We warmly welcome the inclusion of the creative industries as one of the five key sectors recognised in the government’s industrial strategy consultation announced today. This is a radical departure, secured only in the last few months, and is potentially the sign of a new, bold and imaginative understanding of business in the 21st century.
The Creative Industries Federation was formed two years ago in order to put the creative industries at the heart of the government’s agenda. Through our intensive work across Whitehall, we have contended that the UK could be transformed by an industrial strategy with the creative industries as a strategic priority.
Today’s announcement by Prime Minister Theresa May is a major step forward for a sector which has never been formally recognised in an industrial strategy before. Only six years ago at the start of the coalition government, the creative industries were not formally acknowledged when it announced nine sectors of industrial engagement.
Greg Clark, Secretary of State for Business, Energy and Industrial Strategy, gave the clearest public indication of the shift in thinking in a speech at the Federation’s second anniversary celebration in London earlier this month (January 9) when he promised the creative industries would be “absolutely central” to the new industrial strategy.
Sir John Sorrell, Federation founder and chair, said: "I founded the Creative Industries Federation because for decades the sector had been under-represented in government. Recognition of the economic contribution and the potential for growth across the whole of the country is exactly what we wanted to achieve. But this is just the start and the Federation will continue to lead the way, not just across the UK, but internationally.”
John Kampfner, Federation chief executive, said: “When we first began talking about the creative industries being a crucial part of any future industrial strategy, no such strategy was on the table and many people believed such a move unlikely. But the strength of argument has won the day. We have come a long way in a short time.”
The Creative Industries Federation will shortly announce a series of meetings around the UK, echoing the work we carried out for our Brexit Report in the autumn, to prepare a full, UK-wide response to the industrial strategy Green Paper. Federation members will receive a more detailed analysis of the government plans tomorrow.
Here we provide an initial response to what has been announced today:
There is no greater example of a world-leading sector than the UK’s creative industries and the government has recognised this. We deliver jobs and growth in fast-growing, exciting areas such as video games, animation and visual effects as well as those where we have a long history of brilliance, from television to performance and publishing to architecture. But there is even more potential with the joined-up approach the new strategy offers.
We are also a sector that is able to deliver across the whole of the country. The Northern Powerhouse, the cultural regeneration of towns and cities from Liverpool and Glasgow to Margate, and development of creative clusters in places from Shoreditch, London, to Brighton and Bristol, has already highlighted the way creative industries can transform local economies.
The industrial strategy should build on this considerable record of success as well as insulate the sector from some of the immediate challenges of Brexit. Support for skills, infrastructure, funding, small businesses and expanding international trade could further accelerate growth in what is already the fastest-growing sector of the UK economy.
Developing skills - and encouraging the right mix of skills - is critical. We understand the government’s focus on STEM (science, technology, engineering, maths) but highlight that creative skills and the creative spark are needed not just by the creative industries but in everything from car manufacturing to engineering.
There are existing skills shortages in jobs such as visual effects and animation - that is, jobs that young people would want to do, if they were qualified. Identifying new technical pathways into these positions could go some way to tackle skills shortages, but the creative industries will not benefit fully so long as children continue to be denied a broader creative education in schools. Improving the skills pipeline also offers huge potential to encourage social mobility and recruitment from a wider range of young people from different backgrounds.
We highlight that innovation is not the sole preserve of science and tech and many new businesses are being established by science and technology coming together with the creative industries.
The proposed investment in both digital and physical infrastructure must consider and reflect the needs of the creative sector in every region of the UK, from superfast broadband and good transport links to affordable workspaces.
The mixed economy model, including public support for the arts alongside interventions such as the tax credits which have driven expansion in recent years, has been the bedrock of Britain’s creative success.
It is vital that local authorities understand how public investment in culture can foster an environment where small and medium-sized creative businesses - which are the staple of the sector - can establish themselves and thrive. But the creative industries have been often overlooked by traditional investors so we trust the measures announced today will stimulate interest in the sector.
New thinking on trade should include helping small and medium-sized businesses access international markets and showcasing them in trade missions. The long-term diplomatic aim should be to improve the protection of intellectual property rights in new territories even as we make short-term deals.
We are delighted that the five leading figures working on early sector deals for government include Sir Peter Bazalgette, outgoing chairman of Arts Council England, chairman of ITV and one of the founders of the Federation. We look forward to working with him on how the UK’s creative industries can help underpin future prosperity.
For what Business Secretary Greg Clark and Culture Secretary Karen Bradley said about the industrial strategy and the creative industries at the Federation’s Second Anniversary Celebration at the Design Museum, London, on January 9, click here.
Read the Federation’s submission to the BEIS select committee in October 2016 on why the creative industries should be in the industrial strategy.
Our last education paper, Social Mobility and the Skills Gap, from October 2016, highlights skills shortages and the threat to the skills pipeline of marginalising creative subjects in schools.
The Federation's Brexit Report provides an analysis of the vital issues for the sector during exit negotiations.
The government’s Tier 2 Shortage Occupation List lists jobs where the skills shortages are so acute that it will allow work permits.
Federation chief executive John Kampfner wrote about the importance of creative industries to the UK economy for The Observer on January 1 2017.
The Federation has announced our first international conference will take place on July 12. This is part of our ongoing work highlighting what is happening in the creative industries worldwide and identifying and sharing areas of best practice and innovation. More information here.
The speeches below have been slightly abridged.
Karen Bradley, Secretary of State for Culture, Media and Sport:
"It is an incredible privilege to be asked to join you on the second anniversary of the Creative Industries Federation. Our sectors are sectors that I think demonstrate the best about Britain and the Federation has helped me so much in the nearly six months I’ve been doing the job to really understand the intricacies of the creative industries, to understand the unique nature of our industries and to really sell those industries both at home and overseas.
"I think it’s worth me making the point about how much our industries contribute to the UK economy. £87.4bn GVA, 1.9 million jobs, £19.8bn pounds export of services and a quarter of a million businesses. These are industries that touch everybody’s life, every day - and I want to thank you for all you do.
"I think our industries are the industries that really do reflect what is great about Great Britain and nowhere was that more true than in the recent delegation I led to China. John [Kampfner] was on that trip. It was the largest delegation of creative industries to accompany a minister overseas. And I think, I know, how amazed our hosts were by the strength and depth of our industries and that there were so many people who were able to come to China to represent those industries and really start that close collaboration and working together.
"Can I also thank you as a Federation for your advocacy in arts in education. I think it’s only because of the work you did, the support from this sector, that history of art A-level has been saved for the nation. I think that’s a fantastic thing. I now want to make sure that we get lots and lots of young people studying that A-level. And it was great in the Autumn Statement where we had the funding for pilots to examine the impact of arts in education on attainment for the most disadvantaged pupils, because if this is a country that works for everyone that means we need to make sure that everyone in the country has the ability to share in the arts.
"Greg Clark, my colleague, is going to talk to you a bit more about industrial strategy but I just wanted to reassure you that the creative industries are and will be at the heart of this government’s work on industrial strategy. This is one of the major growth areas in the country. It is our soft power.
"I want to reassure you that I, Greg, the Prime Minister and others, do understand just how important our industries are to the UK economy and we are going to do everything we can to give you the tools you need to continue with the amazing success you have demonstrated today and I know will continue to work on in the future. So I predict great things for you, and this government is right behind you."
Greg Clark, Secretary of State for Business, Energy and Industrial Strategy:
"A night after the Golden Globes opened the awards season, it is a particular pleasure to recognise the winners of Britain’s most successful industry. In the last few years, you have been the fastest growing sector in the economy, earning nearly £90bn in 2015, more even than our successfully spectacular automotive sector. This industry leads the way. Two million people employed in all parts of the UK, a quarter of a million businesses - you make Britain what we are but you also tell the world what Britain can do.
"Now there was a time of course when the arts were thought to be a different world from industry and to have the two coming together would have been thought to be an unusual thing, as if anything to do with leisure wasn’t real business. What complete nonsense that was. Try being in the music industry and saying that when, for the second year running, we have in Adele the world’s best selling album artist; in games, when Grand Theft Auto 5 grossed billion in three days - the fastest selling product ever marketed in the world; the five highest-grossing film franchises of all time made in the United Kingdom. British writing, British directing, British acting talent going into them and driving that forward but of course it goes wider than that.
"When in 2011 the Harry Potter films won Bafta’s outstanding British contribution to cinema, the committee said the films not only created stars in front of the camera but highlighted the expertise within the British craft and technical industries, supporting a vast array of jobs throughout production. The whole industry contributes at every level. So a huge thanks to everyone in this industry.
"We’re developing an industrial strategy for the UK and any good strategy of course has to build on its strengths. You couldn’t fail to have the creative industries as absolutely foundational to that industrial strategy. You will see that you have a big part to play.
"And, of course, the contribution of the creative industries goes beyond jobs and exports and earnings, important though they are. In my view they, you, are essential to our national well-being. We stand here in the middle of London in this magnificent setting not far from Albertopolis that was conceived so many years ago by Prince Albert to very much mine the complementarity between science, between industry and the arts...Everything there together so that the cross fertilisation between science and industry could be there from the outset. That has contributed to Britain, and to London in particular, being one of the most successful cities in the world.
"In my view it is impossible to separate London’s economic success from its cultural success, from theatre to architecture, from music to fashion, from design to dance. People choose to live and work and to flock to London because it’s a hotbed of innovation and excitement and it’s a place where quality of life is prized and it’s a wonderful place to be.
"It’s true of other cities, too. Cities like Birmingham, Liverpool, Manchester and Bristol all owe much of their economic revival to their continuing cultural assets. And it’s thrilling to see Hull celebrating not only its cultural heritage but the vibrancy and creativity of that wonderful city.
