Tag: Department for Culture and Media

The press release issued by the Department for Culture, Media and Sport on 21 November 2023.

Lord Parkinson speech from the launch of the British Art Market Federation’s new economic report: ‘The British Art Market in 2023’.

Good morning. I am delighted to be with you today for the launch of the latest economic survey of the UK art market by Dr. Clare McAndrew.

Thank you to Anthony Browne for inviting me to join you and to say a few words.

Anthony regularly comes to brief the Secretary of State, our officials, and me on the state of the art market, and the challenges facing it — As well he should as the issue is an asset of huge national importance.

There’s the economic impact, of course — providing direct employment to tens of thousands of highly-skilled people, and supporting almost as many jobs again in the ancillary businesses which provide the specialist skills it draws on.

There’s the fiscal contribution of some £1.5 billion, and the great benefit to the Exchequer of being a global hub for the international trade — with billions of pounds’ worth of works of art being imported and exported across our borders each year.

There’s the soft power of being the marketplace for some of the world’s most important artworks, antiques, and antiquities – and sharing the UK’s extraordinary creativity with ever larger audiences around the world.

There’s the magnetic effect it has for our visitor economy — something on fine display last month, as we marked 20 years of Frieze London, which the Prime Minister was proud to celebrate with a reception at 10 Downing Street.

The art market sustains and inspires so many wonderful exhibitions, art fairs, and other vibrant events which create additional spending and employment and attract tourists, both around the country and around the world.

Visitors to London during Frieze Week were spoiled for choice this year — with world-class exhibitions including Sarah Lucas at Tate Britain, Marina Abramović at the Royal Academy, Claudette Johnson at the Courtauld, and Frans Hals at the National Gallery — and that’s only mentioning a handful in Zone One.

That reflects the wider, and integral role the UK art market plays in our cultural life.

Our commercial galleries and dealers play a vital role in nurturing the careers of the UK’s visual artists. That’s why London has the greatest concentration of artists of any city anywhere in the world – and why so many other towns and cities across the country are similarly fizzing with artistic talent.

And I am very grateful for the expertise of the many art market professionals who advise my Department on cultural property matters.
So today is a chance for me to say thank you for the part you all contribute to that global success story.

And it is, of course, a moment to ensure we are doing everything we can to maintain it.

Today, we have the second largest art market in the world – behind only the United States, and larger than the rest of Europe put together.

But the global market is increasingly competitive – and that position is not ours by rights.

Dr. McAndrew’s report has charted the extraordinary resilience of the UK art market as it bounces back from the bleak months of the pandemic.

It has been able to draw on its great wealth of expertise and dynamism to overcome the challenges of COVID-19 – and those will be invaluable resources to draw on as it faces the challenges of the future.

But Government must play its part too. That is why I am glad to join you today – and glad to have ongoing relationship we do with the British Art Market Federation reassure you that we recognise what a great asset we have in the UK art market, and that we stand behind the sector as it works to retain its international competitive edge – and to remain a great British success story long into the future.

I know, from my conversations with Anthony and others, that leaving the European Union has brought new processes, not all of them favourable.

But having sovereign control of our borders has also brought the opportunity to innovate; to review and refine our customs rules.

We have already revoked the EU Regulation which will require import licences and importer statements for many cultural goods when it comes into effect in 2025, so that it will not apply to imports into Great Britain.

Our ambition is to have the world’s most effective border – and I am grateful to all those who have already made time to engage with our officials on the development of the new Single Trade Window.

That will provide a gateway between businesses and our border processes and systems – including, in time,  export licences which I am glad to say are in the process of being digitised by our colleagues at the Arts Council.

This will allow people to meet their import, export and transit obligations by submitting information once, and in one place.

We are also reviewing Temporary Admission to reduce administrative burdens and simplify the rules – further evidence, I hope you will agree, that the Government is listening to the UK art market.

We know that you make frequent use of the Temporary Admission procedure, and are grateful for the constructive approach taken by the British Art Market Federation and art market practitioners in their responses to the recent public consultation.

We are considering what you have told us carefully and plan further engagement, including with the art market, in the New Year. So please do keep talking to us about it.

So I hope you will see that the Government is watching not just with pride at what we have at present, but a determination to preserve it – and with appreciation for all the evidence you bring to us which helps us in our conversations across government.

