Patrick Grady
Main Page: Patrick Grady (Scottish National Party - Glasgow North)
Chris Law (Dundee West) (SNP)
Frankly, in any discussion of the creative industries, it is essential to begin by reminding ourselves of the deep complexity and real significance of the activities that this topic covers. Yes, the creative industries include large enterprises in areas such as film-making, computer games, fashion and publishing, and they have many thousands of employees and trade globally. And yes, the creative industries involve countless numbers of individuals and groups who are active in fields such as art, music, dance, poetry and many other things. In addition, however, there are those who support the creative industries through their contribution as teachers, curators of galleries, event organisers and other support roles. All of that adds up to the colourful, diverse and beautiful tapestry that makes our lives so enriched. I am sure that everyone in the House is wholly thankful for the wonderful contribution that those people make to our lives.
It has been estimated that the creative industries employ 1.9 million people in the UK as a whole, and 174,000 of those are in Scotland. Believe it or not, the creative industries are worth more than £9 million pounds an hour to the UK economy and this is the fastest growing sector in the UK. Yet it is not sufficient for us as legislators and policy makers to view the creative industries purely in economic terms. The key message is that the health and vitality of the creative industries should be an issue that is of crucial significance to this House.
Where better, of course, to reflect upon this than in my own constituency of Dundee—quelle surprise!—which has a long and distinguished history in leading the creative industries. Within the University of Dundee, for example, Duncan of Jordanstone College of Art and Design, first established in the 19th century, is now one of the leading art schools in the UK. This creative hub is now the centre of a thriving network of studios, artists, designers and architects and has been instrumental in supporting the development of the Dundee Contemporary Arts centre, which opened at the end of the last millennium.
As part of the current £1 billion regeneration of our waterfront, Dundee was chosen, out of all other cities in the UK, to build the new Victoria and Albert design museum, which will be completed in two years’ time. I would welcome all Members visiting us. The Dundee repertory theatre is home to both Scotland’s only full-time company of actors and the Scottish dance theatre. Dundee is also well known as the home of many iconic and best-selling children’s comics, such as The Beano, The Dandy, the Judy and the Jackie, which is now a west end musical. I recommend all Members to see it at their earliest opportunity. If they visit Dundee today, they will find an iconic trail of 55 sculptures of one of our famous comic characters—Oor Wullie. After all, he is Oor Wullie, Your Wullie and A’body’s Wullie!
In 2014, Dundee was the first UK city to win the UNESCO City of Design award.
Patrick Grady (Glasgow North) (SNP)
My hon. Friend has name-checked a number of important characters and creations emanating from Dundee, including Oor Wullie, but I think he forgot to mention The Broons.
Chris Law
I must apologise to the House. My hon. Friend is absolutely right. Ma and Pa Broon would be disgusted with me for forgetting to mention them. “The Broons Annual” is a fantastic Christmas present.
Believe it or not, in addition to all that, there is more. With the assistance of investment and facilities at Abertay University, Dundee’s creative tradition has found a new outlet. The city is now an internationally renowned centre for video game development, and the birthplace of some of the biggest names in game history. Abertay offered the first computer games degree in the world, in 1997. That bold move was subsequently copied by higher education institutions around the world, and helped to cement Dundee’s reputation as a centre of excellence for video games.
Let me give a few examples. In the 1990s, the Dundee company DMA Design created the game “Lemmings”, which sold over 50 million copies on multiple formats. It also developed “Grand Theft Auto”, which today is the biggest selling game in the world. I urge you to get your hands on a copy as soon as possible, Mr Deputy Speaker. Most recently, Chris Van Der Kuyl’s 4J Studios developed the global gaming sensation “Minecraft”. There are now more than 100 video games companies based in Dundee, and I am pleased to say that the number is growing rapidly.
As we heard earlier from the hon. Member for Warwick and Leamington (Chris White)—he and I co-chair the all-party parliamentary group on video games—the video games industry is vital to the UK economy. As a whole, games companies generate high-quality, high-productivity jobs. The UK boasts the highest number of mobile games jobs in the EU, with 5,000 full-time employees, and 64% of all registered games companies in the UK have been incorporated in the last five years alone.
