Arts Council England: Regional Distribution of Funding

Lord Storey Excerpts

Thursday 15th December 2022 Lords Chamber

Moved by

[Lord Storey]

That this House takes note of the regional distribution of Arts Council England funding and its impact on regions outside of London.

[Lord Storey (LD)]

My Lords, I express my gratitude to my noble friend Lord McNally for securing this debate. I am sure that the House hopes that he will recover from Covid quickly. I also thank the Government Whips’ Office for being so understanding.

In the late 1960s and 1970s, Liverpool city’s logo was “City of Change and Challenge”. It was very much the era of tearing down and starting again, not always for the better. During this period, the Everyman Theatre was born, embodied by the enormous talents of Martin Jenkins, subsequently to become a leading BBC drama producer, Terry Hands, later to become an associate of the RSC, and Peter James, who, after opening the new Crucible Theatre in Sheffield, went on to the Lyric Hammersmith. Those early days for the theatre were confined to Mondays, Tuesdays and Wednesdays. The entire theatre personnel were always involved in final preparations for a production: sawing, laying wires, painting and everything needed for the opening night of a show.

Despite its burgeoning reputation, the theatre continued to lead a hand-to-mouth existence for several years before Arts Council funding made it secure. Its presence on Hope Street, along with the Royal Liverpool Philharmonic, led to a cultural renaissance of the area, which, thanks to Arts Council funding, has seen this once deprived community grow from strength to strength. It is now called the Georgian Quarter of the city and overflows with venues and restaurants. Importantly, it is a centre for the arts, because as well as the Everyman and the Philharmonic there is the Liverpool Institute for Performing Arts and the Unity Theatre—all thanks to the initial Arts Council funding. Art can and does regenerate communities.

In the 1970s, Prescot, a small town on Merseyside, saw huge job losses at the Pilkington glass manufacturer and British Insulated Callender’s Cables. Both major industries closed down and moved overseas. Over the years, Prescot has slowly declined. Now, it is the theatre that is coming to the rescue of the community, with the Shakespeare North Playhouse, the Prescot Shakespeare theatre of the north, having opened. Arts Council funding will be crucial as the theatre becomes part of the regeneration story of that community.

So the issue of regional distribution of Arts Council England funding touches on two different but equally significant matters. First, there is the economic factor of granting places other than London their fair share of opportunities for growth and development. From this perspective, cultural institutions constitute powerful engines of economic growth, which they are more than capable of being. Secondly, there is the cultural factor. Historically, as Darren Henley, the chief executive officer of Arts Council England, admitted, cities other than London have been underserved in this regard. The concentration of cultural investment in London results in the creation of a kind of black hole, siphoning creative industries, talent and institutions from around the United Kingdom into the capital.

Both those perspectives reveal the decades-old practice of neglect that results in many cities suffering from a cultural deficit, denying them the prestige and economic rewards of successful artistic institutions. Worse still, this means that hundreds of thousands of people, particularly those who are underprivileged or living on tighter budgets, have virtually no opportunity to access arts and benefit from them. That is a serious problem. Study after study shows that interaction with the arts positively influences people’s mental health, helps with depression and anxiety, and builds bridges between cultures and worldviews. In other words, it is a vital part of the existence of a civilised society, and no one should be denied it.

The current disparities between the capital and other cities and between the wealthy and the underprivileged can be resolved only locally through education; by teaching young people how to enjoy the arts, helping them to develop the tenderness needed to do so, and assisting them in the recovery of the wealth of experience waiting behind the doors of theatres, operas, philharmonics, museums and galleries. However, in order to do so, such places must first exist within reach of those people, which in many cities and towns is simply not the case. For that reason, I very much welcome Arts Council England’s decision to increase funding granted to artistic organisations outside London, as well as its encouragement for London-based organisations to relocate to less culturally overserved cities. That is a much-needed policy change and will help to address some of the most pressing inequalities in our country.

At the same time, it is incredibly important that this historic change is carried out carefully and prudently. It is a fact that decades of preferential treatment made London one of the most culturally and artistically fascinating places in Europe, and indeed in the world. It is a source of immense soft power, an economic and creative powerhouse, and the pride of our country. We must ensure that levelling up does not come at the cost of defunding high-quality arts in our capital city, which would result in London lagging behind other European capitals. Rather, its wealth of expertise and talent should be leveraged to support other cities in developing their own cultural industries, not sacrificed on the altar of misunderstood equality.