Chief among that, of course, is Dr. McAndrew’s annual report – an invaluable source of information, So I’m delighted to be here today and looking forward to hearing the evidence within it.

Thanks for having me.

The press release issued by the Department for Culture, Media and Sport on 21 November 2023.

Culture Secretary promises to remove “Sword of Damocles” anti-free press laws as she opens Second Reading of the Media Bill.

New measures added to ensure a wide range of TV genres continue to be shown by the UK’s main broadcasters, and to protect free access to crown jewel sports events
Bill will help Britain’s public service broadcasters (PSBs) make more hit shows and ensure they are prominently shown on smart TVs and via streaming sticks
A new Ofcom-regulated Video-on-demand Code for major streamers such as Netflix, Amazon Prime Video and Disney+ will better protect children and most vulnerable
TV and radio audiences could see more high quality British programmes hitting screens and speakers as new laws to maximise the potential of UK broadcasters are debated in Parliament today (Tues 21 Nov).

The Media Bill, which has its Second Reading in the House of Commons today, will update decades-old legislation to unleash the power of British broadcasters to attract bigger audiences in the UK and abroad, empowering them to invest in new talent and technology while supporting the government’s ambition to grow the creative industries by £50 billion and one million jobs by 2030.

Among the Bill’s measures, the PSBs are set to gain more control over their TV schedules and on-demand offerings through more flexible rules on the types of programmes they are required to show, allowing each PSB to focus more on the content it is uniquely positioned to deliver.

Following feedback on the draft Bill, the laws will now require PSBs to ensure an “appropriate range of programme genres” are available on their services, protecting against a potential reduction in specialist genres of shows – such as religious, science and arts programming. A specific requirement for PSBs to continue to broadcast news and children’s programming is included.

The Bill will ensure British audiences continue to access free live coverage of our biggest sporting moments, like the Fifa World Cup and the Olympic and Paralympic Games. A loophole which could have seen unregulated streaming services bypass the regime that protects free access to these major sport events will be closed, after Ministers updated the Bill.

The new definition of “relevant services” ensures that TV-like services not currently captured by the listed events regime but providing live content to UK audiences via the internet, will now be captured. This will ensure the rights for listed events continue to be offered on fair and reasonable terms to PSBs as sport audience viewing habits evolve.

Opening the debate, Culture Secretary Lucy Frazer is expected to say:

We are in a golden age for the silver screen and our public service broadcasters are a major reason why. Whether it’s reality shows like the Great British Bake Off and I’m A Celebrity, or dramas like Time, Happy Valley or Broadchurch – our public service broadcasters have proven they can go toe-to-toe with the streaming giants.

But success today is never a guarantee of success tomorrow. The rise of streaming giants and on-demand content, YouTube and smartphones, tablets and Tik Tok have combined to reshape our whole broadcasting landscape.

It is our job to enact reforms that keep our broadcasters at the top of their game in the years ahead. This Bill will do that by levelling the playing field, removing threats to their sustainability and opening up new opportunities to maximise growth and unlock potential.

This Bill has media freedom at its core. Section 40, and the possibility of publishers having to pay the legal costs of the people who sue them, even if they win, has hung over our media like a Sword of Damocles. This Bill removes the sword for good.

S4C Chief Operating Officer Elin Morris said:

The Media Bill will confirm S4C’s position as a multi-platform Welsh-language content provider across the UK and beyond.

The new framework will ensure that indigenous languages, including Welsh, are part of the new public service remit for television in the UK.

The Bill will extend legislation for online TV viewing and ensure that S4C Clic is available on connected TVs and prominent on TV sets in Wales.

This will allow us to further develop our services and place Welsh-language content on the main platforms across the UK.

Other measures in the Media Bill
The legislation will support our world-class public service broadcasters – the BBC, ITV, Channel 4, Channel 5, STV and S4C – through new requirements for their apps and content to be shown prominently on popular smart TVs and streaming sticks.

Audiences will benefit from stronger protections from harmful or age-inappropriate shows through a new Ofcom regulated Video-on-demand Code on the biggest streaming platforms and new requirements for subtitling, audio description and signing to cover mainstream on-demand services.

UK radio will receive new protections to ensure services are easily accessible on smart speakers – from major national stations to the smallest community stations – and obsolete red tape putting an unnecessary burden on commercial radio services will be removed.