"In the past I’ve negotiated city deals with some of these great cities across the country, giving more power and more resources to them so that they could pursue their own ambitions. I want our industrial strategy to take that same spirit and have a recognition of how the government can work with the industries, all of them represented here, to make sure that we have all the conditions in place to extend our notable success; to help our stars to shine even brighter in the future but also to ensure sure that Britain is more than ever the place where innovation, where creative original talents and business, will choose to be based. That is what our industrial strategy will be aimed at and you will be absolutely central to that."
Fiona Hyslop, Cabinet Secretary for Culture, Tourism and External Affairs in the Scottish Government:
"In Scotland we are about to get our first purpose-built museum of design, the V&A Museum of Design, opening in Dundee in 2018. It will be the first V&A outside London. And I think it demonstrates how Scotland is a country that values and invests in its creative industries.
"I’ve announced that the Scottish Government will be appointing a creative industries advisory board - the first to have direct contact with Scottish ministers. We will look forward to 2017, a year where we will drive forward new developments in film and broadcasting. In particular, the BBC will be expected to work strategically to provide quality output and to contribute more actively to our creative industries.
"Of course, Brexit will dominate strategically in 2017 and the Scottish Government is exploring all options. We can’t have a hard Brexit. We want to keep the benefits that we have in our relationship for the EU particularly reported to cultural industries. At the end of December, we put forward proposals that are not just good for Scotland, but that can provide political leadership for the United Kingdom, on how we can engage in a new relationship with Europe. We are the first UK government that put forward plans and we expect a positive response.
"Culture is about people. And creativity is about the ingenuity of humankind. Our firm and consistent view is that we must retain complete membership of the single market in all its aspects and freedom of movement of people is critical. Access to the ideas, the talent, the experiences and the creative exchanges which the freedom of movement provides in the single market will be essential to the flourishing and thriving of our industries.
"We can talk about trade and we can talk about economic value. Our creative industries in Scotland employ more people than oil and gas and provide more GVA than life sciences, but they are rooted in the creativity of people.
"So let’s make sure that whatever happens, the embracing of inclusivity and the encouragement of exchange of people’s ideas on which our creative industries and our culture have been based can flourish.
"I look forward to working with the Creative Industries Federation and all the bright thinkers and expressive artists that we have across these islands to make sure that when we build our future, we shape it ourselves rather than having it shaped for us."
Sadiq Khan, Mayor of London:
"I know many of you are concerned about Brexit. It’s not hard to understand why so many in the creative industries wanted us to remain in the EU and we can all understand the anxieties post-Brexit. Our creative industries are hugely reliant on international talent. Almost half of your exports go to the EU. It’s unsurprising that retaining access to the single market is a priority for you.
"So I pledge today, I’ll stand with you every step of the way. I’ll work to ensure your concerns are addressed by our government and your interests defended during the upcoming Brexit negotiations. And to that end I’m grateful that Sir John Sorrell has agreed to serve on my Brexit expert advisory panel as a representative of the arts and creative industries.
"What's clear to me as the proud mayor of the greatest city in the world is that we can’t be complacent or take the creative industries for granted because talented, creative, innovative people are the key to our continued success. You don’t need me to tell you that you are currently the UK’s fastest growing sector, contributing £35bn a year in London alone.
"But not only do you boost the economy, you also benefit our society. Culture is woven into the DNA of our city. It’s the glue that binds us together. It brings so much joy and adds value to the lives of millions. It has the power to inspire our young people, develop skills and transform lives and on top of this it enhances our standing in the world, our cultural export, articulating our values and identity as an outward looking, welcoming nation.
"Indeed, you are some of our finest ambassadors on the international stage. Just look at how the world mourned the recent loss of two great Londoners, David Bowie and George Michael, who had such a profound effect on global culture.
"And, of course, our creative industries also help to show that London is open. London is open to business, ideas and people. For all these reasons and more, I’ll make culture and the arts one of my top priorities as the mayor of London.
"Like many of you, I’m passionate about expanding access to culture. From the exceptionally gifted Star Wars actors, John Boyega and Riz Ahmed, to the Turner Prize-winning artist Helen Martin, we have so much up-and-coming talent who’ve been inspired by others in the industry - from one of the world’s greatest authors JK Rowling and one of it’s most accomplished singers Adele, to the legendary fashion designer Vivienne Westwood and the visionary architect behind the Smithsonian’s new museum in Washington DC, Sir David Adjaye. And, of course, our latest batch of amazing Golden Globe winners: Claire Foy, Olivia Colman, Tom Hiddleston, Hugh Laurie and Aaron Taylor-Johnson.
"There are so many Brits and Londoners ensuring our country punches above its weight culturally right now. And while Brexit may be looming large on the horizon, I promise I’ll do anything I can to ensure London’s creative industries continue to flourish so that today’s talented youngsters can follow their dreams, fulfil their potential and one day stand on the shoulders of our cultural and creative giants."
Earlier today our Sir Peter Bazalgette, Chair of Arts Council England, gave a major speech to Federation members examining the relationship between governance, business and the creative and cultural sector.
Click below to see the full text of his speech.
The Business of Arts: Sir Peter Bazalgette
Creative Industries Federation 11 November 2016
Thank you for inviting me to speak here. I’m especially pleased to be hosted by the Creative Industries Federation, which is doing so much to speak up for the creative sector, particularly to Government, now that industrial strategies are in fashion again.
When I became Chair of Arts Council England at the beginning of 2013, things seemed pretty gloomy.
We faced a serious financial situation. The national economy had been in shock, there were large reductions in funding across the public sector, while falls in personal and business income threatened both revenue and donations. The Arts Council had seen its Grant in Aid cut by more than 30% .
But we knew that we had great talent in our sector. Right from the start, in my travels across the country, I was meeting imaginative, purposeful leaders of arts and cultural organisations. These were people who combined a commitment to great work with entrepreneurial flair.
It was crystal clear to all of us we needed to diversify the income streams of the arts as rapidly as possible.
Back then, we described our mixed funding model - public investment, earned income and charitable donations using the analogy of a three- legged stool. You need all three legs, or you fall over.
First, we needed to stabilise the all-important cornerstone of public investment by better articulating and demonstrating its value and impact.
I believe unequivocally in public investment in art and culture.
It secures the public’s interest in a national resource that shapes all our lives, powers our creative economy, informs our education, enhances our health and wellbeing, and enriches our communities and thus our national life.
And with government as a lead investor, arts organisations can lever in more, adding value to public money.
Second, could we increase giving by raising the charitable profile of arts organisations?
And third, we had to champion new ways for arts and culture organisations to broaden and boost their earned income, beyond ticket sales.
So at every available opportunity, rather like the ancient mariner stopping one in three, I stressed how critical it was to diversify revenues.
An important but unremarkable view, you might think. It wasn’t always understood. At least, not at first.
Some suggested that I was giving up on public investment – though nothing could have been further from the truth.
One artist obligingly painted my P45, which the Royal Academy generously displayed at the Summer Exhibition.
Well, that artist’s wish has come true, because I’m about to leave the Arts Council.
But it’s fair to say that my wish has come true.
Because the arts and cultural sector, even with all its manifest
challenges, is increasingly on a surer and broader financial footing.
We’re reaching out to more people; the vital role that art and culture play in our society is better understood by government; and the creative industries are leading the country in terms of economic growth.
That’s no joke. That’s a huge achievement by the arts and cultural sector. By all of you.
For that, I can take some mockery.
EARNED INCOME – THE STORY TO DATE
Today, I want to look a bit more closely at the business of the arts, especially around earned income. That’s the likes of ticket sales, hospitality, merchandising and other commercial revenues.
I’ll also talk about public investment and giving – there are good stories there as well as big challenges. But earned income merits special attention. It’s the unsung hero of this story, best exemplified by looking at what’s been happening with around 600 of our larger, publically- funded arts organisations, members of our National Portfolio.
And now that baking has taken over from football as our top national sport, I’ll ask you to think of the overall income of these arts organisations in terms of a cake.
In cash terms, between 2012/13 and 2015/16, the overall income of those 600 organisations rose to one and three quarter billion pounds. That’s an increase of more than 20%.
And a hell of a lot more cake.
What’s the magic ingredient?
While the cake has grown, the proportion of it the Arts Council contributes through Grant in Aid and Lottery funds remained largely the same, at 22%.
And the proportion that comes from Local Authority funding has declined to just over 6% - we know why that is.
So while the public purse remained an incredibly important part of the mix, it wasn’t contributing to the growth.
What about donations, so-called ‘contributed’ income? They’ve seen steady progress, with personal giving along with gifts from trusts and foundations, pushing their share of overall income up by 1.5%.
But the magic ingredient, that’s helped the cake rise so satisfyingly, is earned income - what organisations earn through their tickets sales, their educational activity - and their ‘supplementary’ income from commercial activities and other revenue streams – cafes, restaurants, car parks, merchandise, services and skills.
For that sample of 600 organisations, since 2012/13 earned income has grown from just over three quarters of a billon to more than £1 billion - up by more than 25%. And these commercial revenues now contribute comfortably more than half of the entire cake (I’m calling time now, I promise, on the home economics metaphor).
While income from ticket sales and educational activity has actually declined slightly – which reflects the tough times we’ve been through – income from supplementary activity has grown by – wait for it – a staggering 75%.
This is what’s helped make a significant change in the fortunes of the arts and culture sector. Entrepreneurial flair.
Let me tell you about some of the ideas that organisations right across the sector are employing – many of them backed by public investment.
Hospitality, whether a café, bar or restaurant.
Take the Theatre Royal Plymouth, which refurbished its catering facilities as part of a capital grant from the Arts Council - and between 2012/13 and 2014/15 increased its income from catering and retail by 24%.