These are just some of the examples of industries and businesses that give Dundee its creative pulse, and are reflected in many other areas of Scotland and the rest of the UK. So how do we support these activities that are so important both to our individual wellbeing and to economic prosperity? Artists, designers, musicians and games programmers are not merely creative individuals; they also need to be entrepreneurs. Like other small businesses and start-ups, they need advice, information, and access to funding and financial support.
In Scotland, we have a more culturally ambitious Government than ever before. Set up by the Scottish Government, Creative Scotland promotes enjoyment of the arts, and helps to identify and develop talent. It also chairs Scotland’s Creative Industries Partnership, in which public agencies work together to share intelligence and research on the creative industries, co-ordinate opportunities, and clarify and signpost agency support. However, only some aspects of creative industries are devolved to Scotland.
In January this year, the Scottish Affairs Committee, on which I have the privilege to serve along with two of my colleagues who are present—very fine colleagues indeed—published a report on the creative industries in Scotland. It identified three key issues: tax incentives, broadcasting, and links with the EU.
A number of tax reliefs are available to the creative industries. There are film, animation, television, video games and theatre reliefs. They allow qualifying companies to claim a deduction when calculating their taxable profits, and they are very valuable to the creative industries as a whole. However, we found that they had been of limited use to the creative industries in Scotland, partly owing to the smaller scale of most creative enterprises in Scotland and partly because tax reliefs do not incentivise the locating of production outside existing industry hubs, which are predominantly London-based.
Our report made a number of specific recommendations for enhancing the responsiveness of tax relief regulations to the specific needs of the creative industries in Scotland. I urge the Minister, and his colleagues in the Treasury, to treat this as a matter of the utmost priority, and to consider the possibility that the most effective means of resolving these issues would be to devolve responsibility for tax reliefs for creative industries to the Scottish Government.
Public service broadcasting, in the form of the activities of the BBC, represents a crucial driver of the creative industries in Scotland, as well as representing a central pillar of our cultural life. There is widespread dissatisfaction with the output of BBC Scotland. There is also a striking economic imbalance, with licence-fee income of over £320 million generated in Scotland, but a BBC Scotland budget of less than £200 million.
The BBC has been slow to respond to these issues and has been less than transparent in its decision-making process around them. Within the past few days, a report from the inquiry “A Future for Public Service Television”, chaired by Lord David Puttnam, has been published. It recommends that the only effective solution to the growing mismatch between the needs and aspirations of the Scottish people in respect of public service broadcasting and their increasing frustration with the BBC is to devolve an appropriate proportion of the overall BBC budget to Scotland, and allow BBC Scotland to commission programmes and design schedules as it sees fit. While acknowledging the independence of the BBC from Government, I urge the Minister to express clear and unequivocal support for this proposal, which has the potential to allow Scotland to develop as a hub for high-quality television and film output and contribute to an expansion of employment in this field. I share Lord Puttnam’s view that little in the BBC reflects
“the current constitutional settlement with Scotland.”
The recent Scottish Affairs Committee report devoted little attention to the EU dimension of creative industries because, other than in areas of intellectual property, the individuals and organisations that we consulted were largely satisfied with the opportunities and benefits to the creative industries that flowed from EU membership. However, all this has changed due to the fear and uncertainty created by this Government in their misguided EU referendum. This is a troubling situation. Many aspects of the creative industries in Scotland are embedded in our broader cultural European tradition, which requires ongoing collaboration with colleagues in other countries. At the very least, this situation requires that the creative industries should have full and active representation in future negotiations with the EU, and that the particular needs of the creative industries in Scotland should be specifically championed through the presence of members of the Scottish Government.
Having talked briefly about the issues and challenges facing the creative industries in Scotland, I would like to sum up by making one final point. Scotland is undoubtedly an outward-looking, internationalist and progressive society—a “mongrel nation” where all Jock Tamson’s bairns reside—yet it is also distinctive and different, and demands to be heard. However, cultural life, and the funding decisions that go with it, are still dominated by London, stifling Scotland’s creative industries as a result. This is not a zero-sum game, however. Successful broadcasting, film-making, computer games and festivals in Scotland reach out to an international market, and do not diminish the significance of London and Manchester as global centres of creative endeavour. In this, we can all be winners.
