Artist Visas

Kevin Brennan Excerpts

Wednesday 4th September 2019 Westminster Hall

[Deidre Brock (Edinburgh North and Leith) (SNP)]

I beg to move,

That this House has considered artist visas.

As always, Mr Gray, it is a pleasure to serve under your chairship.

In Edinburgh, we have the best festivals in the world; not even Donald Trump could claim to have better festivals. They include the world’s biggest arts festival, the Edinburgh festival fringe, and the wonderful book festival, which takes place in my own constituency of Edinburgh North and Leith, as well as the international festival, the film festival, the storytelling festival, the science festival, the jazz and blues festival, the art festival, the children’s festival, the Hogmanay winter festival and, of course, the Edinburgh Tattoo. There is also the festival of politics, but that is not allowed to join the cool gang of festivals—not yet, anyway.

Those festivals grew out of a desire to rebuild international cultural co-operation after the second world war. Conceived in 1945 by Rudolf Bing, an Austrian who had fled the Nazis, the first festival was in 1947 and it reunited Bruno Walter with the Vienna Philharmonic. So much for the official festival. However, the spirit of rebellion that marks Edinburgh in August started in the same year, when six Scottish theatre companies and two English ones rocked up to stage their own shows and began what became the fringe. They were not alone. Forsyth Hardy and John Grierson added the film festival, too, showing 75 films from 18 countries in the Cameo cinema, which was not a bad result in 1947. All three festivals still run in Scotland’s capital city and they have been joined by quite a few others, many of which I have already noted.

Figures for this year’s festivals are not yet finalised, but the initial trawl suggests that the August festivals alone had more than 5,000 international participants. The actual number is closer to 5,500, according to figures provided by the festivals. Of course, that is only the performers. Many tens of thousands of international visitors also flock to Edinburgh every year. Of those international performers, 1,500—some 28%—were European economic area nationals, people who currently need no visa to travel to the UK. Just over half were non-EEA nationals who did not need visas. However, one in five were non-EEA nationals who required visas. Next year, we may have a whole different category of performers who will need visas and a whole set of hoops for the festivals to jump through to get them to Edinburgh to perform.

I have a fairly regular stream of immigration cases, as I know other Members do, but I also have an additional task every year, as the festivals find themselves struggling to get visas for their headline performers and ask for a bit of help. These are performers at the peak of their profession who are world-renowned and very successful. They are being refused visas because they do not match up to a flowchart somewhere in the Home Office, or because some poor decision maker with a massive workload has to make very quick decisions on very complicated cases, which is one way to end up with poor decisions. Other Members representing Edinburgh and other areas that receive visiting artists may have similar stories.

I would like to take a moment to pay tribute to the civil servants in the UK Visas and Immigration team who answer the calls and emails from my office. They are professional and helpful, and they do what they can to help with these as well as many other cases. They are a credit to the service. However, they operate within a broken system and the fault for that lies with politicians.

The decisions made in Government create the systems that the civil servants have to work in and they are the decisions that create the ethos of the Departments. It is the political decisions that create the problems and it will be political decisions that can construct the solutions.

We need those solutions, because the damage done to the festivals and to our reputation is not limited to the individual performer thinking that it is a bit of a pain getting to Edinburgh in a particular year. The bigger damage comes from the impression being formed that it is a hassle getting to Edinburgh to appear in the festivals, and when performers start thinking that it might be too much hassle getting to Edinburgh. The damage comes when that consideration becomes part of the consideration that weighs in the balance against coming to Edinburgh, and when those considerations outweigh the considerations of benefits that might accrue from performing at the festivals.

When authors think, “The Edinburgh book festival would be good to appear at, but Cork would be okay, too, and there’s less hassle getting to west Cork,” we have a problem. The same would go for the Hay festival, the Cheltenham festival or the Beyond the Border festival. By the way, I have nothing against Cork. I could easily have mentioned instead Parisot or Charroux in France; the three festivals that take place in Barcelona; Fitzroy, Fremantle, Sydney, Alice Springs, Adelaide or several others in Australia; or Calgary, Vancouver or even New Westminster in Canada. There is no imperative for authors to come to the UK, and if we put barriers in their way we reduce the appeal of our festivals.

I would like Edinburgh to compete on a level playing field; it is the only way in which we will stay ahead of the competition. Of course, the same goes for arts festivals such as the international festival and the fringe. There are other festivals all around the world and the prestige of Edinburgh will not keep us ahead of them if the disincentives begin to outnumber the positives. That possible reluctance on the part of performers to come to Edinburgh might be mirrored by festival organisers deciding that the effort they have to put in to get performers to the stage is becoming burdensome. When they have so much to do to put the shows on in the first place, any extra burden becomes a serious consideration.

The statistics, too, seem to suggest there is a problem. Four years ago, more than one third of international performers at the fringe were visa nationals; this year, the figure was down to one quarter. In this year’s book festival, four authors’ events were put at risk by visa problems, and in the international festival a renowned choreographer and his dance troupe had major inconveniences. Some of Serge Aimé Coulibaly’s dancers had to travel from Burkina Faso to Ghana for their visa appointments—a 32-hour round trip—and then they had to pay for a courier service to get their passports back, to avoid having to repeat the journey. One of them, who is resident in Germany, had to return to Berlin from Burkina Faso to pick up his visa within the allotted timescale when it was granted more quickly than expected. The troupe had already performed at the Barbican in May and they will come back to the UK in November—if they get visas.