Or the Chichester Festival Theatre. After a major makeover funded by public and private money, it made £1.4 million from catering operations in 2014/15 – up 9% on pre-refurbishment figures.
If you’ve got the right location, you might look at rental income.
Like Lighthouse Brighton, a cultural agency that pioneers developments in art and technology, and uses its city centre premises to provide a reliable source of income from commercial hire and office tenancy. Lighthouse has 100% occupancy of its creative office suites.
If you’re in a town that’s a destination for bargain hunters, you might run a charity shop on the high street, like The Roses Theatre in Tewkesbury. Staffed by a team of volunteers, alongside a full-time manager, this currently contributes £20,000 per annum to the theatre’s finances as well as engaging the local community and advertising the theatre’s charitable status.
And if you’ve got a strong visual arts brand, you might develop a shop and online retail business like Baltic in Gateshead, selling special editions of art works, and adding art to the things we use every day – cups, coffee pots, shopping bags, toys or bookends.
If you’ve got the space, you might offer bed and breakfast, alongside artists and musicians, like the urban oasis of Islington Mill arts hub in Salford.
Or like, New Brewery Arts in Cirencester, you could run a stylish and popular hostel alongside your core business. These social enterprises represent a whole new sector of the British economy and the arts are ideally suited to lead it.
If you have a car park it might make sense to put it to work with a pay facility, supporting your great creative output. This is what the Yorkshire Sculpture Park have done.
Or if you’ve got a photogenic setting, you might promote yourself as a film location, like the Black Country Living Museum, which has been used for the three series of Peaky Blinders.
If you’re a publically-supported orchestra, you may make money by recording film scores and video-game soundtracks. In recent years, the Philharmonia has been on the soundtrack of Iron Man 3, Elysium, Thor: The Dark World, Fury and Avengers: Age of Ultron, while video games credits include the Harry Potter series, Lord of the Rings: War in the North, and Medal of Honour.
It shows that arts organisations are increasingly run by business-minded leaders who understand that when you run a great business, it’s a lot easier to make great art.
MORE TO DO
Some of you may say that my overall statistics are skewed by rich, London organisations.
Quite true – it’s undoubtable tougher elsewhere. If you look at theatres in the rural South West for example, you’ll see that their turnover has only grown by 10% - less than half the national average.
Supplementary income there has actually declined by 60% over 4 years. But laudably, this was offset by ticket sales and other core activities increasing by just over 50%. So they’re working hard to reach more people - and they are doing well at that.
Generally speaking, rural areas pose challenges for businesses of all sorts.
So we must continue to provide additional investment and support where it is most needed.
We’re doing this.
We’ll be investing up to £2 million through our Building Resilience programme, helping up to 100 organisations develop their entrepreneurship and philanthropy and make the most of intellectual property.
We’re investing £1.5 million in our programme for Developing Sector Leaders, and we’re also supporting the development of leadership across museums.
And through Strategic funds we’ve invested £400,000 in the Business Support programme, so that organisations can become better businesses.
When arts organisations have skills, networks, and good leadership they have shown they can thrive.
Helping them acquire these is one of the important functions of public investment, working alongside all the earned and contributed income.
I as I said earlier, public investment is the people’s skin in the game. It allows us to have a say in how art and culture is run, and who it is run for.
It ensures, for example, that diversity is prioritised, and that the best of art and culture can be enjoyed by everyone, everywhere, at affordable prices or for nothing at all, and increasingly by digital means.
It does all this for a small amount of public money.
Less investment would mean less influence, and that would be a loss to the public as a whole.
In recent years, I’ve been pleased at how much better we have all become at talking about these benefits – presenting what we call the “the holistic case for public investment in art and culture”.
The value of art and culture was recognised by the last chancellor, and we believe this is understood by the new government as well.
Stable public funding, agreed for the four years of the current spending settlement, will enable us to continue growing the arts sector in all these ways, whatever the weather.
Here, I’d like briefly to mention the referendum result.
Whichever way you voted, Remain or Leave - and all of us know people from both camps – the United Kingdom now needs to be more open to the world and more open to the world’s cultures than ever before in our history. I believe this is a special duty of publically supported arts and culture.
PHILANTHROPY AND GIVING
So that’s earned income and public funding. Now I’d like to talk briefly about the third element of the sector’s income – contributed income. Gifts, donations – or philanthropy, as we sometimes call it.
That 1.5% increase it made to the NPOs overall income sounds small, but in cash terms it amounted to a big increase on 2012/13.
In fact, last year contributed income was worth more than £200 million - a real advance.
We’ve recently commissioned research looking at the state of giving in the arts and culture sector as a whole over the last three years.
We’ll be publishing the report shortly, but early findings support the headline figures from the narrower sample of our National Portfolio. It will show that contributed income in art and culture generally is growing.
In 2014-15, it was worth was £480 million. Just under a fifth came from business, a bit less than a third came from trusts and foundations...which meant that, magnificently, more than half came from generous individuals.
A relatively small number of large private donations – around 50 – went to a relatively small number of arts organisations, many of them in London.
So before we rush to expect too much, too quickly, from publicly funded arts and culture organisations, remember that many of them are neither very big, nor are they based in London.
There have of course been some wonderful large gifts outside London, but in general arts organisations across the country need more support to develop fund-raising skills, so that we can make people aware of their charitable status, and so we can make better use of shared data and integrate sales, marketing and fund-raising.
We’re delivering that support through the Arts Fundraising and Philanthropy programme of skills development and training.
We will continue to invest in our Catalyst: Evolve and Catalyst Small Grants programmes.
Catalyst Evolve will target organisations that are new to private giving.
And between 70-80% of this investment has been and will continue to be awarded outside London.
We’ve also been training the next generation of fundraisers though the Arts Fundraising Fellowship; 80% of participants have been from outside London.
So arts and cultural organisations need to be effective businesses which are also well-run, fundraising charities. Strong, supportive boards are crucial in this.
We need board members conspicuous for their actions as much as for their opinions. That includes fundraising.
It’s my personal view that every board member should give something, even if it is just a pound, so that they are not asking others to do what they themselves are not.
We talk about the need to have a skilled workforce and leadership, but having an appropriately skilled board is every bit as important.
There should be a strategic plan for appointments to the board; yes, boards must reflect the culture of their communities, but also the strategic ambition of their organisations.
Each board member should bring a relevant competency and, these days, after several high profile car crashes in the charity world, there’s no excuse for boards and trustees to be ignorant of their responsibilities.
Boards need to have foresight, and to be able, for example to develop a clear and consistent policy around ethical sponsorship, deciding what is or is not appropriate for their particular organisation.
The Arts Council does not dictate policy in sponsorship. We accept that different organisations will have different approaches, and boards should be free to accept donations they consider suitable. What matters is clarity, consistency and transparency.
NEW FUNDING STREAMS
Now, a word about novel funding streams.
Some of these have come from government in the form of tax credits for the theatre, for dance and opera orchestras and museums and galleries. In its first full year, the theatre tax relief was worth £25m to the sector.
Along with the parallel credits for film, television and video games, I see this beneficial programme of tax credits as the beginning of an industrial strategy for the creative industries.
These are the businesses which not only drive the economy but define our culture, power our empathy and fire our imaginations. Why wouldn’t you have such a strategy?
Then there are mixed models, such as social investment. We’ve helped start a fund which makes loans rather than grants to organisations. The Arts Impact Fund brings together public, private and philanthropic funds from the Bank of America Merrill Lynch, the Esmee Fairbairn Foundation, Nesta, the Arts Council and the Calouste Gulbenkian Foundation.
The loans it offers to arts and culture organisations across England are for projects that show a social, artistic and financial return.
Among the first investees are Brighton-based South East Dance, who have a loan of £350,000 towards a new Dance Hub that will provide rental income and support work with local artists and the community.
There’s also £150,000 for the Titchfield Festival Theatre, so it can increase its rental income and install solar panels.
I predict that such publically beneficial financial instruments will grow strongly in the years ahead. We must make sure that they do.
So, as I look forward to my P45 from the Arts Council, I’m pleased with the progress that’s been made with income across the National Portfolio.
A stable settlement from the Government covering funding for the next four years, delivering amazing public benefit.
Increasing gifts and donations.
And boosting earned income, thanks to a new generation of talented cultural entrepreneurs.
There remain many challenges - as we always say, because it’s always true. But we have come a long way in a short time and that should give all of us who work in art and culture confidence.
The picture varies greatly across the country. We’re addressing that imbalance, investing more where it is most needed – that will be a part of our new investment process which has just been launched.
We do know we have to continue to make the case for public investment to local authorities, which are under such pressure and facing difficult choices. I have talked about this a lot, and there isn’t time today. But it’s a critical issue.
We’re keeping a careful eye on fluctuating Lottery revenues – increasingly important as our Grant in Aid has declined.
But new partnerships with the likes of higher education, health authorities and with LEPs are going to be fuelling more arts and more culture in more places.
With more we could always do more.
More for those organisations on the periphery of the National Portfolio. More for communities outside the better resourced cities.
Now, with that iconic P45 of mine in mind, I’d like to finish by emphasising once more how much of a bedrock public funding is, however strongly other revenues grow.
A few weeks into the job of Arts Council Chair, I got a panic call, late at night, from a certain Government minister.
The Minister: “Is it true that the Arts Council has spent thousands on a ‘sculpture’ made out of plumes of smoke?”
Me: “Yes, Minister.”
The Minister: “Is it true it doesn't work?” Me: “Yes Minister. Not on this occasion.”
He said that a certain tabloid was preparing the headline: “Arts Council money goes up in smoke!” At the very least I should announce an inquiry (don’t we love inquiries).
