Regional Support for the Arts

Robert Jenrick Excerpts

Wednesday 15th July 2015 Westminster Hall

[Andrew Rosindell (in the Chair)]

The Speaker’s Commission on Digital Democracy recommended the use of regular digital public discussion forums to inform debates held in Westminster Hall. A digital debate has taken place on Twitter, ahead of this debate on regional support for the arts. For that reason, Mr Speaker has agreed that for this debate members of the public can use handheld electronic devices in the Public Gallery. Photos, however, must not be taken.

[Robert Jenrick (Newark) (Con)]

I beg to move,

That this House has considered regional support for the arts.

It is a pleasure to open this debate, Mr Rosindell, particularly as you are in the Chair. As you rightly said, this afternoon’s debate follows the second ever parliamentary digital debate, which began on social media yesterday. Appropriately, the debate enabled Twitter followers from regional arts organisations, and enthusiasts throughout the country, to discuss the arts outside London in our great regional cities and market towns, and in the countryside. They discussed how we can fairly distribute what Government funding there is throughout the British Isles, whether from the Arts Council, the lottery, or direct grants from the Department for Culture, Media and Sport, to ensure greater equity and access to the arts. They also debated how to redress the parlous financial position of some local museums, theatres, heritage sites and cultural groups, which some of those participating in that Twitter debate raised with us. The House of Commons authorities inform me that 250 people took part in that debate, which reached 1.2 million Twitter accounts.

[The Minister for Culture and the Digital Economy (Mr Edward Vaizey)]

Will my hon. Friend say what hashtag was used for the debate, so that those of us participating in today’s debate can look at some of the tweets?

[Robert Jenrick]

It is #artsfunding. That was not my decision; it was set by the House of Commons. I thank everyone who took part in that debate for their contributions. I will mention as many of the points raised as I can.

The point that came across clearly was that arts organisations have never been under greater pressure to change than they are today. Whether we like it or not, state funding for museums, galleries, and perhaps for the wider arts as well, is in serious and probably perpetual decline. The imperative to continue reducing the deficit, the ambition to achieve a budget surplus in the years ahead and the prioritisation, rightly, of health, education, defence and international development, all of which I personally support, suggest that arts funding from central Government will continue to decline in this Parliament—and would have done whichever political party won the general election. We will find out by how much in the months to come.

This is a major change from just a decade ago. Then, arts organisations across the country were able to rely on steady financial support from Government and were, to some extent at least—although no doubt it did not feel like this at the time—shielded from having to ask the more uncomfortable questions about how they operated and how to distribute resources equitably across the country.

[John Nicolson (East Dunbartonshire) (SNP)]

I distance myself from that comment, which is factually incorrect. Arts funding from the Scottish Government has increased, because we think that the arts are important.

[Robert Jenrick]

I thank the hon. Gentleman. I was, I guess, referring to England and Wales, but the hon. Gentleman’s presence is much appreciated and he has provided an important clarification.

I emphasise my earlier remark about difficulties in the regions and particularly the importance of London, which came across clearly in the Twitter debate. The relationship between London and the rest of the United Kingdom with regard to the arts is one of positive interdependence; there was no tit for tat in our debate yesterday between London and the rest of the country.

Last year, three of the world’s 10 most visited museums were in London and the number of visitors to each is increasing. The British Museum welcomed almost 7 million visitors. Even those of us representing constituencies far from London, whose constituents perhaps only visit the capital a few times a year at best, can agree that that is a tremendous achievement—one no doubt connected to this Government’s decision to retain the decision of a previous Government to maintain free access to the national collections. At about £50 million, that is a substantial contribution of public funds, yet one can see its benefits: in England, visitors to the national museums have risen from just over 7 million in 2000-01, when free entry was introduced, to around 20 million today. As one individual mentioned in our Twitter debate, many of those are foreign tourists. In the present financial climate, one could seriously question why we do not charge foreign nationals, and perhaps non-European Union nationals, as required, and ring-fence that money specifically to spend in the regions of the United Kingdom.

There is no point in having free entry to some of our greatest museums if people cannot get to them in the first place. The national collections are relatively safe, be they in Edinburgh, Liverpool, Cardiff or London, but the same is not true of the rest of England and Wales—certainly not outside the major regional cities. There is no point knowing that there are great, free museums elsewhere in the country if those close to home charge and are struggling to maintain the quality that they want.

There is an irony for those of us who are regularly in London, whether living or working here as Members of Parliament, because we enjoy the capital’s rich cultural life, often for free. Meanwhile, my constituents in rural Nottinghamshire have incomparably more modest access, and usually for a charge. My children and I can enjoy trips to the Science museum or other wonderful family-friendly institutions when in London, but when we are home in Newark—a town with significant deprivation and an average income of £19,500 per annum—we pay £20 to visit our superb new National Civil War Centre, £30 to see the Magna Carta at Lincoln and £40 for a visit to Belvoir Castle, our nearest major stately home. Those figures are for family visits.