Laws which threatened to force newspapers to pay both sides’ costs in any legal proceedings, even if they won, will be repealed via the Bill. The Bill will boost S4C, the Welsh language broadcaster, by allowing it to broaden its reach in the UK and beyond and offer its content on a range of new digital services.

As announced earlier this month, Channel 4 will get new freedoms to make and own its content to boost its long-term sustainability, while new safeguards for production companies would protect millions of pounds of investment in programmes made by independent TV producers across the UK.

The press release issued by the Department of Culture, Media and Sport on 20 November 2023.

Culture Secretary brings creative industries together to discuss impact of AI.

The press release issued by the Department for Culture, Media and Sport on 15 November 2023.

A temporary export bar has been placed on William Hogarth’s painting Taste in High Life.

The press release issued by the Department for Culture, Media and Sport on 14 November 2023.

• Culture Secretary hosts WeCreate conference in Manchester to meet with businesses in the creative industries and forge ahead with plans to grow creative industries by £50 billion by 2030
• Six areas across England awarded share of £10.9 million to scale up hundreds of creative industry businesses, boosting access to private finance and business support
• Grassroots music venues, promoters and festivals across England encouraged to apply for share of £5 million investment to help develop new audiences and income opportunities

Hundreds of creative businesses will benefit from more than £10 million of targeted support to attract investment and create jobs as part of the Government’s goal to grow the creative industries by £50 billion by 2030.

It comes as Culture Secretary Lucy Frazer brings together more than 140 cultural and creative businesses across film, TV, fashion, music and video games at the WeCreate conference at Aviva Studios in Manchester, to celebrate the success of the creative industries across the North of England and discuss how government and the sectors can work together to maximise their potential even further.

Firms across Greater Manchester – such as Broaden Films and Scoop PR – have already benefited from the first round of the government’s Create Growth Programme. Today the Culture Secretary is doubling the areas covered by the programme, announcing six new areas that will receive a share of £10.9 million for targeted business support, bringing the total number of creative organisations expected to be supported by the programme to 1,800.

The expansion of the Create Growth Programme will see creative businesses across Nottinghamshire, Hull and East Yorkshire, West Midlands, West Yorkshire, Devon and Hertfordshire supported to access private investment and scale-up advice – to turn today’s start-up founders into tomorrow’s CEOs.

The Culture Secretary is also calling on grassroots music venues, recording studios, promoters and festivals to apply for grants of up to £40,000 to develop new revenue streams, make repairs and improvements, and enhance the live music experience for millions of gig-goers across the UK.

Addressing creative industry leaders in Manchester, Culture Secretary Lucy Frazer is expected to say:

Today is about not only celebrating all the things that make our creative industries special, but looking ahead to the future and how we, together, can chart a course that keeps these crown jewels of our economy shining for years to come.

We’re already making progress towards the ambitious goals set out in our sector vision, unveiling millions in new funding to drive growth in our grassroots and scale ups and banging the drum for creative careers.

From 2010 to 2019, the creative industries grew more than one and a half times faster than the wider economy and in 2021 they generated £108 billion in economic value. In 2021, they employed 2.3 million people – a 49% increase since 2011. The Government has identified the creative industries as one of five priority sectors to deliver future growth and the Creative Industries Sector Vision set out an ambition to grow these sectors by £50 billion by 2030.

As part of the work to reach this ambition, the WeCreate conference will include a panel discussion on how business and government can work together to maximise investment in the creative industries, as well as a discussion about the adoption of emerging tech in order to drive growth and the challenges and opportunities which AI brings to this.

The conference will be attended by key organisations in the creative industries from across the North of England, including Wakefield Production Park, the Royal Armouries Museum and the Manchester Film Festival, as well as national organisations such as Pinewood Studios, Channel 4 and the British Fashion Council.

The Culture Secretary is launching a new round of the Supporting Grassroots Music Fund, which has been expanded to ensure grants reach more parts of the grassroots industry, including rehearsal and recording studios, promoters, festivals and venues hosting electronic music. The broader eligibility criteria reflects the wide range of spaces and skills that are needed to help musicians perform and thrive.