I calmed him down and human civilisation did not come to an end the following day.
But here’s the point: surely the role of public money is to take risks that wouldn’t be taken otherwise.
Today’s outrage is tomorrow’s mainstream.
You don't always back a winner; but you never get a successful business without taking risks.
HOW THE CREATIVE INDUSTRIES CAN SURVIVE AND THRIVE POST-BREXIT - AN INTERIM REPORT OF RED-LINE ISSUES AND RECOMMENDATIONS
The Creative Industries Federation today publishes its Brexit Report, a first-look analysis of red-line issues for government as it negotiates leaving the EU.
The report includes recommendations, agreed jointly by the Federation and industry members of the Creative Industries Council, aimed at tackling short-term challenges and securing longer-term success for the fast-growing creative industries sector as the UK negotiates leaving the EU.
It has been presented to Karen Bradley, Secretary of State for Culture, Media and Sport, today.
The 73-page document draws on evidence from around 500 contributors at 11 meetings held by the Federation nationwide, as well as a members’ survey, to identify the opportunities as well as the dangers that policy- and deal-makers must consider in the Brexit process.
It calls for the creative industries to be put at the heart of government thinking as the country develops its new industrial strategy, forges new international trade deals and tackles the fractures in society exposed by June’s EU referendum vote.
John Kampfner, the Federation’s chief executive, said: “The challenge is to seize the opportunity sectors in the British economy and prioritise them in future trade deals and in the new industrial strategy. The creative industries are a massive opportunity for the UK government.
“This is the fastest growing sector of the UK economy and includes all the things that Britain is famous for - from our music to our films, television and heritage. We want to work with government to safeguard the jobs, the revenues and the prestige the creative sector offers.
“While the political circumstances are constantly changing, this report produces initial recommendations and explains how the UK’s creative sector currently engages with EU so that sensible decisions can be made.”
The Federation believes that Brexit offers the chance to tackle some existing problems. It creates an opportunity to:
• Reboot education and training to provide young people with the skills needed for great jobs in the creative sector, including many with existing skills shortages, such as animation and visual effects
• Create a visa system fit for the 21st century - enabling access to world-class talent and recognising the importance of freelances and that value does not always correlate with high salaries
But there are risks both to funding and investment and to the regulatory framework that underpins the creative economy. It is vital that the government:
• Conducts an audit of existing EU funding to the UK’s creative sector (especially in the regions) to identify the streams that should be replaced by the UK as part of government public support alongside tax reliefs
• Upholds intellectual property rights including copyright in trade deals, especially with new markets with bad infringement records, and remains proactive in negotiations on the Digital Single Market and other regulatory issues with major implications for the sector
The consultation identified some immediate impacts including the effect of business uncertainty and the fall in sterling on planning and artists’ fees.
A range of other concerns raised include:
• The capacity to retain and recruit talent and how new visa rules will be implemented
• Increased costs including additional administration for British artists in touring to the EU and for British venues wanting to present non-UK EU nationals
• The impact on the finances and international standing of British higher education of a likely cut to the number of EU students and academics
• The loss of rights protecting original designs with knock-on effects for trade showcases such as London Fashion Week
• The UK’s ability and willingness to defend UK interests in negotiations on the Digital Single Market and other areas of regulations
• The loss of EU funding streams which have been particularly important in UK nations and regions
• Whether the UK will proceed with hosting the European City of Culture in 2023
Federation members today supported the case for action.
Sir John Sorrell, designer, UK business ambassador and Federation founder and chair, said: "It has taken two decades and more to turn our creative industries from an afterthought to a key driver of wealth and global success. To imperil that would be to imperil our wider economy. That is why we need to be at the heart of the new government's industrial strategy and negotiating priorities in coming months."
Baroness Lane-Fox, businesswoman and philanthropist, said: "Without great data and great analysis you can’t make great decisions. With so much at stake for our creative sectors in light of Brexit, we need this kind of work more than ever.”
Tom Weldon, chief executive, Penguin Random House UK, said: “We are still a long way from knowing what Brexit actually means, and it will be a true leadership challenge for the government to reconcile the public concern that has been expressed around topics such as immigration with the ongoing needs of business. For UK trade publishing, the four most important priorities post-Brexit are: keeping barriers to trade with the EU to an absolute minimum; strong copyright rules to encourage investment in the UK and to protect creators; ensuring publishers and businesses have access to the people and skills they need; and minimising business uncertainty.”
Amanda Nevill, chief executive, British Film Institute, said: “Film is a global business and the UK is a success story at its heart. We have this wonderful opportunity now to aspire to even greater heights of success, economically and creatively, if we can get the right framework for the future. In this time of change, film as one of the great arts has an important role in helping everyone engage with, imagine and shape a new future.”
Sir Nicholas Serota, director, Tate, said: "The success of Tate in recent years has depended very much on our ability to employ people from across the EU at all levels of the Gallery. For us, this is an essential ingredient in creating one of the world's great galleries. We attract significant numbers of international visitors and a staff with different kinds of cultural and educational experience helps us to understand what engages these audiences. As the government works out arrangements for the future, we would not want any artificial barriers erected which might make it harder for us to attract the skills that we need in order to serve our public well."
Caroline Rush, chief executive, British Fashion Council, said: “One of the most important aspects of EU membership for the fashion industry is the access it gives us to a unique talent pool. Although home-grown talent is always encouraged and supported, the ability for international workers to be educated in the UK and to start businesses here gives us access to skills that are scarce, or in some cases no longer available in the UK workforce. This is essential to maintaining our enviable reputation as a global fashion hub.”
Jo Dipple, chief executive, UK Music, said: "The UK music business derives more than half its revenue from exports, to the tune of £2.2bn last year, so our future is dependent on securing favourable trading conditions with overseas territories. The government has limited time to understand business needs so it should use the Creative Industries Federation Brexit Report to inform decision-making which will affect our prospects for decades to come. So government, please read this document and make well-informed decisions on behalf of creative businesses in the UK.”
Chris Hirst, European and UK Group CEO, Havas, said: “The UK is one of the world’s leading centres of commercial creativity because it is a welcome home to the world's greatest creative talent, both the established and the new. Foreign-born talent doesn't deprive Brits of jobs, it make British creative talent better and thus creates jobs. At the same time it helps disseminate our ideas and creative product around the world. Any restriction on this impoverishes us all - in all senses of the word. We must continue to not just be delighted at the fusion of ideas and talents we find across our great nation, but ensure that we feel and sound like a place the best want to come to.
Richard Johnston, chief executive, Endemol Shine UK, said: "There has never been a more critical time for the UK’s creative industries to come together and to make their voice heard. This insightful report brilliantly articulates crucial considerations which need to be taken into account at the highest levels of government if the UK creative industries are going to continue to thrive.”
Dave Moutrey, director and chief executive, HOME, Manchester, said: “If the UK government wants to ensure that the growth of our economically and culturally important creative industries sector is not damaged by Brexit and, importantly, has a good chance of thriving in the future, I would urge them to act upon this clear set of crucial joint recommendations.”
More comments are available from industry figures including Russ Shaw, founder, Tech London Advocates, Alex Beard, chief executive, Royal Opera House, Catherine Mallyon, executive director, Royal Shakespeare Company, Deborah Bull, assistant principal (London), King’s College London, Victoria Pomery, director, Turner Contemporary, Margate, Alistair Spalding, artistic director and chief executive, Sadler’s Wells Theatre, Jim Eyre, director, Wilkinson Eyre, Abigail Pogson, managing director, Sage Gateshead, Brett Rogers, director, The Photographers’ Gallery, London, Ian Livingstone, co-founder, Games Workshop and chairman Sumo Digital, Dinah Caine, chair, Creative Skillset, Graeme Thompson, pro-vice chancellor connections and place, University of Sunderland, Fergus Linehan, festival director and chief executive, Edinburgh International Festival. Read more
The collaboration between the Federation and CIC reflects the sector’s recognition of the crucial importance of coordination and coherence over Brexit. The Creative Industries Council is a joint forum between government and the creative industries and focuses on areas where there are barriers to growth. Council members are drawn from leading figures across the sector.
Nicola Mendelsohn, VP EMEA Facebook and co-industry chair of the CIC, said: “We have responded to the government’s request for input with an exciting and ambitious agenda for growth before, during and after Brexit. We are now ready to work with our partners in government to ensure the UK realises the full benefits of its world-class creative industries as we enter this new stage in our history.”
The creative industries are valued by government as worth £87.4bn GVA to the British economy. Exports of creative services from the UK totalled £19.8bn in 2014.
The Federation has launched 'Social Mobility and the Skills Gap - Creative Education Agenda 2016', a paper demonstrating how the current focus on the EBacc - alongside plans for apprenticeships - are limiting the life chances of the next generation and will not achieve the Prime Minister’s ambitions for greater social mobility.
The paper also highlights how current policies threaten the UK’s standing as a global creative power by failing to produce enough young people with the mix of creative and technical skills needed.
Dear Friends and Colleagues,
This is our final newsletter of the summer. Read on for our details of:
• Our new home and a special partnership deal
• The Fed in Edinburgh and more of our Brexit impact meetings nationwide
• Engineering and Ofcom at our Unique Breakfasts plus culture in Cornwall
• Members’ news
• What we’ve done, who we’ve seen and where we're going on holiday.
John Kampfner, Chief Executive
Dear Friends and Colleagues,
Read on for details of:
• Our policy priorities for the new government
• More of our Brexit impact meetings nationwide
• UK Advisory Council completes first year after International Advisory Council launch
• The view from Europe - meeting with MEP Vicky Ford
• Members’ news and other political engagement
• What we’ve done and who we’ve seen.