These people tour the world performing. Applying for visas through an appointment system, leaving their passports and returning to the visa centre to collect visas is, as we would say in Scotland, a right pain in the bahookey for them. From what I have heard from other areas around the world, these difficulties would appear to be easily surmountable with the right political will, and I imagine that they are difficulties faced by other would-be visitors as well.

I am grateful to Festivals Edinburgh for providing me with much of the information for this debate. It tells me that this dance troupe’s difficulties are indicative of the kinds of problems faced by performers regularly; these are not exceptional circumstances. Freelance performers face problems in demonstrating income and reserves in cash terms, because the nature of their work means that their income comes in bursts. Then we have the slow decisions that endanger appearances; the refusals that are overturned on appeal, often with an MP’s help; and the sheer uncertainty that the whole thing creates.

As I have said, these are political problems and political solutions can be found. I have to say that the festivals were cheered somewhat by the engagement of the previous Immigration Minister, the right hon. Member for Romsey and Southampton North (Caroline Nokes), and I am sure that the current Minister—the Under-Secretary of State for the Home Department, the hon. Member for South Ribble (Seema Kennedy)—has a record of that engagement. May I tell her, though, that the festivals are heartened by some of the actions taken, in particular the UKVI guidance for creative event managers, published in March, and the direct named contacts at UKVI and the Home Office? The festivals appear to be as impressed as I am with the civil servants.

That is a start, but we have to move far more quickly to get ahead of the game. In a couple of months, EEA citizens could be required to have visas to travel, adding a huge number of festival performers to the processes—if they still want to come. None of that takes account of the international visitors coming to watch events at the festivals or to see other things while they are here. There is also the parallel issue in the other direction, with the probability that the EU will require additional efforts from UK artists heading there.

[Kevin Brennan (Cardiff West) (Lab)]

I congratulate the hon. Lady on securing this important debate. Is it not the case that in the music industry, for example, many UK touring artists are not very wealthy? Often they are, in effect, a one-person band, travelling on budget airlines and taking their own instruments to their fan base around the European Union. Is there not a real danger that those people’s livelihoods will be directly affected if we do not do something before Brexit?

--- Later in debate ---

[Patrick Grady]

There we are. It has been established. I apologise for inadvertently misleading the House, Mr Gray, but I am glad that I now have the privilege of representing an area where, once upon a time, you bestrode the streets of the west end of Glasgow, which is of course the site of much of Glasgow’s creative industry and vibrant cultural scene, which is why the issue of artists’ visas is so important.

I congratulate my hon. Friend the Member for Edinburgh North and Leith (Deidre Brock) on securing the debate. This is not the first time that difficulties with the visa system have been raised in Westminster Hall, and it will not be the last. It might not be the last time that the Minister has to respond to debates on such topics, although we live in turbulent times. I welcome her to her post. She will have quite a heavy in-tray in the coming weeks and months, but the issue of visas will dominate it, and the speeches and contributions that we have heard from Members explain why.

I want to look briefly at the importance of the creative sector to the UK and Scotland’s economy. The reports that we have heard about illustrate a massive contradiction in Government policy. I want to dwell a little on the specifics of artists travelling from Africa because I have a personal interest and some experience there, and it speaks to the broader policy issue in general. I also want to look at the question of Brexit and its consequences for travel across the European Union.

The creative sector is, as we have heard, hugely important to the economy of the UK as a whole. We are just coming to the end of the festival season. Great cultural festivals include the Edinburgh festival, which is hugely significant and well appreciated and enjoyed. I am happy to continue the rivalry between whether bigger is necessarily better when we consider what Glasgow has on offer compared with Edinburgh. There are other festivals across the UK such as Womad and the festivals that my hon. Friend the Member for Edinburgh North and Leith cited. I pay tribute to the digital engagement team for the way in which it reached out to other organisations and allowed their voices to be heard. I thoroughly recommend that all of the statements be made available to Members, perhaps through the Library, and that the Minister pays particular attention. My hon. Friend quoted from most of them, but I will draw the House’s attention to one or two comments from the various people who contributed.

The music director of the Shambala festival, an international festival of music and art, talked about the multi-faceted nature of the issues and the costs:

“We are often seeking performances from acts that may only have one or two shows in the UK. The costs for Visas for a large band are...spread over very few shows...Secondly, the application is a bureaucratic nightmare that takes a very long time to process and...includes the applicants having to hand over their passports for weeks”,

which, as was suggested in interventions, makes it difficult for the artists to do their jobs anywhere else. The artistic director of the Shubbak festival said:

“The current visa system is unsustainable for the artists we work with. Shubbak’s producers spent a significant amount of time, effort and costs to support artists in their process of visa applications. The forms are overlong and advice is often contradictory.”

Shubbak is one of the largest celebrations of Arab culture that takes place in the UK, particularly here in London.