Darren Henley, Chief Executive of Arts Council England, said:

This investment by the UK Government and Arts Council England reaffirms our commitment to supporting this hugely important part of the music industry. People value the opportunity to develop and express their creativity, and the grassroots music sector excels at allowing communities to design and develop creative and cultural activity where they live.

We hope this new funding will continue to address the needs of the sector and empower it to carry on offering high-quality live music experiences for audiences across the country.

A pipeline of skills is key to industry growth, and the WeCreate conference comes at the beginning of this year’s Discover! Creative Careers Week, with digital resources and over 70 in-person and virtual events in more than 270 schools and colleges across the country to introduce the next generation of creatives to different sectors, job roles and career pathways. This builds on support from the Local Skills Improvement Fund – announced last week – to improve creative skills training, deliver new creative courses and invest in new facilities and equipment across West Yorkshire, Berkshire, Hampshire, Hertfordshire and London.

It will see Calderdale College in Halifax, West Yorkshire, receive £1.2 million to establish a state-of-the-art creative skills hub in Halifax, which will develop and deliver new digital courses covering the latest digital technologies being used across theatre, film, TV, music and video games. Meanwhile, North Hertfordshire College will receive £485,000 to develop courses that meet the skills needs of the film and production industries, and deliver industry-standard equipment for film and media projects.

Notes to editors

Create Growth Programme

The Create Growth Programme, delivered by Innovate UK, was extended with new funding as part of the government’s vision for the creative industries announced earlier this summer, taking the fund’s total to £28.4 million. The funding will enable businesses to better monetise their ideas, access resources and attract private investment to scale up and maximise their potential. Businesses will be able to get access to relevant workshops and masterclasses as well as one-to-one mentoring with industry experts. The programme also provides support for hiring and scaling up and investment training programmes.

The six areas awarded funding today as part of the £10.9 million expansion of the Create Growth Programme are:

• Nottinghamshire
• Hull and East Yorkshire
• West Midlands
• West Yorkshire
• Devon
• Hertfordshire

The amount of funding each area will receive is not set and depends on the individual area’s business needs and the number of businesses that apply for grants and support. More details will become available as the programme progresses.

Since launching in 2022, the programme has funded support for businesses across six regions to help local companies like Broaden Films, a Manchester-based video production company, which has been able to host its own entertainment festival, start building a new sustainable studio and work with more clients as a result of the support.

The six areas already participating in the Create Growth Programme are:

• Greater Manchester
• Leicestershire
• West of England, and Cornwall and Isles of Scilly
• East Anglia
• North East
• Kent and the South East

Supporting Grassroots Music Fund

England’s grassroots music industry can now apply for grants from the £5 million Supporting Grassroots Music Fund, managed by Arts Council England (ACE). Grants of up to £40,000, available until March 2025 and delivered through National Lottery Project Grants, will help recipients do things like improve lighting and sound equipment, pay for repairs, and produce more live streamed content to diversify their income and build new audiences.

Since ACE launched the original Supporting Grassroots Live Music Fund in 2019, more than £9 million has been invested in over 450 projects. For example, music venue Komedia in Bath received £44,000 to help improve their sound and lighting equipment, while The Smokehouse in Ipswich received £15,000 to help them book a more diverse range of artists, and offer local artists opportunities to play alongside established names.

More information about the Supporting Grassroots Music Fund can be found on the Arts Council website.

Creative skills

The seven creative projects receiving a share of £165 million from the Local Skills Improvement Fund are being led by:

• Sparsholt College, Hampshire
• Hertford Regional College, Hertfordshire
• North Hertfordshire College, Hertfordshire
• Havant and South Downs College, Hampshire
• Activate Learning, Berkshire
• West Thames College, London
• Calderdale College, West Yorkshire

The press release issued by the Department for Culture, Media and Sport on 14 November 2023.

• 262 charities, youth groups and museums across the UK recognised for their outstanding work
• Previously known as The Queen’s Award for Voluntary Service, this year marks the first award in the name of His Majesty King Charles III
• Isle of Wight Literary Festival, Bangladeshi Youth Organisation and Swannington Heritage Trust among those awarded

262 organisations across the UK have been awarded the first ever King’s Award for Voluntary Service, the highest award given to local volunteer groups in recognition of their outstanding community service.