John Kampfner, Chief Executive
Dear Friends and Colleagues,
As Theresa May takes office, the Federation looks forward to working with the new prime minister and her team at what is a crucial time for the sector.
And it could not be more appropriate that today we are launching our International Advisory Council and our international work.
Now that the UK has taken the historic decision to leave the EU, it is more important than ever to ensure that the sector learns from best practice around the world. Members have been sent the first copy of C.International, our new journal offering insight, comparisons and case studies. Read on for more details. As we offer an international perspective, we are also continuing to develop a Brexit action plan for the new Government. After our dynamic opening session in London, further members' meetings nationwide are detailed below. Best wishes,
John Kampfner, Chief Executive
As the UK begins the process of leaving the European Union, the consequences for the creative industries - the fastest-growing sector of the economy, the driver of regeneration and the calling card for our nation around the world - could not be more acute.
It has never been more important for our amazing creative community - which employs more than 5 million people in all the nations and regions, from an army of freelancers to iconic arts institutions to multi-national companies, to our world-beating universities - to come together.
We need to make sure that the issues that our members raised during the referendum campaign are understood and represented by those negotiating the new future for Britain. These include access to markets, access to regional and sector-specific funding, strong IP protection and freedom of movement of talent.
We need to look at the ramifications for the sector of broader economic uncertainty. We also need to analyse the fractured geography of our country and ask whether the arts and creative industries can help engage all communities.
The Creative Industries Federation plans to host a series of events around the country to bring the sector together, to learn, to marshal experience and opinions, and to come to decisions about the way ahead. These events will be no-frills, sleeves-rolled-up and intensely practical.
Register your interest in attending here.
We will host the first meeting in London on July 7. The venue and other details will be announced shortly. The timings will be approximately 11.30-14.30. Other meetings will follow across the nations and regions, concluding by mid-September, ahead of the formation of a new government.
To become a Federation member, click here.
If you are willing and able to host any of these meetings and assist in planning, please contact Katie Banham, head of events, on firstname.lastname@example.org or 020 7849 3306. We will circulate a draft agenda in advance of each meeting. So if you have issues you want discussed, any questions you want asked or any insight to share, please contact Harriet Finney, director of policy, on email@example.com or 020 7849 3309.
The Federation's members voted 96% to stay in the EU in our own survey and many added detailed comments. Some members were unable to express a view, or chose not to. And 4% supported Leave. You all have a voice.
We have spent the days since the referendum in contact with Whitehall departments, with the Scottish government and with the London Mayor's office to begin discussing next steps. That work will intensify.
Dear Friends and Colleagues,
The Creative Industries Federation today pledges to play a positive role in safeguarding the future of the UK’s arts, creative industries and cultural education and their significant contribution to the economy in light of the decision to leave the European Union.
John Kampfner, chief executive, said: “As the UK creates a new identity and a new position on the world stage, our arts and creative industries - the fastest growing sector in the economy - will play an important role.
“It will be vital for all sides to work together to ensure that the interests of our sector on issues including access to funding and talent are safeguarded as the UK forges its new relationship with Europe. The importance of British culture in representing our country to the world will be greater than ever.”
After a campaign that highlighted deep social, geographic and economic divisions, the role the arts can play will be significant. “Within the UK, we will play our part in helping to bridge divides within and between the nations and regions of the country.”
The Federation, which held a high-profile debate on the EU in April, and whose members' poll showed an overwhelming vote in favour of remaining, plans to hold a series of events to engage the creative community on charting a way ahead. Details will be released shortly.
The Federation’s members' survey showed more than 96% support for Remain, with 4% in favour of Leave*. (A number of Federation members were by statute unable to participate in the poll. These included members in receipt of government funding, those that are arms-length governmental bodies, such as Arts Council England or Creative Scotland, or have public service broadcasting obligations.)
For more details of members' reasons for wanting to stay and the launch of the findings with Prime Minister David Cameron click here.
The Federation has played a prominent role in major issues affecting the UK’s cultural sector since its launch 18 months ago.
Last autumn, in conjunction with partners, we secured a better-than-expected funding settlement for the publicly-supported arts and in the past few months we have worked to ensure the continued strength of the BBC and particularly its role within the creative industries ahead of the publication of the Government’s White Paper. We will continue to represent the interests of members across national, devolved and local government and beyond on ongoing issues including creative education and access to finance.
The creative industries were worth £84.1bn to the economy in 2013-2014 and grew by 8.9 per cent - almost double the rate of the economy as a whole. Europe is currently the largest export market for the creative industries, taking 57% of all overseas trade.
Dear Friends and Colleagues,
On Thursday, UK voters go to the polls to make the biggest political decision the country has faced for decades. The Federation will be ready to act whatever the result.
We surveyed our members and 96 per cent backed Remain for reasons ranging from freedom of movement of talent to ERDF and other EU funding and the desire to be at the table for crucial IP negotiations.
Click here for a summary of the case, in the words of members who took part in the poll and the EU referendum hustings we held.
Whatever happens, the fallout of this divisive campaign means the next few months, at least, are likely to be rocky. At a time of increased political uncertainty, there is a greater need than ever for a united voice to put the case for the arts, creative industries and cultural education at the heart of government thinking on the future growth and success of the UK economy. Please feel free to forward this email and share the evidence from our members with your own networks. We will be issuing our response to the referendum result on Friday. Best wishes,
John Kampfner, Chief Executive
Creative Industries Federation broadly welcomes outcome of BBC White Paper
The Creative Industries Federation broadly welcomes the outcome of today’s government White Paper on the future of the BBC. While there are important specific issues still to resolve, the Federation sees the potential for a more stable and ambitious future for the BBC, which will benefit not just the Corporation itself but also the UK’s broader creative sector.
The Federation notes that the BBC’s role and obligations at the heart of the UK’s creative industries have been expressly recognised for the first time. The BBC is a huge contributor to the success of the UK’s arts and creative industries, investing £2.2bn in the sector in 2013/2014.
This theme was at the heart of three events conducted by the Federation in autumn 2015 in Salford, Birmingham and London, at which Lord Hall, Director General, and Rona Fairhead, Chair of the BBC Trust, had the opportunity to hear the views of the broadest cross section of Britain’s creative sector. The views of our members gathered at these events formed the basis of our submission to the Government’s Green Paper.
Among the many related announcements in the White Paper, the Federation broadly welcomes the funding settlement for the BBC, the enhanced commitment to diversity, the requirement better to reflect all the nations and regions, and the agreement to an 11-year Charter, which gives the BBC and its partners the long-term stability they need to meet future challenges.
The Federation, alongside other partners, is concerned about some aspects of proposed appointments to the new unitary Board. We will continue to keep a watching brief on developments in coming months.
John Kampfner, Chief Executive of the Creative Industries Federation, said: “The BBC is the largest investor in culture in the UK and has an important role in training the next generation; we are pleased therefore that the White Paper preserves and underpins the BBC’s role in ensuring that the UK’s arts and creative industries continue to flourish at home and abroad.” For further information, please contact Jack Powell on 020 7849 3300 or firstname.lastname@example.org
Dear Friends and Colleagues,
Today we launched the results of our EU survey. Thanks to so many of you for taking part and for giving your detailed responses.
The poll showed more than 96% support for Remain among our members, with barely 4% in favour of Leave*.
The results were welcomed by the Prime Minister today as he met Federation board members and other key figures from the sector to discuss the forthcoming EU referendum and the needs of the creative industries.
These included Sir John Sorrell and John Kampfner, chair and chief executive of the Creative Industries Federation, arts leader Jude Kelly, Deborah Bull, assistant principal of King's College, London, the games entrepreneur Ian Livingstone, theatre director Sir Nicholas Hytner, Amanda Nevill, chief executive of the BFI, Kanya King, founder and chief executive of Mobo, the artist Sir Anish Kapoor, actor Dominic West, film director Tom Hooper, Harry Potter film producer David Heyman, David Joseph, chairman and chief executive of Universal Music UK, Eric Fellner and Tim Bevan, the co-chairmen of Working Title Films, Labour's Baroness Jowell and Culture Minister Ed Vaizey. The discussion took place at Abbey Road Studios in London this morning.
David Cameron said: “When it comes to creativity, British talent and expertise has made this country the envy of the world. Whether it is music or film, art or video games, the UK leads Europe. More than most, this is a sector that thrives on being open to the world outside. Whether it’s bringing in talent, filming on location or simply having access to the Single Market of 500 million people across Europe.
“The results of Creative Industries Federation’s survey are clear: we are better off in a reformed European Union than out on our own. To leave would be a leap in the dark.”
Publication of the results coincided with an open letter by hundreds of leading figures from across the arts calling on the British public not to embrace Brexit.
The Federation survey also showed that 84% of members believed the outcome of the vote on June 23 was important to the future success of their organisation.
Among reasons cited for this vote of confidence in Europe were:
- Access to EU markets and influence - the EU is the largest export market for the UK creative industries, totalling 56% of all overseas trade in the sector. It is vital that Britain is able to influence regulatory decisions which may have a bearing on future trading, such as the current discussions around the Digital Single Market.
- Access to EU funding - the Creative Europe programme has provided support for films such as The King’s Speech, The Iron Lady and Slumdog Millionaire. ERDF has made grants to arts organisations in the regions, including Sage Gateshead, Manchester’s HOME and Falmouth University. In addition, Federation cultural education members benefit from the €80bn innovation fund, Horizon 2020. All this could be imperilled.
- Movement of talent - the UK is a creative hub. Close collaboration with EU partners is key to Britain maintaining this position. From orchestras to art schools to architecture firms, the UK’s creative industries are enriched by the diversity of cultural exchange and strengthened by the movement of talent across the EU.
