Economy: Creative Industries — House of Lords, 2015-06-18
Topic: Culture
Terence Burns (Crossbench, Unknown): My Lords, I also express my thanks to the noble Baroness, Lady Wheatcroft, for introducing this well-timed debate. It is not at all surprising that we have heard a great deal today about the extraordinary growth of the creative industries and their impact around the world, but it is by any standard a hugely impressive performance and it deserves our recognition. As we have heard, not only is it one of the most rapidly growing parts of the economy, it is also a global success story. It provides an enormous number of jobs and inspires and entertains millions of people Of course, it is a huge and varied sector that covers a wide variety of activities. My main contact with the creative industries has been in music and broadcasting. I was chairman of the Royal Academy of Music for more than 10 years and saw the extraordinary flow of talented students engaged in all types of music, almost all of whom go on to be employed in music or in the creative industries more widely. I was also chairman of the Monteverdi Trust, the funding arm of Sir John Eliot Gardiner’s world-class Monteverdi Choir and Orchestras, whose performances are wonderful. They will be on at Aldeburgh next weekend, I think, with two or three concerts. Sadly, their activity is disproportionately overseas because of financial necessity. In broadcasting, I was an adviser to the Secretary of State for Culture, Media and Sport for the BBC charter review 10 years ago. As the noble Lord, Lord Bragg, reminded us, the BBC is one of the most cultural and creative organisations in the world. I have also been chairman of Channel 4 for more than five years. I declare that interest, although I do not intend to address it in much detail I begin by saying that in none of these activities was I involved with the creative output. Unlike the noble Lord, Lord Berkeley, I neither played nor composed any music and unlike the noble Lord, Lord Bragg, I did not make or commission any television programmes. My role has been rather different. In the creative industries there is usually a need to balance at least two objectives: one is to produce great creative quality; the other is to ensure that the relevant creative organisation is financially stable. In my relationship with these organisations, I learnt at an early point that creative organisations that become overinfluenced by their financial objectives find the creative spirit being squeezed and success difficult to maintain. On the other hand, when those involved with the creative side try to escape the financial realities of life, problems emerge through a different and often more immediate route. With these organisations I have, by and large, played the role of trying to balance the objectives of creative success and financial stability in an uncertain and risky world. I would argue that one of the important aspects of the success of the creative industries in the United Kingdom is that they have managed this balancing act extremely well. Today, my focus is on what we can do to protect and sustain this success First, I think everyone who has spoken today has agreed that we must focus on how we nurture creative skills and performance among young people. I am in little doubt that that is achieved by giving the widest number of young people the opportunity to sample creative and cultural activities and to provide opportunities for those who demonstrate talent to take it on to the highest level. Talent inevitably lies in many unexpected places and we must give it the best opportunity to flourish. As many noble Lords have said, this has clear implications for schools and the opportunities that are made available outside school. The narrower the curriculum and the fewer the opportunities for young people to be exposed to these activities inside and outside school, the less chance there is of uncovering real talent. Certainly, as far as music is concerned, there are some worrying trends in that direction Secondly, one of the components of the UK’s success has been having a varied and competitive environment. It is very good that we have many outstanding music conservatoires, several great drama and dance schools and many world-class orchestras. Similarly, we have been very fortunate in having a competitive broadcasting ecology with public service broadcasting at its core, which offers enormous opportunities for making the high-quality television programmes that have been spoken about and supports the British film industry. Clearly, organisations that have demonstrated success should be encouraged, but plurality of providers gives the best opportunity for continuous innovation. We have been fortunate in this country in the way that the broadcasting industry has been organised I also stress the importance of the many talented people involved in the management, administration and technical tasks of all kinds of creative organisations, both large and small. The truly creative part of the creative industries is often merely the tip of the iceberg. None of it would get anywhere without the long chains of people who take these creative ideas to audiences and customers and present them in an attractive and enticing way. Above all they ensure that the creative organisations are managed efficiently. Creative organisations, like any other organisation, have to be efficient if they are to survive. When they need financial support they must be prepared to explain the basis on which that support is justified Clearly, there is a need to develop great performance skills, as well as the capacity to write new material and to curate new productions. That is true for both music and broadcasting. But by their nature many creative industries are risky and unpredictable. Success requires long time horizons, willingness to experiment and to innovate, and an ability to manage the risks involved. Above all, we must recognise that in the creative industries financial success is likely to be the result of creative success, rather than an ambition for financial success on its own As we have heard, because of those risks, there is a natural temptation for creative industries to look for security of finance. Often, this means turning to the Government. Of course, the Government must be an important player, as they are with many cultural and creative organisations. However—as a former Treasury official, noble Lords would expect me to say this—we should be cautious about asking them to do too much. In my experience, both music and broadcasting have been very fortunate to have multiple sources of revenue. The box office or its equivalent has to play its part and is often crucial to the long-term sustainability of an organisation. Often this is not enough, but we have been able to look to trusts, private benefactors and long-term private sector investors, as well as government support. That has been a very healthy part of the United Kingdom creative industries. It can be a great struggle, even for the most gifted of performers and even for those who excel on a worldwide stage, but I suspect that it will always be like that. The competing priorities for public money, and indeed for private money, are stark, as always Finally, we must never lose sight of the fact that our creative industries are competing in a global marketplace. This has huge advantages because, as in many other sectors, scale is very important in creative industries. The additional cost of multiple performances, DVDs or streaming of performances and programmes is very small relative to the initial investment. The opportunity to get back the R&D, including failures or rehearsal time, by playing to a worldwide audience is critical. At the same time, we must recognise that competing in a global marketplace also means that there are many overseas creative organisations standing ready to step into our domestic market and compete with domestic industries here. This is a ferociously competitive sector and we can never be complacent about our success. I am optimistic but, as we have heard, there could be many obstacles in the future In short, I support other noble Lords in arguing that we must cultivate our creative talent, and encourage the outstanding managers, administrative staff and technical experts who bring us so many great experiences and those who are willing to bring financial support and long-term support to the creative industries. It is an industry that can succeed only if we take a long-term approach.