Human Rights in the UK

Debate between John Howell and Joanna Cherry

Wednesday 13th February 2019 Westminster Hall

[John Howell (Henley) (Con)]

It is a pleasure to serve under your chairmanship, Mr Gapes, and a pleasure to follow the hon. Member for Edinburgh East (Tommy Sheppard), who is a fellow member of the Council of Europe. I understand and agree with a lot of what he said.

The European convention on human rights has been around since the early 1950s, and it is worth remembering that it was 1965 when we agreed to abide by the decisions of the European Court of Human Rights in the UK. We have had almost 60 years of a relationship with the European Court of Human Rights and its decisions.

I start by making the point that the convention is not the same as the Human Rights Act, and the European Union is not the same as the Council of Europe. The two are very different and we should take them as such. I have a lot of time for the convention, and I agree with much of what the hon. Gentleman said about it. I was particularly irritated during the referendum campaign that a lot of people got the ECHR confused with the European Court of Justice. The two are completely separate. One is owned by the European Union and the other by the Council of Europe.

I would go on to say that the single biggest contribution to peace in Europe since the end of the second world war has come from the European convention on human rights, together with the work that NATO has done. We should state that, and we should be proud of it, because we have been very much involved in it from the beginning. As the hon. Gentleman and I know only too well, the European Court of Human Rights comes with a democratic mandate. I imagine the hon. Gentleman spends a lot of time, as I do, voting for the judges who are nominated to sit on the European Court of Human Rights. That gives democratic control and is also a means of reflecting, to some extent, the mixture of politics, competence and a whole number of other matters that give the European Court of Human Rights its character.

I am not as enamoured of the EU’s involvement with human rights, which I think has created a very mixed picture. If I am not using the term wrongly, I think that the European Union has tried to steal the mandate of the Council of Europe, which applies to almost twice the number of countries as the EU does—that is where a large part of its strength lies. The relationship between the EU and the European Court of Human Rights is something that we are still debating at the Council of Europe.

UK involvement with the European Court of Human Rights has been a huge success story. It has been a very good illustration of how human rights overall are doing quite well in this country. I do not agree with the hon. Gentleman on the need to extend those human rights to matters such as housing. That is a route to socialist involvement in the running of this country that I do not agree with, and would steer clear of.

[Joanna Cherry (Edinburgh South West) (SNP)]

Does the hon. Gentleman recognise that there are countries across the world, such as South Africa with its new constitution and some Nordic countries, that have a right to adequate housing in their constitutions? Does he consider those to be socialist countries?

[John Howell]

When the EU decided to bring out its own human rights framework, it thought very carefully about what should be included, and it differs from the European Court of Human Rights on only a few exceptions.

Creative Industries

Debate between John Howell and Joanna Cherry

Thursday 7th July 2016 Commons Chamber

[Joanna Cherry (Edinburgh South West) (SNP)]

I congratulate the hon. Members who obtained this important debate. I would like to address the role of the university sector in the creative industries. In doing so, I am indebted for their assistance to Universities Scotland and, in particular, to Edinburgh Napier University, which is situated in my constituency.

Scotland has always been a creative nation, and Scotland’s universities have always been at the heart of that creativity. Scottish creativity, as we have heard this afternoon, punches far above its weight on the global stage. World-leading talent has emerged from Glasgow School of Art, including Turner prize winners such as Duncan Campbell. Acclaimed stars of stage and screen, including Alan Cumming, David Tennant and James McAvoy, have all studied at the Royal Conservatoire of Scotland. We are very proud in Scotland of the literary success of novelists such as Ian Rankin, a graduate of the University of Edinburgh, which is my own alma mater. We are also proud of Scotland’s previous makar—that is our poet laureate—Liz Lochhead, who was a writer in residence at Duncan of Jordanstone College of Art and Design and the University of Glasgow.

Several of my hon. Friends have mentioned the video game “Lemmings”, invented by a Scottish graduate, Mike Dailly, which first put the great city of Dundee on the map for computer games. My hon. Friend the Member for Glasgow North (Patrick Grady) was a little unkind in suggesting that members of Her Majesty’s Official Opposition could presently be described as lemmings; lemmings put me more in mind of Brexiteers, and it was very amusing to watch some of them attempt to scrabble back up the cliff face in the debate on EU nationals yesterday. I also want to mention Scottish fashion graduate Rachael Barrett, whose designs were chosen and worn by Lady Gaga.

