Arts and Creative Industries

Stephen Doughty Excerpts

Wednesday 19th June 2013 Commons Chamber

[Kerry McCarthy (Bristol East) (Lab)]

This has been an interesting and varied debate, ranging from libraries to museums and to more contemporary issues. It has been a pleasure to sit through it all.

We have heard how many jobs there are in the creative industries, the contribution they make to GDP and how they account for around £1 in every £10 of the UK’s exports. The sector is one of the fastest growing in the economy, and is forecast to grow by 31% by 2020. The arts budget is tiny, but brings big returns. The current investment is 14p per person per week, which is equal to approximately 0.05% of total Government spending. I was told that the former Culture Secretary, the right hon. Member for South West Surrey (Mr Hunt) described the budget as equivalent to

“a rounding error at the Department of Health”,

his new Department. That is why it would be entirely counter-productive to cut arts funding at this time. Cutting investment makes no sense when we need to kick-start the economy. We have seen this in Bristol, where cultural investment is helping to attract visitors and drive regeneration.

[Stephen Doughty (Cardiff South and Penarth) (Lab/Co-op)]

My hon. Friend is, like me, a strong supporter of the cultural hub developing between Bristol and Cardiff in the south-west of England and south Wales. Is she aware that 60% of the funding for the Welsh National Opera, which is based in my constituency, comes from the Arts Council England, because it does 60% of its work in England? Damaging the arts and creative industries in England could have a negative impact on Wales. We need a strong and thriving industry on both sides of the border.

[Kerry McCarthy]

I think in Bristol we have not yet quite forgiven Wales for stealing “Casualty” from us, but I appreciate what my hon. Friend says about the links between cultural institutions and the important work that Cardiff does elsewhere.

It is impossible to talk about Bristol without mentioning the Oscar-winning Aardman and the amazing output of the BBC’s natural history unit, which is a real money-spinner for the BBC and funds its other work. It is estimated that the Banksy exhibition in 2009 brought £10 million into the city and doubled the turnover of local businesses during the height of the recession.

Back in 1975, the Arnolfini centre for contemporary arts was an important part of the regeneration of the Bristol harbour site. In 2002, Andrew Kelly, the director of the Bristol Cultural Development Partnership described it as

“one of the first examples in the United Kingdom of the arts used for encouraging inward investment and economic regeneration leading…to a likely total investment in the site of £600 million and the creation of over 3,500 jobs”.

Now, we are creating an enterprise zone in the Bristol Temple quarter with a focus on the creative and digital sector, and Arts Council funding has been approved for artworks at the historic Bristol Temple Meads station, which will act as a gateway to the quarter. There are also plans for a long-awaited and much-needed arena. When Sir Peter Bazalgette, the chair of Arts Council England, visited Bristol earlier this year, he said that it was a city that had “got things right”, highlighting strong partnership working in particular.

It is important that funding for the arts in Bristol should continue. Bristol Old Vic and the Bristol Cultural Development Partnership, which was praised by the Arts Council chair as an example of a “great regional arts alliance”, have both already received significant cuts. Funding cuts are disproportionately affecting educational programmes such as the Acta community theatre in Bristol, which last year worked with 1,000 people of all ages and backgrounds, over 80% of whom had never been to a theatre.

In Bristol, it is not just the highbrow, publicly funded, mainstream creative scene that is thriving; the city is also renowned for its counter-culture scene. Banksy is obviously the most notable example of that. A 2010 PRS for Music survey showed Bristol as the UK’s most musical city, with more songwriters per capita originating from the city than from any other place. Bristol is probably best known for the groundbreaking group of musicians that emerged in the 1990s and included Massive Attack, Tricky, Portishead and Roni Size. I have talked to DJ Krust, who was involved in that scene, about its DIY ethos. Those involved started by putting on events in empty warehouses and no one turned up. Eventually, however, they started selling tickets and created an incredibly innovative scene that influences people to this day. It emerged in a similar way to the punk scene that sprang from squats in London and elsewhere in the 1970s.

DJ Krust told me that those involved did not need or want public funding. That raises interesting questions about how we can ensure that such creativity thrives without the stultifying effect of trying to get funding, assessing outcomes and all the bureaucracy that goes with that. We need to support it, perhaps simply by not repressing it. The Minister once confessed to me that he was an ardent fan of the Redskins, and he will understand the point that I am making. As well as the Adeles and Coldplays of this world, we need acts that are innovative and edgy and that have something important to say.