Patrick Grady (Glasgow North) (SNP)
I congratulate the Members who secured the debate, particularly my hon. Friends the Members for Dundee West (Chris Law) and for Edinburgh West (Michelle Thomson). As other Members have said, it has come at quite a timely moment, given the other debates that have taken place in Westminster Hall this week and the fact that a number of the industry bodies have been holding their annual receptions on the Terrace, in the function rooms or elsewhere.
On Monday, the Creative Industries Council held a reception in the Members’ Dining Room. Last night, my hon. Friend the Member for Dundee West and several other Members here today were in the National Liberal Club for the UK interactive entertainment reception—the National Liberal Club perhaps being slightly less interactive surroundings than the video games that were on display. Of course, as other Members have said, the festival season is well under way across the country.
I have a large number of personal and constituency interests that I will probably cover in my speech. I want to look at the vast scope of what we mean by the creative industries. I want to look particularly at how they play out in my constituency and the wider city of Glasgow and look at some of the policy challenges and opportunities, which have been covered in quite a bit of detail. By definition, creative industries are forever changing and renewing themselves and adapting and evolving. It is important to consider the impact of the traditional areas—music, art, writing and dance and so on—but as a number of Members have said, online and digital forums are growing in importance for accessing creativity and as a source of creativity.
My hon. Friend the Member for Dundee West has spoken about the huge importance of the computer gaming industry. The number of games companies operating in Scotland has increased by 600% in the past five years. Yesterday, at the UK reception, I was fascinated to learn more about the increasing importance of what some people call e-sports, which were just called computer games in my day. Essentially, the industry covers professional or competitive computer gaming.
In July, the Scottish exhibition and conference centre in Glasgow will welcome the Resonate festival, when thousands of people from across Scotland and, indeed, Europe and probably the world will come together to watch other people—leaders in their fields and really talented people who have invested an awful lot of time in this—demonstrating their skills in a whole range of different e-sports or interactive computer games. My hon. Friend mentioned “Lemmings”. Of course, we do not need to pay money to watch other people play the computer game, “Lemmings”, when we can we watch a live action version taking place in front of us over there on the Labour Benches, but I recognise that this is supposed to be a consensual debate, so I will not go too far down that line.
E-sports are attracting more than 256 million unique viewers a year. By 2018, that figures is expected to overtake the number of people who watch the US national football league, which is the largest watched sport or entertainment in the world.
If I can be creative with the definition of creative industries, I want to make a pitch for Scotland’s No. 1 craft product—the water of life, uisce beatha—because the new and experimental distillers that we see coming on line, especially those who are producing gin, are involved in a unique and creative process. Glasgow has its own distiller company, and Makar gin is named after the Scots word for a creator or poet, so I thought that that was worth noting as well.
Glasgow is, as I mentioned in my maiden speech, the home and the focus of so many of these industries. Now, there is nothing in Glasgow quite on the scale of the Edinburgh international festival, but it has benefited over the years from a range of different designations. In that respect, I wish all the cities bidding for the title of city of culture the very best, because when Glasgow became the European capital of culture in 1990, it began something of a cultural renaissance, the benefits of which are still being felt today. The roots of that can be traced to the empire exhibition in 1938 and the garden festival in 1988, but we also went on to be the city of architecture and design in 1999, and we were designated as a UNESCO city of music in 2008—one of only nine in the world.
The city is a real musical melting pot. It has produced countless artists. We should not read out lists in the House, and that is just as well, because I could use up the rest of my time simply reeling off the names of the bands that have formed in Glasgow or emerged directly from the Glasgow music scene. It has also provided the stage, as has been said, that has allowed bands to break out into the Scottish, the UK and the wider European scenes.
King Tut’s Wah Wah Hut is in the constituency of my hon. Friend the Member for Glasgow Central (Alison Thewliss), who also has the Hydro—
Patrick Grady
My hon. Friend could perhaps intervene and list some of the venues in her constituency. However, the Canadian band the Barenaked Ladies, for example, had their break in King Tut’s, and I saw my brother-in-law’s band, Tallahassee Falls, there just a few weeks ago.