Edinburgh Napier University in my constituency prepares graduates for employment in a significant number of the creative industries, through undergraduate and postgraduate degrees and programmes in its school of arts and creative industries, its school of computing and its business school. It engages proactively with industry and professional bodies through knowledge exchange activities, continuing professional development programmes and provision of advice and support. In particular, it hosts Screen Academy Scotland, a joint venture with the University of Edinburgh that is recognised as a centre of excellence in film practice and has celebrated 10 years of its prestigious status as one of just three film academies in the UK accredited by Creative Skillset.

[John Howell]

I intervene as a fellow graduate of the University of Edinburgh. Does the hon. and learned Lady think there is something in the water in Edinburgh that has helped create those creative industries, or is it just the hard work of the university, which has concentrated on the creative industries and achieved so much for them?

[Joanna Cherry]

Edinburgh of course now hosts more than one university. Its oldest university is our joint alma mater, but it also has Napier University in my constituency, which I have just been talking about, and Heriot-Watt University. Possibly what the hon. Gentleman refers to is due to those universities, but it is also very much due to an atmosphere across the education sector in Edinburgh, which fosters interest in music and the arts.

Of course, we are also very privileged to host the greatest international festival anywhere in the world. Growing up in Edinburgh and getting to attend events at the festival and fringe as a wee girl was the sort of opportunity that not all children get. In my constituency, we have tried to ensure that the festival reaches out beyond Edinburgh city centre to the suburbs and housing schemes. That has resulted in some very vibrant arts activity in Wester Hailes, a big housing scheme in my constituency.

Edinburgh Napier is just up the road from Wester Hailes. Many of its students and graduates have achieved considerable success and external recognition, which they have built on to achieve strong careers in the creative industries. Its students’ work features regularly at international film festivals, including Berlin, Venice, Cannes, Beijing, Kolkata and—closer to home—Edinburgh. Graduates of Napier have won awards in journalism and advertising. Its music students have been awarded or shortlisted for national and international prizes, including first prize in the international Jean Sibelius composition competition.

Importantly, Edinburgh Napier offers businesses opportunities to link up with a diverse range of creative students for freelance assignments. That ensures that students develop their skills in a business environment and the businesses themselves benefit from the students’ professional output. The success of Screen Academy Scotland demonstrates how universities can support the continued professional development of those working in the industry. Illustrious graduates of Edinburgh Napier include the film director Lynne Ramsay, the photographers David Eustace and Colin Baxter, and the BBC broadcaster Catriona Shearer, to name just a few.

The creative industries thrive on talent and depend on a well-educated workforce. Universities are a rich source of that talent. Analysis recently published by the Department for Culture, Media and Sport showed that last year more than half of jobs in the creative industries—almost 60%—were filled by people with at least a degree or equivalent qualification, compared with 30% of all jobs in the UK.

There is often a view that creative talent is innate, but that is not the case. Talent must be nurtured and developed, and that is what higher education does. Scotland’s universities collaborate directly with creative companies and industry bodies in the design and development of courses at undergraduate and postgraduate level. However, there is a problem with the skills gap, and it is that issue which I would like the Minister to address. Research carried out by Creative Skillset found that 28% of companies in the creative media industries report skills gaps within the existing workforce across the UK, with a slightly higher proportion in Scotland—31%—reporting such skills gaps.

It is interesting to note that only 12% of those studying creative industry-related subjects at postgraduate level in Scotland are from Scotland, compared with the proportion of non-EU postgraduate students studying in Scotland, which is 70%. This means that Scotland needs to retain its creative graduates, regardless of where they are from. We need to encourage people who have come to Scotland to study creative subjects to stay in Scotland after they graduate. These graduates are innovative, enterprising and ambitious, and will contribute not only to the Scottish economy, but more broadly to the social, cultural and economic life and development of Scotland. It is important to ensure, therefore, that the needs of the creative industries and the broader creative and knowledge economy is not lost through the post-study work route.

The UK Government’s immigration policy—specifically, the proposals for tier 2—is the major deterrent to greater flows of talent coming from outside the European Union into Scotland and the UK. I fear that if the Brexit vote is to be implemented, the problem will only get worse, as students coming from the European Union will also be affected.