Formerly known as The Queen’s Award for Voluntary Service, the award was established in 2002 to celebrate Queen Elizabeth II’s Golden Jubilee. It is equivalent to an MBE and is the highest honour awarded to voluntary groups.

Awarded annually to some of the UK’s most inspiring volunteer-led groups for their charitable endeavours, this year 227 organisations from England, 20 from Scotland, six from Wales and nine from Northern Ireland have received the first ever King’s Award.

Culture Secretary Lucy Frazer said:

Each year, millions of volunteers give up their time to provide care and support, and this award recognises those truly making a difference to the lives of others across the United Kingdom.

It’s brilliant to see the King continue the legacy of Her Late Majesty and reward those who support their local communities with kindness and compassion. Congratulations to all those who have been awarded.

Sir Martyn Lewis CBE, the KAVS Chair said:

I have no doubt that these awards will delight His Majesty The King, with his well-known commitment to volunteering, on his birthday. This year’s 262 King’s Awards for Voluntary Service honour truly impressive recipients across the length and breadth of the UK.

The awardees work selflessly as groups of volunteers to address every conceivable kind of local issue across all our communities. We owe them huge congratulations, but also much more than that for the inestimable value they bring to our society.

From charities offering financial and practical support to cardiac patients; local community arts and culture centres; search and rescue services and volunteer-run community radio stations, the work of the awardees is wide ranging. Organisations support young people, those suffering from loneliness and isolation, and ethnic minority groups amongst others.

Recipients include:

• BEEP Doctors (BASICs) Cumbria – a local charity delivering free highly-skilled emergency medical care to seriously injured patients across rural and urban Cumbria. In 2022, the organisation attended to 262 call outs and dedicated 1656 hours of volunteering.
• Pegasus Men Wellbeing Centre in Redruth – a support centre offering free one-to-one counselling and wellbeing support to those in Cornwall experiencing a range of issues, including depression, relationship and family issues and managing stress.
• Brill Village Community Herd – a volunteer group caring for a community-owned herd of cows grazing the common in the village of Brill, conserving the habitat and restoring biodiversity. Volunteers check on the herd and work together to relocate it to new grazing areas, bringing the local community together.
• Northumberland Log Bank – a log bank delivering logs to those in need due to financial constraints, poor health, advanced age or rural isolation in rural Northumberland, aiming to support around 300 households this winter.
• Isle of Wight Literary Festival – a registered charity promoting literature to enhance the education and wellbeing of the Island community. They currently have 50 volunteers who provide support to festival goers and speakers alike, maintaining the rooms and ensuring the annual event runs smoothly. The organisation also runs a Schools’ Programme to enrich the education of under 18s by increasing available cultural experiences.
• Wolverhampton ALZ Cafe – a bi monthly gathering offering integrated support to people living with dementia, their families and the community in the West Midlands. They offer a range of free activities including social evenings where beneficiaries can enjoy music, dancing, food and drink as well as day trips.

Throughout her 70-year reign, Her Late Majesty Queen Elizabeth II took a keen interest in recognising outstanding work and acts of service by individuals and groups, a legacy being continued by His Majesty The King. From this year onwards, awardees will be announced annually on 14 November to mark The King’s birthday.

The next round of awards will be assessed from December 2023 until May 2024, with the awardees being announced in November 2024.

The press release issued by the Department for Culture, Media and Sport on 14 November 2023.

The Secretary of State has appointed Annabel Turpin and Sally Shaw MBE as North and South East Area Chairs to Arts Council England for terms of four years.

The press release issued by the Department for Culture, Media and Sport on 8 November 2023.

Export bar placed on the manuscript, formerly owned by French and English royalty to allow time for a UK institution to acquire it for the nation.

• The work, which was formerly owned by both King Jean II ‘le Bon’ of France and Humphrey, Duke of Gloucester, deemed to be hugely important for the study of Anglo-French cultural exchange
• The manuscript has been valued at £800,000

A New Testament manuscript owned by members of the English Royal Family in the 14th and 15th centuries is at risk of leaving the country unless a UK buyer can be found.

The manuscript, valued at £800,000, was previously unknown to scholars as it has been in private ownership for at least 300 years. It contains the signature of the former king, who ruled France from 1350 to 1364, during the Hundred Years’ War with England.

It is possible that the manuscript, which contains an early translation of the New Testament into French, was captured at the Battle of Poitiers. It has been in England ever since.