In Glasgow North, we have the likes of Cottiers, the Oran Mor and the Kelvingrove bandstand—my hon. Friend the Member for Glasgow Central has most of the Kelvingrove Park, but I have the bandstand, and I am looking forward to seeing Tom Jones there in a few weeks’ time. Cottiers has just finished its excellent dance and chamber projects, and I was delighted to get a little light relief by going to one of the performances there just before the EU referendum.
Glasgow is also home to the annual Celtic Connections festival, which has global brand recognition now. It is a real contributor to some of the statistics mentioned earlier in UK Music’s “Wish You Were Here” report. Some 1.4 million people attended music events in Glasgow in 2015, with 450,000 tourists generating £105 million and sustaining more than 1,000 jobs in the city.
Paul Farrelly (Newcastle-under-Lyme) (Lab)
Next Monday and Tuesday, the Culture, Media and Sport Committee is visiting Glasgow to take evidence for our forthcoming culture inquiry, which will include the creative industries. Clearly, copyright is very important in this day and age to sustain creativity—UK Music backs the music industry, and on the literary side there is the Authors Licensing and Collecting Society. I do not know whether the hon. Gentleman is going to talk about a rival to the Edinburgh festival, but does he agree that it is really important in terms of sustaining creativity and the roots of our creative industries, that the many people who do not have great commercial backing have protection from unfair contract terms, so that they can benefit from the fruits of their work? Does he see a role for the Government in improving that situation?
Patrick Grady
Those are very fair points, and the hon. Member for Bristol East (Kerry McCarthy) made similar points about the importance of European regulation. In terms of online and digital expansion—I am aware there was a debate about some of this in Westminster Hall—these are all issues that are being challenged. The hon. Gentleman’s Committee is welcome to visit Glasgow, and if it would like such some suggestions of where they can sample the cultural scene or indeed some of the craft products I mentioned earlier, we would be happy to provide some.
There are also things that we as individual parliamentarians can do. In my office, I make space on the wall for a rotating display of works by local artists. In the past year, I have had Chris Stephens—not the one who represents Glasgow South West, but a street artist and designer from Nautilus Inkworks; Michelle Campbell, who does geometric renderings; Andy Peutherer, who does landscapes; Frances Corr, who depicts everyday items; and John Martin, who captures characters, including our current and former First Ministers. There is therefore a range of ways in which we can sport a creative industries.
It is important as well that local authorities do the same. This year, the West End Festival in Glasgow was sadly curtailed because of a lack of funding and support, and the famous parade that goes down the Byers Road was unable to take place. However, I was pleased that the Scottish Government agreed that an area of land in my constituency, Kelvin meadow and the Children’s wood, should not be designated for housing because one Member made a point about its importance for children and young people. This is a space where they can have creative and wild play. It is very important that we protect those open spaces, especially in urban areas, so that young people can nurture their creative talent.
There is also responsibility for the devolved Governments in supporting education and tackling the skills gap, as was mentioned earlier. The Scottish Government are also putting money into a film studio in Scotland.
The greatest unknown is Brexit, which many Members have touched on. I agree wholeheartedly with almost every word that the hon. Member for Bristol East said, and so do not feel the need to repeat it.
Alison Thewliss
Does my hon. Friend agree that for specialist institutions in Glasgow, such as the Glasgow School of Art and the Royal Conservatoire, there is a great deal of risk for their students from Brexit? At the moment, the Conservatoire offers a unique melting pot of trad, jazz and classical, with pipers playing alongside ballerinas—there are all kinds of things in the mix. However, all that is under threat if the Conservatoire can no longer be the international institution that it would like to be.
Patrick Grady
That is absolutely correct. The artistic and musical communities are very concerned about the impact that Brexit will have, especially on the free movement of people and their ability to travel to festivals, either as artists or participants.
I am aware that other Members are very keen to speak and so will conclude. It is hugely important to nurture future generations, especially in the context of the Brexit result. We have a duty to open and expand our cultural horizons, and I hope that today’s debate goes some way towards that.