It has been said many times in this Chamber, but perhaps it needs to be repeated once again, that, in levelling up, we want to help other regions to develop and grow, not to drag London down just because it is simpler to do so. Unfortunately, it appears that Arts Council England’s latest funding allocations have partially fallen victim to the easier version of levelling up. Such cuts come at the worst time, as the creative sector’s recovery continues to be hampered by soaring costs due to the cost-of-living crisis. Take, for example, the funding of £17 million that has been allocated to move English National Opera. That amount is far from what is needed to undertake a relocation on this scale, let alone to invest in and improve on the existing infrastructure. In effect, it is removing funding from the ENO and forcing it to move out of London at a few weeks’ notice, with no consultation or concrete plan for the transition. Arts Council England seems to pursue an oversimplified vision that lets it use a narrative of “levelling up” without doing any real long-term work to make it succeed in practice.

It is true that most British cities need and deserve better access to opera, especially so since Arts Council England cut the funding of the Welsh National Opera and Glyndebourne touring, effectively cancelling two very successful undertakings that bring opera to people throughout England. At the same time, however, simply transplanting a 100 year-old institution with hundreds of employees from London to another city as a solution is not the best way to proceed.

If Manchester suffered from a deficit of green areas, would the Government propose to dig out a decades-old tree from Hyde Park and move it 160 miles north? Of course, it would be theoretically possible to do so, but it would also be ridiculously expensive and inefficient, and the tree in all likelihood would not survive the operation. The same can be said of English National Opera. It is firmly rooted in London, thriving in the ecosystem that was carefully cultivated for years and at the same time sustaining a symbiotic relationship with its audience. The very proposition to move it is controversial; to attempt to do so with virtually no preparation would be simply an act of lunacy.

What is more, without English National Opera, London will have just one major opera company, the Royal Opera House, which offers a different opera experience, perhaps at the luxury end of the market. Berlin and Paris each have three opera companies; Vienna has four. Not only does this mean fewer opportunities to engage with opera and art, but it threatens the jobs of over 600 skilled art workers, including musicians and technical and support staff, who are embedded in the wider London cultural scene. This reduces opportunities for new rising stars who, in turn, will be more likely to work abroad, and puts an already challenged industry at even greater risk.

I ask Arts Council England to reconsider its approach to operas, especially since it casts a shadow on an otherwise well-designed and much-needed set of proposals. The overall direction of the policy is most welcome, and I am very much looking forward to the long-term benefits that it will bring to our towns and cities. I only hope it will not come at the expense of some of the most accessible and progressive operas this country has known. Instead, I am hopeful that the steadfast support that they have received—with 77,000 people so far signing a petition—will be enough to convince Arts Council England, and indeed the Government, to reinstate the funding and continue their mission. I also hope that the expertise and experience of these institutions will be used to replicate their success, not lost in a misguided attempt to make funding distribution look more appealing on paper.

We are so fortunate in the UK to have such a wealth of world-leading arts institutions They are good for the soul of the nation, they sustain a burgeoning creative arts sector and they can lead to the regeneration of whole communities. I remember how, when Liverpool won European Capital of Culture in 2008, it was the rocket fuel to drive the city economically and culturally forward. Arts Council England needs always to ensure that the rocket fuel is distributed equitably and fairly.

--- Later in debate ---

[Lord Storey (LD)]

My Lords, I thank all noble Peers for their contributions; we seemed to speak almost with one voice. I got an early Christmas present from the noble Baroness, Lady Fox, in that it was the first time I agreed with everything she said, so I thank her for that.

I am grateful for the Minister’s thorough reply. However, I suspect that, because of the position in which he finds himself, he is not able to deal directly with many of the questions that were asked of him—particularly on touring. I was quite interested in his comment on English National Opera; he said that they were speaking but that he could not say more. I understand that, but I hope that that speaking becomes a serious conversation, in which the points that have been made today are answered. I thank all noble Lords.

Motion agreed.