My constituents are not as hard done by as many in the country. Of course, we have Nottingham close by—a city with a vibrant, growing cultural life, whether at the Nottingham Playhouse, Nottingham Contemporary and Nottingham Castle or in the arts supported by Nottingham University; like other universities, that is becoming an increasingly important promoter and facilitator of cultural life, which we should encourage. But the point remains: my constituents have to pay for, and inevitably and invariably have to travel to access, much if not all of the culture they want to see.

A report last year found that total funding from the Arts Council and DCMS was 15 times higher per head of population in London than in the regions. Lords Puttnam and Bragg produced the shocking figures showing that Londoners benefited from £69 spending per head, compared with £4.50 in the rest of England. One could do an even starker calculation, comparing those living in great regional cities such as Manchester, Birmingham or Leeds to smaller cities, market towns and the countryside, including my constituency.

There has been progress. By next year, the Arts Council will have shifted the balance of funding to the national organisations that it supports, so that just over 50% will be located outside London. That is progress. The chief executive of the Arts Council made the welcome announcement a month ago that the amount of lottery funding to bodies outside London would increase from 70% to 75% by the end of 2018. The Arts Council has launched a £32.5 million fund to support arts production, talent and leadership outside London. There have been incentives such as the theatre tax relief, which was welcomed by my local theatre in Nottingham. That relief will help support touring theatre companies. Some of our national institutions, such as the National Gallery and the British Museum, are pioneering regional tours of great works of art, although those are very expensive to put on. The British Museum’s annual report for last year showed the enormous amount of mentoring that it does for curators and those leading regional museums and galleries.

Let us be honest, though: those efforts are comparatively modest. They do not go nearly far enough and are not happening fast enough to redistribute cash and talent. There is a widening gulf between the capital and the great regional cultural centres and the rest, and that pattern is reinforced by private philanthropy. According to the charity Arts and Business, 82% of the £660 million donated in 2012 went to London-based organisations, and that is before the Olympics and the BBC are included. My neighbouring MP, my hon. Friend the Member for Sherwood (Mark Spencer), recently held a debate in this place on the gaping disparity between the BBC’s investment in culture and the creative industries in the midlands and London.

The proportion of Arts Council money spent outside London has been falling for decades, even though every survey concludes what we all know: the average Londoner is no more likely to enjoy the arts than his country cousin. The effect of those trends has been to choke off access to the arts for those in the regions, and especially those in smaller cities and towns and rural areas. It is estimated that two thirds of the country lives outside the readily affordable range of national organisations and museums, and that zone is surely shrinking for those on the lowest incomes, as transport costs rise and rural and local bus routes continue to decline.

At the same time, there has been a huge squeeze on local access to a wide range of artistic and cultural experiences—particularly, as was made clear in our Twitter debate, those provided and supported by local authorities. Many local authorities under financial strain have continued to support their local ecosystem of artistic and cultural organisations, and they deserve great praise. Sometimes that support is simple and low-cost, such as with Newark and Sherwood Council’s provision of free rehearsal space to orchestras and community groups. However, as the recent Select Committee report noted, some councils—including some of the most prominent, such as Westminster City Council—do considerably less, and we should be pushing them to do more.

One could take up the point made by the Select Committee that the provision of culture is not a statutory duty for local authorities. As with library provision in some parts of the country, we must see quality provision and not a tick-box approach to satisfy the law. We have to persuade councils that the arts are essential to the success of their communities, but the problem exists and we need to recognise it: more than half of the local authority museums responding to a recent survey by the Museums Association said that their incomes had fallen very significantly and that their confidence was very low.

Why does the disparity matter? It matters if we believe in a one nation approach—the Prime Minister has spoken eloquently on this—where opportunity is available to all and all our brightest talents are shared with those in the greatest need. It also matters if we believe in rebalancing the United Kingdom and reigniting the fire that drives our regional cities and towns, as the Chancellor has laid out powerfully in the Budget and elsewhere. When we speak of a northern powerhouse, the language evokes the strength of great Victorian cities, all of which invested heavily in museums, theatres and civic architecture. The reality is that there will be no return to Victorian-style vibrant cities in the midlands or the north unless there is a momentous shift in their image and how they are viewed, and that is driven by culture and the arts.

My constituents see their best and brightest employees—and, in particular, their children—vanish to the bright lights of London. Many of us in this House have done exactly the same thing. An English, Welsh or, indeed, Scottish provincial revival must set as its goal turning provincial cities and towns into cultural magnets in which young and old alike want to live and work and in which entrepreneurs want to set up their businesses.

