Arts and Cultural Organisations

Lord Aberdare Excerpts

Wednesday 12th February 2014 Lords Chamber

[Lord Aberdare (CB)]

My Lords, my noble friend Lord Mawson has done well to give arts and culture a brief look-in before we rise for the Recess. I shall focus on classical music but it is clear from the debate so far that many of the issues are widely shared across the cultural sector. Two weeks ago the Times had an article headlined, “Orchestras gain fans but lose money”, based on a recent survey by the Association of British Orchestras. This highlighted concerns that real-terms reductions in funding could lead to UK orchestras losing their place in the top flight internationally.

One of the strengths of the UK arts funding model is that it is based on a mix of funding sources. Public funding, from national bodies such as the Arts Council and the National Lottery as well as from local authorities, is a vital part of the mix, representing over one-third of orchestras’ income, but it is supplemented by private contributions—almost 20% of the total—while nearly half of orchestras’ income is earned through ticket sales and other commercial activities. In the current financial landscape, all these funding sources are under pressure: Arts Council funding is declining, but not as sharply as that of many local authorities; ticket income is down, despite rising audiences; and business support is flat at best. Individual philanthropy shows a welcome increase, but is not nearly enough to begin to replace public funds, is concentrated in London much more than in the regions and is often focused on specific projects rather than on core funding.

In preparing for this debate, I have heard about challenges facing virtually all music organisations and activities. There are concerns about the future funding of music education and the delivery of the national plan for music education. The quality of the training provided by the UK’s leading music conservatoires is a key factor in creating and sustaining the UK’s international success in all forms of music. This depends heavily on the premium funding they receive to help cover the shortfall between the tuition fees that they can charge their students and the actual cost of providing that individual, intensive, one-on-one tuition, which can be up to £15,000 or £17,000.This funding has not yet been confirmed for 2014-15.

Specialist training bodies, such as the National Opera Studio, of which I am a modest supporter, depend on the availability of funding and support to develop the talents of young performers with the potential to become the leading artists of their generation. The music sector generally is concerned at the possible impact of planned copyright exceptions, representing a potential shift of value away from content creators, without corresponding compensation or benefits.

I recognise that the Government share the desire to support the creative sector, and also that it would be unrealistic to expect substantial extra funding for music and other art forms from either central or local government at present. I therefore hope that the Minister will look into other ways of easing some of the pressures on music organisations. First, everything possible should be done to protect the existing level of public funding for music and arts organisations, including from local authorities, where the challenges may be greatest. I was hugely impressed by a recent visit to High House Production Park in Purfleet, where the Royal Opera House is working in partnership with other creative sector bodies and Thurrock Borough Council to plan and deliver an ambitious cultural entitlement agenda for the borough, including a scenery workshop, a planned costume centre, a training centre offering creative sector apprenticeships, artists’ studios and more. What can the Minister do to encourage more such initiatives?

Conservatoires could be helped to plan ahead with greater confidence by giving them some reassurance about the continuation of the exceptional funding they receive, preferably for more than one year ahead. Young artists undergoing training should be eligible for schemes to promote skills development and employment of young people, perhaps by extending the Arts Council’s well regarded Creative Employment Programme to support more initiatives such as the UK Music Skills Academy. I applaud the Government’s desire to promote individual philanthropy, but there is surely scope for further encouragement and incentives, such as extending gift aid on admissions to include arts charities.

Creative content providers must get a fair deal from copyright exceptions. Young people interested in the creative sector need to be made aware of the importance of intellectual property issues. The Intellectual Property Office, in partnership with UK Music, has just launched an app, Music Inc, aimed at 14 to 18 year-olds for this very purpose. What can the Minister do to encourage take-up by schools?

I also strongly support my noble friend Lord Mawson’s plea, echoed by my noble friend Lord Clancarty, for the Government to help the music sector apply its own creative and entrepreneurial skills to expand its sources of support, for example through crowdfunding or social media-based initiatives.

Music and the arts represent a huge and valuable asset to the UK. Of course money is tight, but with the vast array of talent available among our musicians, schools, conservatoires, training bodies, orchestras and opera companies, and the goodwill and support of government at all levels, and of all of us who are passionate about the arts, the UK can surely continue to lead the world in the range, quality and sheer brilliance of its music and cultural organisations, to our enormous cultural and economic benefit.