It appears from the briefing that the quotes from the London international festival of theatre have been endorsed by a significant number of other people from the creative industries. As my hon. Friend said, countless artists are telling festivals and venues that they are reluctant even to accept invitations to come because of the draconian visa process, but they also suggest solutions:

“While we recognise the need for scrutiny...we suggest a number of key developments which...will help alleviate this situation.”

They include reducing the costs, faster processes, clearer information to applicants and opening more application centres. I will come back to that, but it is certainly true of the findings of the all-party groups on Africa, migration and Malawi.

My hon. Friend the Member for Glasgow East spoke about Celtic Connections, a festival very close to my heart. I have taken part in its events for many years and I have good friends who perform in it almost every year. At this time last year, the director of the festival, Donald Shaw, a highly regarded musician and creative talent in Scotland and a real driving force behind the festival, expressed his frustration about artists who are not even willing to consider coming to the festival now because they know of the barriers that will face them. He said:

“These are top-class musicians who have been travelling around the world for over 20 years. Britain now has a very solidly-locked gate, certainly in terms of African visas. The whole thing undermines us as a Scottish festival with an international outlook.”

That is the contradiction: the United Kingdom says it is open for business—that that is the great thing about Brexit, which will take us back on to the world stage. They spend millions, if not tens and hundreds of millions of pounds on “Britain is GREAT” posters, which we see all over the place. Whenever we go overseas and visit UK embassies or see adverts taken out in aircraft brochures, we see “Britain is GREAT”, “Britain is open for business”, but then as soon as somebody applies to come here they are told Britain is not open for business; it is closed. There is a massive contradiction in policy and it is a huge act of self-harm to the economy, society and culture.

[Kevin Brennan]

What the hon. Gentleman says is absolutely right. Is it not also the case that not only are the restrictions draconian, but the Home Office deliberately runs its visa programme as a money-making racket? That is what it is.

[Patrick Grady]

Absolutely. It is particularly important to the creative sector when the operating margin for visas is so small. Most people go into the creative sector out of a love for their art, and to contribute to society and culture as much as to the economy, but if they are successful the margins can have a positive economic input as well. Yet the visa policy is driving that down and making it more difficult for people to make that economic, as well as cultural and social, contribution.

I am reminded of testimony from a very senior official in the African Union—a trade commissioner who came to speak to us at an event in the House of Lords. He was invited by the Lord Mayor of London, yet had to jump through hoops. He was asked for his wedding licence and for proof of his income, despite being effectively a diplomat. To be fair, he got his visa and managed to get here, which is better than some. He says that every time he flies out of Addis, he sees business class sections of planes going into Brussels that are full and business class sections of planes going into London that are half empty. That is a pretty stark demonstration of the visa policy’s impact.

I saw the impact myself recently, when I was in Malawi with the Commonwealth Parliamentary Association and we visited the UK high commission. The first thing that we saw when we came in was a great pop-up banner saying, “Come to the UK and study on the Chevening scholarship.” Yet the night before, when we had met with local stakeholders, campaign groups and so on, we had heard stories of people who had applied for—and been granted—Chevening scholarships but were not getting visas, were being made to jump through hoops, or found that the visas were far too expensive.

Such stories are borne out by the joint report from the all-party parliamentary group on Malawi, the APPG for Africa and the APPG on diasporas, development and migration, which found that

“September 2018 Home Office quarterly statistics show that while 12% of all visit visa applications made between September 2016 and September 2018 were refused, the refusal rate for African visitors was over double this, at 27% of applications.”

There is therefore a particular challenge regarding visas for African musicians, business people, religious ministers and so on, much of which is down to the system, to the creation of a hub and spoke model, and to the attempt to outsource the applications to private companies and then to drive the decision-making process on to some kind of online, algorithm-based system, often based here in the United Kingdom.

Another story emerged from the same visit. The Information Minister from the Malawian Government could not get his fast-track visa approved in time; he was supposed to be in the UK while we were in Malawi. His visit was cancelled in the end because his visa did not come through in time, even though presumably the Malawian Government and Malawian taxpayers—or, indeed, Department for International Development money that helps to support the Malawian Government—financed his fast-track visa application, which was no such thing. Such incidents cause nothing but embarrassment for officials in the high commissions and embassies, who cannot do anything because the left hand seemingly does not know what the right hand is doing, and all the decisions are outsourced to Pretoria. At the same time, I echo the comments that my hon. Friend the Member for Edinburgh North and Leith made about the incredibly hard-working staff both in the embassies and high commissions and in the visa inquiry teams, who are massively overburdened. That simply increases the expense, bureaucracy and contradiction.

Ultimately, if we want the visas, we have to make inquiries or get up and ask questions of Ministers, and the House of Commons Chamber becomes a kind of court of appeal for visas that should simply have been granted in the first place. None of these artists are coming here to abscond or so that they can live on the British welfare state or get jobs as Uber drivers. They are world-class musicians. They are travelling all around the world and are welcomed to other countries with open arms. Only in the United Kingdom—only in “Britain is GREAT” and “Britain is open for business”—are they told that they cannot come.