John Kampfner, chief executive of the Creative Industries Federation, said: “Our members have sent a clear signal about the importance of EU membership for the continued success of the UK’s fastest-growing sector.”
Sir John Sorrell, chairman of the Creative Industries Federation, said: “The UK creative industries are key to the way we are seen by the world and deliver a massive £84.1bn to our economy. Our position as a vital European creative hub is a huge part of this success - we benefit from a vast network of talented people, companies and institutions across Europe.”
Jude Kelly, arts leader, said: “European partnerships, people and ideas have combined with the UK’s creative industries to make us a world leader. I believe in the strength of this unity and want to continue being open, curious and fully involved in Europe's hopes, dreams and challenges.”
Tom Weldon, chief executive of Penguin Random House, said: “The EU has helped the UK to become a creative powerhouse, thanks to our ability to trade freely with 27 other countries in Europe and through the EU laws which help protect intellectual copyright, without which we would not have a creative industry at all.”
Ian Livingstone, chairman of Sumo Digital, said: “The UK video games industry is a good news story about intellectual property creation, exports and growth in a global market worth in excess of per annum. EU membership brings us unrestricted access to 560 million potential customers.”
Nigel Carrington, vice-chancellor of University of the Arts London, said: “Freedom of movement is a fundamental driver of success for students, staff and researchers. As far as I am concerned, the relationships and partnerships forged through European mobility are of massive benefit to students and universities.”
Sir Nicholas Hytner, co-founder of London Theatre Company, said: “Creativity knows no borders. Theatre, like all the creative industries, thrives on the free exchange of talent, of ideas, of inspiration and the EU enables this. Why would we want suddenly to impose borders on this free exchange of talent and ideas?”
Joanna Baker, managing director of Edinburgh International Festival, said: “Founded following the Second World War, the Edinburgh International Festival is an important example of the power of international cultural exchange to unite people – a principle which also lies at the heart of the European Union.”
Chris Hirst, CEO UK & Europe of Havas, said: “In an increasingly global business world, advertising and the creative industries as a whole cannot afford to be on the outside. An 'Out' vote would affect our ability to entice talent and to land global accounts here in the UK. It cannot be in our best interests to act like an island in such a connected world.
Jo Dipple, CEO of UK Music, said: “We export over 60% of the music made in the UK and the EU single market has helped British music become a world leader. There can be no question that leaving it will have a significant impact, be that short- or long-term.”
Richard Mantle, general director of Opera North, said: “Leaving the EU could leave the UK culturally isolated, an issue for all cultural organisations, but especially for those working in opera - a fundamentally European art-form. It would diminish our burgeoning cultural voice, which should be at the heart of European culture."
Professor Anne Carlisle, vice-chancellor of Falmouth University, said: “With EU support, universities generate local growth and jobs through support for projects which build new companies, foster entrepreneurship and increase wages. This is nowhere more evident than in Cornwall. Falmouth University has been a major beneficiary of EU funding which has only benefitted the Cornish economy.”
A joint statement was issued by
Sir Nicholas Kenyon, managing director of Barbican
Mark Boleat, chairman of the City of London’s Policy and Resources Committee
Professor Barry Ife, principal of Guildhall School of Music & Drama
Kathryn McDowell CBE, managing director of the London Symphony Orchestra
Sharon Ament, director of the Museum of London:
“As leaders of a creative alliance that aims to maintain and enhance the City of London’s position as an internationally renowned centre for the arts, heritage, learning and entertainment, we are committed to the UK’s continued membership of the European Union, which plays a major role in ensuring the UK’s position as an international cultural powerhouse.”
Tom Inns, director of Glasgow School of Art, said: “Don’t underestimate how significant European funding, networks and ideas are for UK culture and creativity. A vote for Brexit would really put the country in the cultural slow lane and will do nothing for the UK’s thriving creative economy.”
Dave Moutrey, director and chief executive of HOME in Manchester, said: “Leaving the EU would be a big mistake with a huge cost. HOME and many other cultural organisations benefit significantly from EU financial support, while the free movement of ideas, products and creatives is key to making the UK such a creative place to live and work.”
Andrea Stark, chief executive of High House Production Park in Thurrock, said: “Our new costume centre would not have been possible without support from the European Regional Development Fund - crucially it unlocked the other funds necessary to make this development happen. The Bob and Tamar Manoukian Costume Centre will house costumes for Royal Opera House productions, and a new BA (Hons.) degree course in costume construction will be delivered from the centre’s bespoke workrooms.”
Russ Shaw, founder of Tech London Advocates, said: “The UK’s world-leading creative tech sector has blended arts and creativity with technology to create world-leading video games, digital fashion innovations and adtech products. Companies benefit from being in the EU for talent and private sector investment, which is why 87% of Tech London Advocates back remaining in the EU.”
Brett Rogers, director of The Photographers’ Gallery, said: "The Photographers' Gallery has a rich history of identifying, showcasing and championing talent from across Europe. We strongly believe that an exit from the EU would affect our ability to support the diversity of photographers and the collaborative work we pride ourselves on."
Linda Merrick, principal of the Royal Northern College of Music, said: “EU students bring distinctive musical and cultural backgrounds to the RNCM, enriching learning for everyone and establishing lifelong musical relationships. Students return to their home countries as powerful advocates for the UK’s cultural and education sectors.”
Mark Pemberton, director of the Association of British Orchestras, said: “British orchestras need open borders to tour to other European countries, providing a vital source of income at a time of diminishing public investment at home.”
John Tulip, managing director of Northern Film and Media in Newcastle-upon-Tyne, said: “Like many organisations in our creatives industries, we would have shut down without backing from the European Regional Development Fund. Whether the imperative is economic or cultural, the case for remaining seems from our perspective to be overwhelmingly clear.”
Paul Williams of Stanton Williams said: “It is quite obvious that the architecture industry will be badly damaged if the UK leaves the European Union. Although an island, culturally Britain is inextricably woven into the fabric of Europe’s rich and varied landscape - it is unthinkable to imagine a future adrift.”
* A number of Federation members have by statute been unable to participate in the poll. These include members in receipt of government funding, those that are arms-length governmental bodies (such as Arts Council England or Creative Scotland) or have public service broadcasting obligations.
Dear Friends and Colleagues,
Here is your Easter update of the work that we've been doing on behalf of all the UK's creative industries, arts and cultural education. The headlines:
• Response to Culture and Education White Papers
• Finance Working Group - Sponsorship and Philanthropy
• EU Survey and Debate
• Over the Horizon
• Federation Out and About
If you have not already signed up to become a member of our unique network, now is the time.
John Kampfner, Chief Executive
Dear Friends and Colleagues,
Please read on for details of:
- Our big debate on the EU
- Q&A with Labour's London mayoralty contender Sadiq Khan
- Education, Parliament and the EBacc
- Members' news
If you have not already signed up to become a member of our unique network, now is the time.
John Kampfner, Chief Executive
- We welcome the tax break for museums and galleries and other specific measures for that sector.
- We welcome further fiscal incentives for small creative businesses and freelances.
- We are increasingly concerned about the impact on local authority budgets and the consequences for provision of arts and culture.
There are several elements of the Budget affecting the arts, creative industries and cultural education.
We welcome measures for arts and heritage including:
- The new tax break for museums and galleries that will be available to temporary and touring exhibitions from April 2017
- Specific projects including £54 million for the Royal College of Art in Battersea, £5 million for the V&A Dundee, £2 million to refurbish the Hall for Cornwall in Truro, £13 million for Hull’s City of Culture, a new Shakespeare North theatre in Knowsley, £14 million for the STEAMhouse in Digbeth, Birmingham, bringing together arts and STEM to drive innovation, and support for the British Library’s ambition to develop land to the north of its St Pancras site
- Extending the Cathedral Repairs Fund by an extra £20 million.
We welcome support for the digital economy - in addition to the Institute of Coding already announced - including:
- The establishment of a new Broadband Investment Fund to support alternative broadband networks
- Delivery of a 5G strategy in 2017 so that the UK becomes a world leader in 5G.
As a sector with high numbers of small and medium-sized enterprises and freelances, we also welcome other measures including:
- New tax-free allowances for micro-entrepreneurs
- Cutting business rates for smaller businesses so that businesses occupying property with a rateable value of £12,000 or less will pay no business rates with tapered rates of relief on properties worth up to £15,000
- Simplification of National Insurance contributions for the self-employed
- All Local Enterprise Partnerships (LEPs) to have a small business representative on their board.
We are pleased that our major creative businesses also stand to gain from the cut in corporation tax to 17 per cent by 2020.
However, while we welcome business rate relief for small companies, we are extremely concerned that the estimated £7 billion savings for these small businesses will be forfeited by the local authorities who have been given the right to retain business rate income as part of plans for greater financial autonomy. Any further decrease in revenues for local authorities risks further damage to local arts organisations.
Given the current marginalisation of creative subjects in schools, we will examine carefully the changes for education to be announced fully in the White Paper tomorrow.
John Kampfner, chief executive of the Creative Industries Federation, said: “We welcome the fiscal measures to encourage entrepreneurship and innovative small businesses in our sector and the wider support for culture including measures that should help museums and galleries around the country.
“But we are extremely concerned that local authorities will be hit by another major cut to their budgets when local arts provision is already under pressure.
Dear Friends and Colleagues,
Please read on for details of:
If you have not already signed up to become a member of our unique network, now is the time.
John Kampfner, Chief Executive
Chancellor George Osborne told the Federation’s First Anniversary Celebration that the Government had “put money where it counts and where it says a lot about our country” when it decided to invest in culture.
