have been deeply impressed by the passion that staff and visitors have for their museums and how seriously museums take their duty to preserve and care for their collections, which in many cases, including the national collection, are specifically held in trust for the public now and for the future.

The hon. Member for Darlington (Jenny Chapman) gave a passionate defence of and was an advocate for her museum. I point out to her that Arts Council England is investing £118 million in museums in the current period, up to next year, and from 2018 many more museums will be part of the national portfolio. Museums will be able to apply for grants from the Arts Council, so there are more opportunities. I recognise the funding constraints and urge her to liaise with her local museum on how that could happen.

The National Railway Museum sites at York and Shildon are among the most popular museums in the UK. Visitor numbers are around 750,000 a year and were boosted in 2015-16 by the exciting arrival of the Flying Scotsman. The collection there includes more than 250 locomotives and rolling stock, 628 coins and medals, and nearly 5,000 pieces of railway uniform, equipment, documents, records, artwork and photographs. Such a fantastic and popular array of objects—especially including large locomotives—naturally requires a lot of management. The curators and museum in York need to be given full credit for the role they have played, not only within their own precincts but in the regeneration of York. They must decide what to display to the public, and how best to construct an interesting and informative narrative around the collection, and take into account the historical and physical quality of the objects. With locomotives, a large amount of storage space is also required.

It is clear from what we have heard that the hon. Member for Luton North holds the National Railway Museum collections in great esteem, as we all do, and naturally is concerned to ensure that they are being well managed. That is of great importance to me too, particularly as the assets of our national museums are, in essence, owned by the public and their upkeep and display contributed to by taxpayers. It is only right and proper that national museums are run at arm’s length from Government. We expect, however, that collections are reviewed regularly to ensure that they remain relevant, appropriate and accessible to the widest possible audiences. The collections management policy of the Science Museum Group, including its disposal guidelines, is publicly available. For clarity, I will set out how such decisions are made.

Recommendations for disposal must be approved by a board of survey—as the hon. Member for York Central (Rachael Maskell) mentioned—held at the individual museum site, where they are peer-reviewed by colleagues. Recommendations then go to the collections and research trustee sub-committee, followed by the Science Museum board of trustees. It is in the nature of the heritage transport sector that some charitable institutions with heritage rail collections do not necessarily operate as accredited museums. As such, when disposal to a national or accredited museum is not possible, the aim is to keep objects in the public domain. The Science Museum Group also gives priority to transferring items to museums or heritage organisations with a local or regional connection. That decision-making process is not random, but clear and well considered, with a number of checks.

The National Railway Museum’s decision to deaccession this particular locomotive was based on three factors: first, duplication of this type of locomotive within its collection; secondly, the vehicle being in particularly poor condition; and finally, the vehicle being more suited to a museum telling local and regional stories. I am confident that due processes were followed and that the museum made the right decision for the object.

Swanage Railway Trust is a well respected heritage railway organisation, which has the knowledge, skills and storage facilities to care for the engine in a way that will let future generations enjoy it. Indeed, only yesterday we found out that it had received a generous private donation that will allow it to strip down and examine the T3 to establish whether it can be restored to full working order. Swanage Railway believes that the engine can tell its story most effectively by hauling trains on a branch line railway that it was built to run on more than 120 years ago, and I am inclined to agree.

[Martin Vickers (Cleethorpes) (Con)]

I speak both as a railway enthusiast and an officer of the all-party group on heritage rail, which is particularly interested in ensuring that locomotives are in steam and that people see them running. I have visited York on many occasions and the days on which the locomotives are in steam draw the real crowds. Will the Minister assure us that if locomotives are transferred, whether to Swanage or wherever, they can be seen operating on the many preserved lines we have up and down the country?

[John Glen]

The principle behind decisions on disposal and dispersal of assets are designed to maximise public exposure to fully functioning assets, so that as many interested people as possible are brought into the country’s museums. I cannot give categorical assurances on exactly how the assets will be displayed and used, but I imagine that is the aspiration in every case.

That recent development in Swanage demonstrates that the move there was in the best interests of the engine and the public who want to see it. Swanage Railway has a long historical association with the T3 and receives more than 200,000 visitors a year. In the long term, it hopes to fully restore the engine to steam and increase its accessibility to the public. Those goals may not have been possible for the National Railway Museum, given the range of issues that it has to deal with. For those reasons, the National Railway Museum and trustees of the Science Museum felt that Swanage Railway would be extremely well placed to look after the engine and display it to a wider audience.

The news of the transfer was generally well received, both locally and with the descendants of the locomotive’s designer, William Adams. Indeed, only Steam Railway magazine, to which the hon. Member for Luton North contributed, raised any concerns. No other organisations have come forward to say that they wanted to acquire the T3. The museum abides by the Museums Association’s code of ethics on disposals and best practice. That includes advertising objects for disposal in some circumstances. The museum has committed to going above and beyond that and will advertise every rail vehicle disposal to ensure that the best home can be found for these important objects.

More broadly, the question of how to make disposals sensibly and ethically is taken very seriously by the museums sector. The hon. Member for Cardiff West (Kevin Brennan) asked about the Mendoza review of museums in England. That will report soon and will look at collections management, including disposals. On funding, some proposals are being examined for how we can encourage better collaboration between big national museums and regional and local museums. I hope that that will provide more opportunities in due course.

In conclusion, although I understand and appreciate the sincere concern of the hon. Member for Luton North that the national collections are well managed, I do not agree that the disposal of the T3 engine should be re-examined. I understand that the National Railway Museum has invited him to visit the museum to discuss the matter in person. I encourage him to take up that offer, because I think that such a meeting would allay many of his fears. I have every confidence that the museum has managed, and will continue to manage, its collections to ensure that it can inspire its visitors, but I will continue to observe the sector closely in my role as Minister.