We need a major change in our support for the arts if we are to give those places the attraction and glamour of London or of the many other vibrant places, such as Oxford, Brighton or Cambridge—they are, it has to be said, predominantly in the south-east—that our brightest people are drawn to; often those people never return to their roots, however fond they may be of them. The issue is not about Arts Council funding to the regions rising from 49% to 53%, but about something of a far greater magnitude happening far quicker. We need to move away from the mindset that London’s national museums and performing companies may travel more and the ultimate belief that they can visit the nation or the nation can visit them, but that they are not part of the nation itself.

[Graham Stringer (Blackley and Broughton) (Lab)]

The hon. Gentleman is making a well-balanced and polite speech, but perhaps we should put some sharpness into the debate. Does he agree that it is completely unacceptable that the Arts Council spends £1 out of every £2 in London? Even with the lottery-funded support for the arts, £1 in every £3 is spent in London. That is not only unfair, but damages access to the arts for people in regional cities, such as Manchester, and their economies. Does he agree that that imbalance is intolerable?

[Robert Jenrick]

The hon. Gentleman makes a good point. I agree that it is intolerable; it has been for a long time. If there is a growing consensus that we want to redistribute and realign ourselves, to increase the strength and economic vibrancy of our regional cities, then the issue has come of age.

My final point is that regardless of how we distribute the available cash, if we are moving into an era of diminishing Government support for the arts—I do not think this is a party political point—we need to step back and assess how our organisations can adapt and thrive in that new climate. Is it not time for a new strategy for the arts in the regions and for our national institutions? One has only to look to the United States to see some institutions that have survived and thrived with diminished state support. Museums forced to rely on wider public support are inevitably better at outreach, education and community engagement. As the Financial Times noted the other day, the Metropolitan Museum of Art’s YouTube channel has had more than 15 million views. The National Gallery’s channel has had just 600,000 views. American institutions are dramatically better at and more proactive in fundraising, and their Government provide better incentives to give.

Some US institutions embrace more controversial means of operating, such as de-accessioning works of art that will never go on public display, that are duplicates of those already on display or that are of little merit to the public. Those decisions are difficult and mistakes can be made. We have seen some unfortunate examples in the UK recently that have given the idea a bad name, but we need to challenge our institutions to consider such opportunities responsibly, as some other great institutions do, including the Metropolitan Museum of Art. The Government could consider through a review how we might use some of the funding opportunities used by others.

I have spoken to UK museums that would give up their dependence on subsidy and set themselves free from the shackles of the state—believing it easier to raise money from private philanthropy if they did—were the state to do something radical, such as guarantee a bond or gilts to provide them with income or endowments. I return to the example of the Metropolitan Museum of Art, which issued a $250 million bond in January to fund future development. It was given a triple A rating by Moody’s.

The point is that we have a 19th-century view of how to run museums and galleries that just about worked when the state supported them reasonably generously. If those days are over, perhaps we should consider radical options so as to be on the front foot, rather than allowing the institutions to diminish slowly.

The scale of the challenge requires a new approach and strategy for the arts, rather as it did when Jennie Lee produced her original White Paper as the first Arts Minister, but with different, often uncomfortable answers in the 21st century. There are three central questions for this Parliament. First, how can we ensure that the value of the arts in general, whether in London or beyond, is recognised by the Government in future spending decisions and seen as an integral part of our strategy for sustained economic growth, particularly in the regions?

Secondly, with the funding that is or will be available, how can we dramatically and swiftly correct the imbalance between London and the regions to create a one nation cultural policy that places at the heart of what we do access to the arts for economic development, education and wellbeing? Lastly, how can we support, assist and incentivise arts organisations to move with confidence into an era when central Government support is likely to be increasingly limited, but the public appetite for and value of their work, and therefore the opportunities, are growing exponentially?

--- Later in debate ---

[Robert Jenrick]

Thank you for your chairmanship, Mr Rosindell, and all Members for being here today. I am very grateful for their many contributions and to the Minister, who was entertaining and eloquent as always. It was very interesting to hear about his obsession with storage. From my days at Christie’s, I remember that the best place to take the most valuable clients was the stores, because that always excited them more than the carefully manicured halls. I look forward to seeing that develop in the weeks and months to come.

This has been an important debate. It was important to have it at the start of the Parliament and to say to the many people throughout the country who are passionate enthusiasts of the arts and work in arts organisations that Parliament is interested in what they do and care about, and that we will pursue this issue for the rest of the Parliament. I thank everyone who participated in the debate and particularly the 250 people who participated in our digital debate and the allegedly 1.2 million people who followed it on their Twitter accounts.

Question put and agreed to.

Resolved,

That this House has considered regional support for the arts.