Speaking to a packed crowd of more than 500 guests at Television Centre, west London, he said: “One of the big choices we have made is to invest in the arts.”
The Chancellor was the key speaker at the event which was attended by leaders of the UK’s arts, creative industries and cultural education – having given endorsement to the Federation and the creative industries at its launch a year ago.
He said there was a “big role” for public investment alongside private money and commercial success from ticket sales. “That’s always been part of the unique British mix.”
“When we made the decision just a month or so ago not just to increase spending on the Arts Council and on our national museums and galleries at a time when we were cutting spending in other areas, it was a conscious choice,” Mr Osborne said.
“When we made those choices I would like to pretend to you I was sitting there as your finance minister looking at the pounds and pence of the return that you get. It’s true that if you do look at the pounds and pence return you get for investing in the arts, it’s pretty impressive. You put money in, you get money out as a country.”
But he said: “ It’s not simply an economic calculation because there are other investments you can make. It’s also an investment in who we are as a nation. Art for art’s sake is something I think is very important. And it’s not just about reports that say how many people work in that particular sector that I think should sway our decisions. We wanted to put money where it counts and put money in something that I think says a lot about our country.”
Mr Osborne offered “a big thank you” to arts and creative leaders for the choices they made in creating great works of art in a period of “incredible creativity” to rival the ambitions of the Sixties when the country was dominating world culture.
There was an “amazing” list of statistics on the UK’s creative success story. A fifth of all film awards in the world go to British films, the best play on Broadway is The Curious Incident of the Dog in the Night-Time based on a British novel, and Adele is the biggest selling singer in the world, he said. “That’s not bad for a country that has one per cent of the world’s population.
Opening the evening, Federation chief executive John Kampfner stressed the importance of the arts and creative industries at the heart of British life and what defines the country internationally. “It is the centrality argument - that the arts and creative industries are not something soft you do on a Saturday night. They are the heart of everything we do, of every community and individual’s well being. They define our global reputation,” he said.
“For so long, perhaps because each discipline was operating in its own silo, the sector did not have the heft it deserved. We hope that, working in partnership with others – as may have been evident in the run-up to the Chancellor’s spending review – we have begun to address that.”
Katie Derham, BBC broadcaster and Strictly finalist, compered. There were performances from the Richard Alston Dance Company, performance poet Hollie McNish and the band Coasts.
The First Anniversary Celebration was supported by: BBC, Bloomberg, Google, SME London Ltd and Stanhope.
* Chancellor George Osborne with compere Katie Derham.
Credit: Ben Broomfield.
To see more pictures from the evening, please click here.
Dear Friends and Supporters,
Thank you to the many of you who joined us to celebrate our amazing first anniversary this week. More than 500 people packed into Television Centre, west London, to hear the Chancellor, George Osborne, hail the value of the creative industries and endorse the importance of public investment.
Please read on for details of:
- The Chancellor's First Anniversary Celebration speech, and pictures from the evening
- Exciting new events planned for 2016
- The first meeting of our working group on further and higher education
- The final panel line-up for our place-making debate in Birmingham.
* Please note: We are a membership body which relies on our membership dues to do our work. You need to be a member in order to attend our events and take part in our policy work and other activities. For details of how to join, please contact Tim Moore, our Director of Membership, on email@example.com or 020 78493304.
Dear Friends and Supporters,
After the excitement of our First Anniversary Celebration, it's now back to the serious business of politics, policy and research. Please read on for more details of our current activity and plans including:
If you have not already signed up to become a member of our unique network, now is the time.
With party conference season upon us, the Federation will be in debate with partners including UK Music and Arts Council England at events with the Conservatives, Labour and Liberal Democrats. You can find details on all Federation conference appearances below including links to event details.
- Harriet Finney, Director of Policy, will speak at Liberal Democrat Party Conference in Bournemouth on Monday 21 September at UK Music’s panel session on arts, culture and creativity after the election.
Event Details: http://bit.ly/1iLOAh
- Louise Jury, Director of Communications and Strategy, will take part in the Arts Council debate at Labour Party Conference, Brighton, on “how we make more of culture to power our creative economy” on Sunday 27 September.
- John Kampfner, Chief Executive, will speak at Labour Party Conference in Brighton on Monday 28 September as part of the UK Music panel session on arts, culture and creativity after the election.
Event Details: http://bit.ly/1Kcx9gk
- John Kampfner, Chief Executive, will speaker at Conservative Party Conference on Wednesday 7 October as part of the UK Music panel session on arts, culture and creativity after the election.
Event Details: http://bit.ly/1OTKjCd
On 27th April the Labour Party launched its Charter for the Arts and Creative Industries at Theatre Royal in Brighton at an event hosted by the Federation. Harriet Harman, Deputy Leader of the Labour Party and Shadow Secretary of State for Culture, Media and Sport and Chris Bryant, Shadow Minister for the Arts released the Charter and answered questions from a live audience chaired by John Kampfner. You can read the Charter in full here.
As each party manifesto sets out a vision for the next five years we look at what is in and what is missing for creative industries, the arts and education.
All parties have now published their manifestos. All, apart from UKIP, contain warm words about the importance of creative industries, arts and culture, both socially and economically, though most do not explicitly make creative industries central to their industrial innovation agenda. And though the “A” for arts is missing from policies whose stated aim is to encourage STEM - science, technology, engineering and maths - rather than “STEAM” in schools, universities and industry, there are references in most manifestos to the importance of cultural education.
Arts and Culture and Creative Industries linked closely in most Manifestos
The Green Party is the only national party to promise additional public arts investment - £500m for the arts and reinstatement of “proper level of funding for local authorities, helping to keep local museums, theatres, libraries and art galleries open.” They would reduce VAT to 5% for live performances.
Plaid Cymru also promises increased funding to community arts organisations in Wales to encourage wide participation in the arts “across all walks of life “. At the other end of the scale, UKIP is the only party to commit to abolishing DCMS and replacing it with “a dedicated Minister of State for Heritage and Tourism, attached to the Cabinet Office”.
Labour promises to work with public bodies to rebalance arts funding across the country. Conservatives state that they are already achieving this. Greens also specifically talk about making arts funding decisions local rather than national.
Free access to national museums and galleries, a policy introduced under Labour while Chris Smith was Culture Secretary, is set to continue. Conservatives, Labour, Liberal Democrats and Plaid Cymru make this a specific commitment. The Greens and UKIP say nothing against the policy.
All parties who mention creative industries support more investment in training and apprenticeships for the sector. All support an independent BBC and a free, properly regulated press.
Under a heading “Enabling you to enjoy our heritage, creativity and sports”, Conservatives say they “understand these things do not just enhance our national prestige and boost our economy; they help tie our country together, strengthening the bonds between all of us.” That’s why “we have put over £8 billion of public and Lottery funding into the arts, heritage, museums and galleries during the last five years.“ They promise investment in big projects such as a state of the art concert hall for London and a Great Exhibition in the North. They highlight tax incentives for films, theatre, video games, animation and orchestras introduced over the past 5 years. “We will continue these reliefs, with a tax credit for children’s television next year, and expand them when possible.” They also promise to protect IP “by continuing to require internet service providers to block sites that carry large amounts of illegal content”. And “we will work to ensure that search engines do not link to the worst-offending sites.”
Of the larger national parties Labour comes closest in their manifesto to articulating a plan to place the arts, culture and creative industries together “at the heart of our government” with their proposal to “ create a Prime Minister’s Committee on the Arts, Culture and Creative Industries, with a membership drawn from all sectors and regions. The Committee will bring issues of concern direct to the attention of the Prime Minister.” They also “guarantee a universal entitlement to a creative education” and Ofsted will not be able to rate a school as “excellent” without this. Institutions that receive arts funding will be required to open up their doors to young people.
The Liberal Democrats are the only national party to include a specific mention of creative industries in their industrial strategy as one of the sectors “critical to Britain’s ability to trade internationally”. Their manifesto also explicitly links “arts, creative industries and culture” together under a heading “pride in creativity” as being “crucial to Britain’s success and essential for personal fulfilment and quality of life”.
“The UK’s creative sector has been one of the great success stories of the past five years, and a critical driver of our recovery. We are proud of the arts in Britain and will support them properly, working to deliver access for all, regardless of income, ethnicity, gender, age, belief, sexuality or disability.”
The Liberal Democrats also advocate an evidence-based ‘social prescribing’ of arts and sporting activity to combat mental health problems and obesity, linking the arts with health and wellbeing.
Parties representing smaller UK nations generally understand the power of having a strong cultural policy as a key part of reinforcing their national identity.
In addition to Plaid Cymru’s specific commitments to arts funding they: “will work with local authorities and arts organisations to ensure a minimum level of provision of arts activity for young people in every local authority area.” Plaid Cymru wants “not only a thriving arts and culture sector, but excellent broadcasting services and innovative creative industries”. They call specifically for responsibility for broadcasting to be devolved, to “safeguard” S4C, and they “will continue to maximise the social, cultural and economic benefits of a vibrant film and creative-industries sector in Wales as one of our designated key sectors for growth.”
The SNP also want broadcasting devolved and would seek increased investment through BBC Scotland so that “a fairer share of the licence fee is spent in Scotland, giving a £100 million boost to our creative sector.” “The Scottish Government and Parliament should have a substantial role at all stages in the review of the BBC Charter and we will work to ensure that any new governance arrangements for the BBC better reflect Scotland’s interests.” The SNP would also support the creation of a “Creative Content Fund” for the Scottish games industry to encourage the formation of new studios and also back the retention of the Video Games tax relief.
UKIP takes a different approach. They are silent about the arts or creative industries and have a section headed “British Culture” where they talk about shared “British” cultural values which bind people together, stating that “multiculturalism has led to an alarming fragmentation of British society”. They promise to review funding of public bodies “which promote divisiveness through multiculturalism”.
