Immigration and Social Security Co-ordination (EU Withdrawal) Bill — House of Lords, 2020-09-09
Topic: Culture
Deborah Bull (Crossbench, Unknown): My Lords, while I associate myself with all the amendments in the group, I rise to speak in support of Amendment 69 and thank the noble Lord, Lord Clement-Jones, for introducing it so comprehensively. In the UK’s creative sector we have something that really can claim to be world-leading. As we have heard, the sector makes a significant contribution to the UK’s GVA, to employment and to services exports. Also, unlike many parts of industry, this sector has for some years been growing in every region of the UK. Therefore, in addition to its considerable contribution to the UK’s cultural, social and economic well-being, the creative sector can play an important role in the Government’s levelling-up agenda Yet it is a sector at risk, because its success has been built over the last three decades or more on the four freedoms enabled by membership of the EU, with ease of mobility the freedom most highly prized by artists and cultural organisations. I worked in this sector for over 30 years as artist, producer, commissioner, manager and director, and I lived the benefits of that mobility. It enabled me to develop my artistry and skills within different environments and in front of different audiences, to build valuable creative networks, to be challenged and inspired by artists trained in different ways, and to innovate in the spaces where different voices, values and views come together. The UK’s artistic and cultural success has been underpinned by these easy interactions across borders That success has also been underpinned by ease of access to talent from our nearest neighbours. A quarter of the occupations on the tier 2 shortage occupation list are in the cultural and creative industries. In the most economically productive areas of the sector, domestic skills gaps mean that 30% of staff have been recruited from the EU, while EU workers fill gaps in less lucrative subsectors like my own—dance—and museums. The skills gap is so pronounced and so specialist that, even had we started on the day after the referendum, we would still not have been able to train up a homegrown workforce to fill the gap by the time the current supply route closes down We have heard repeatedly that this new points-based system will allow access to so-called high-skilled workers and the brightest and the best. This amendment creates an obligation on government not only to test that assertion but also to test the impact on the bright young talents of the future. According to the latest report from the Migration Advisory Committee, several creative and artistic jobs may be deemed "high-skill, low-pay occupations"—something you do not really need to tell me. Many young artists like me do not train at universities, let alone go on to the postgraduate qualifications that would earn us an additional 10 points, and our salary levels are certainly not a proxy for our skills Given this, emerging artists are unlikely to accrue the necessary points for entry. I have known several dancers from EU countries who took jobs at the bottom of the ladder at basic salaries, spoke little English and certainly had no PhD, but we had the privilege and the pleasure of watching them develop from promising talent to international superstar, becoming valuable agents of soft power for the UK and, in some cases, achieving the status of national treasure. However, if they were applying for entry next year, I am not sure that they would notch up the crucial 70 points that they would require The Government have also been clear that they do not intend to create an immigration route for the self-employed. The creative workforce is 38% freelance and we have heard, over and over again, in this Chamber about the critical role freelancers play in the cultural ecology. The Creative Industries Federation has said that: "Given the project … based nature of our sector" and its scale, bringing the route for temporary workers from the EU in line with rules currently applying to non-EEA nationals will be, "hugely damaging for the creative industries … 95% of creative businesses employ fewer than 10 people" These businesses are reliant on specialist temporary workers to provide essential services on an occasional basis, often at very short notice. As the cost for each individual temporary worker’s visa is likely to be over £200, the financial and administrative burden this presents could be overwhelming An Arts Council survey of almost 1,000 stakeholders found that the top priority for arts organisations, post Brexit, was to ensure the continuity of short-term mobility between the UK and the EU. This was even more important to them than replacing EU funding, even though this has been worth approximately £40 million each year In leaving the EU, we are leaving behind our automatic right to work across borders. That was our decision, and the curtain has fallen on that particular debate. This amendment would shine a spotlight on the impact of this decision on one of the UK’s most productive and successful sectors and help ensure we do all we can to sustain and enhance its success into the future. As someone whose career owes so much to that easy and reciprocal mobility, it was a pleasure and indeed an obligation to put my name to this amendment.