Labour will guarantee a universal entitlement to a creative education “so that every young person has access to cultural activity and the arts by strengthening creative education in schools and after-school clubs”and Ofsted will not be able to rate a school as “excellent” without this. Institutions that receive arts funding will be required to open up their doors to young people.
The Green Party pledges support for arts and humanities with this clarion call: "The future of the arts and the humanities has been endangered by a systematic denigration by the dominant political parties and university administrations alike, who create a perception of such courses as an expensive luxury without the vocational "use-value" that renders them worth the financial risk. The Green Party believes that the arts and humanities have an essential part to play in creating a more democratic, sane and participatory society."
Plaid Cymru “will develop, in partnership with the education department and the Arts Council of Wales, a new approach to how children and young people access the arts. This will include providing more opportunities for children to access the arts and theatre as part of their school experience; reforming the way music education is taught and resourced in our schools”.
Scotland has recently introduced a new “Curriculum for Excellence”, very different from the system in the rest of the UK - project based learning with creativity at its heart. The SNP mentions this in their manifesto, and claims that the first year’s National exam results under the new system have been very good. There are no tuition fees for Scottish students. And the Scottish government has launched a £100 million Attainment Scotland Fund to support primary school pupils in the most disadvantaged areas.
In contrast, the Conservatives appear to focus their educational priorities on a narrow list of core subjects, including some humanities - English, languages, history, geography - but stop short of including arts or other creative subjects. Their stated aim is to lead the world in maths and science. “We have increased the time schools will spend on maths, and ensured that children learn to code as soon as they start school. Maths is now the most popular A-level subject. We aim to make Britain the best place in the world to study maths, science and engineering”. To do this they will train an extra 17,500 maths and physics teachers.
And science will be prioritised too on the research side: “Through the Nurse Review of research councils, we will seek to ensure that the UK continues to support world-leading science, and invests public money in the best possible way."
Liberal Democrats pledge to “promote the take up of STEM subjects in schools, retain coding on the National Curriculum and encourage entrepreneurship at all levels” and note the need to inspire more children to study Science, Technology, Engineering and Maths. They would encourage schools to have at least one science specialist amongst their staff.
In their subsequent policy paper “The power of creativity” more is said about the importance of schools promoting “not just science or art, but the art-science cross over - the success of those in the creative industries lies in the fusion of technological and creative skills” so there is explicit recognition in Liberal Democrat policy of the importance of pupils studying a broad range of subjects, including arts.
UKIP adopts a similar approach, promising not to charge tuition fees for university students taking degrees in science and medicine. They want a grammar school in every town.
Industry and the Economy
The three largest parties pledge to support more apprenticeships and all parties have measures of different types to help small businesses.
The Conservatives prioritise cutting red tape, lowering taxes, business rates and national insurance and investing in science and technology. They mention Small Business Rate Relief and the Start Up Loans programme. The importance of science is again emphasised: “We ring-fenced the science budget by making difficult choices to reduce spending in other areas. Now we will invest new capital on a record scale – £6.9 billion in the UK’s research infrastructure up to 2021 – which will mean new equipment, new laboratories and new research institutes.” They promise to expand the catapult programme “R&D hubs in the technologies of the future – and we will create more to ensure that we have a bold and comprehensive offer in place for Britain’s researchers and innovators.”
Labour acknowledges that: “Creativity is the powerhouse of a prosperous economy. It is the source of economic innovation and a powerful force in social renewal. We will increase the number of apprenticeships in the creative industries.” Science and digital technology are given pride of place at the centre of Labour’s innovation strategy: “Scientific discovery and technological innovation will drive economic advancement this century. We will introduce a new long-term funding policy framework for science and innovation, providing the stability and continuity that our companies and research institutes need to succeed.”
Labour also stresses the importance of small businesses as the backbone of the economy and proposes to set up a Small Business Administration, to ensure procurement contracts are accessible and regulations are designed with small firms in mind. They will also set up a British Investment Bank with a mission to lend money to small and medium-sized businesses and support a network of regional banks.
Liberal Democrats want to grow a high-skill, low-carbon economy by supporting education, training, infrastructure, innovation and technology. Creative industries are included as a key sector, though the focus on science remains. They will: “Aim to double innovation and research spending across the economy, supported by greater public funding on a longer timescale, more ‘Catapult’ innovation and technology centres and support for green innovation from the Green Investment Bank. We will continue to ring-fence the science budget and ensure that, by 2020, both capital and revenue spending have increased at least in line with inflation.”
The Greens take different approach: "We don't agree with the growth objective”. They agree with the need to create an efficient economy that encourages innovation and the use of science but does not rely on “dangerous technologies” - nuclear technology and GM crops. Greens champion small business, and one relevant proposal they have is to maintain Corporation Tax at 20% for small businesses while raising it to 30% for "larger firms”. They would introduce more taxes for the rich and more green taxes to pay for higher spending.
The Green manifesto says they would ‘make copyright shorter in length, fair and flexible, and prevent patents applying to software’, and a separate policy paper indicates that they would seek to reduce copyright term to 14 years from publication, substantially shorter than in any other country of the world.
Plaid Cymru believes that Wales should have control over its own natural resources – wind, water, sun and tidal – and will press for the devolution of responsibility for these areas as well as all energy generation projects. To give smaller businesses greater access to finance they will establish, in partnership with the private sector, a Welsh Growth Fund. And STEM appears again here: ”We will increase attainment in the skills that will develop Wales’s potential for economic growth – in subjects such as science, technology, engineering and mathematics – and we will use European funding to support scholarships and apprenticeships through the new National Science Academy."
The SNP “will use its influence at Westminster to deliver key economic advantages for Scotland.”
The party pledges a £300 million Scottish Cities Fund, and similar Northern Cities and Welsh Cities funds, to make resources available “to support the growth of major urban centres in the north and west of the UK”.
The SNP would establish a new Ministerial-led Innovation Forum and use a network of Innovation Centres to ensure effective knowledge and innovation transfer from Scotland’s academic research base into the wider business community.
“The Scottish Cabinet is one of only three cabinets in the developed world to have an equal number of men and women and, with the necessary powers devolved, we will take forward proposals to ensure 50 per cent female representation on public boards.”
UKIP plan to reduce spending by £5.5 billion by replacing the Barnett Formula which sets funding for Scotland and leaving the EU. They also back small businesses and support apprenticeships.
You can watch edited highlights of the launch of the Liberal Democrats Creative Industries Strategy for the next parliament by clicking on the picture. The event was hosted by the Federation at the Roundhouse, London on April 22nd with Vince Cable, Baroness Bonham Carter and Lord Clement Jones. Alternatively you can watch the full event on our YouTube Channel.
The Liberal Democrats have published a supplementary policy paper called “The Power of Creativity 2.0” setting out their vision for creative industries “at the heart of plans for economic recovery”. Launched at The Roundhouse, in association with the Federation, this paper offers a holistic strategy for creative industries on the economy, education, health and culture and makes interesting reading. You can read the policy here.
On Wednesday 8 April the Federation, in partnership with the BBC and the Royal Opera House, hosted The Culture Debate. This event was the first of its kind in a general election campaign: a major national hustings involving the leading cultural and creative industries spokespeople of the five main national parties and live-streamed on the BBC and Royal Opera House websites as well as on our own.
Ed Vaizey for the Conservatives, Harriet Harman for Labour, Baroness Bonham Carter for the Liberal Democrats, Martin Dobson for the Greens and Peter Whittle for UKIP outlined their parties' policies on the arts and creative industries and took questions from a live audience of over 300, including a selection of industry experts. The debate was chaired by Martha Kearney.
To view the video in full please click on the image.
Or click here for an edited highlights film of the event.
The Education Secretary Nicky Morgan this week pledged to include the arts as a fundamental part of the UK’s education system.
In a conversation with the Creative Industries Federation, she insisted that the remarks she made last November, in which she appeared to disparage arts education, were taken out of context.
Asked by Sir John Sorrell, Chair of the Federation, if the standing given to Science, Technology, Engineering and Mathematics should be extended to the arts, (in the jargon, putting the ‘A’ into STEM to make STEAM), the Education Secretary replied:
"Yes, I think I probably would. That would very much capture that it’s not an “either or”; you need a combination of skills in order to succeed in the modern work place.”
She however stopped short of following other politicians - notably Ed Miliband, Leader of the Opposition - in calling for a greater role for Ofsted in prioritising the provision of culture.
“I will always look, but the difficulty is that the more tweaks we do with the Ofsted handbook, the more I get pushed back from the professionals who ask why I don’t trust them as professionals to be giving our young people this broad and balanced curriculum. If I put one thing in then I have to put something else in.”
When asked by Sorrell to clarify her views on the importance of creative education in the curriculum, Morgan remarked:
“I think creativity is one of those skills we want all our young people to have. I want all young people to be making informed subject and career choices and not to feel that any options are shut off to them. So that goes back to making sure that all the young people are aware of where the different subjects can take them.”
The discussion with Morgan was the latest in a series of policy and political interventions by the Federation. On 23 February 2015, Miliband set out his creative industries, arts and education policy. During that speech, under the Federation umbrella at Battersea Arts Centre, he said:
“Under Labour, we will build the need for creative education into Ofsted inspections. And schools will have to provide high quality creative subjects and cultural opportunities to all their pupils if they want to get an “outstanding” Ofsted rating.
The Education Secretary had been expected to give a keynote address at a Federation event following her speech at the launch of the Your Life campaign, where she appeared to dismiss the importance of creative education. This was cancelled. Instead, she met with Sir John Sorrell and John Kampfner, CEO of the Federation.