Ownership inscriptions made in the book reveal that it has also been owned by members of the English Royal Family, the most prominent of whom was the renowned mediaeval collector and son of King Henry IV, Humphrey, Duke of Gloucester (1390–1447). It was also owned by his elder brother Thomas, Duke of Clarence (1387–1421), and by Edmund Beaufort, 2nd Duke of Somerset (1406–1455).

The manuscript, which is decorated with illuminations, may have been used by the Lancastrians to boost their claims to the French throne.

There are also several erased ownership inscriptions in the volume, as yet undeciphered. Further analysis could allow academics to discover more about the manuscript’s provenance.

Arts and Heritage Minister Lord Parkinson of Whitley Bay said:

This extraordinarily well-preserved New Testament, with its delightful, intricate decorations, is an exciting opportunity for scholarship as well as a great reminder of the long impact that French culture has had on Britain.

I hope that a buyer comes forward to make sure it can continue to be researched and its revelations shared with generations to come.

Committee Member Caroline Shenton said:

This late-thirteenth-century New Testament is of extraordinary importance to our understanding of English mediaeval royal culture, politics, and diplomacy during the Hundred Years’ War. Although as the work of the Cholet Master its decoration makes it a very attractive object in its own right, it is its textual interest and staggering provenance which make it a national treasure. The manuscript is previously unknown to scholarship, having been in private hands for over 300 years. Excitingly, the particular French translation of the New Testament it contains appears to be unique and ripe for significant philological research. Furthermore, it was owned by Jean II ‘le Bon’, King of France (1350-1364), whose signature – an exceedingly rare survival – is on its final page. It is highly likely that it was seized as war booty when he and his possessions were taken hostage at the Battle of Poitiers by the Black Prince in 1356, and it has been in England ever since.

Even more remarkably, the very recent discovery under ultra-violet light of several erased ownership inscriptions indicates that it subsequently passed through the hands of a number of English royal owners, grandsons of John of Gaunt (1340-1399), including Humphrey, Duke of Gloucester. No doubt this was part of a concerted ‘soft diplomacy’ effort by the Lancastrians to bolster the English claim to the French throne. Duke Humphrey is widely  regarded as the most important English mediaeval book collector, but only 47 of his original library of some 500 volumes are known to survive. Now a 48th has suddenly come to light. I very much hope that an institution will come forward to save this jaw-dropping manuscript which still has so much to tell us about its story and the stories of those who owned it.

The Minister’s decision follows the advice of the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest.

The Committee made its recommendation on the basis that the manuscript met the first and third Waverley criteria for its outstanding connection with our history and national life and its outstanding significance for the study of Anglo-French cultural exchange, learning and patronage during the period of the Hundred Years’ War, with special relevance to the book collections of Jean le Bon and of Humphrey, Duke of Gloucester.

The decision on the export licence application for the manuscript will be deferred for a period ending on 7 February 2024 inclusive. At the end of the first deferral period, owners will have a consideration period of 15 business days to consider any offer(s) to purchase the manuscript at the recommended price of £800,000. The second deferral period will commence following the signing of an Option Agreement and will last for four months.

Offers from public bodies for less than the recommended price through the private treaty sale arrangements, where appropriate, may also be considered by the Minister. Such purchases frequently offer substantial financial benefit to a public institution wishing to acquire the item.

The press release issued by the Department for Culture, Media and Sport on 8 November 2023.

The UK TV production industry will benefit from new safeguards as the government proceeds with reforms to support Channel 4’s long-term sustainability.

• New freedoms for Channel 4 to make and own content included in the Media Bill, introduced today
• New safeguards for UK’s world-leading TV programme makers, including requirement on Channel 4 to commission more shows from independent producers
• Part of government plans to grow the creative industries by £50bn and expand Britain’s pipeline of TV talent

The UK’s world-renowned TV production industry will benefit from a package of new safeguards as the government proceeds with reforms – including via the Media Bill introduced in Parliament today – to support Channel 4’s long-term sustainability.

Earlier this year the government committed to giving Channel 4 the ability via the Media Bill to make and own some of its content. In the event Channel 4 takes advantage of these new freedoms, new safeguards for production companies set out today would protect millions of pounds of investment in programmes made by independent TV producers across the UK, as the proportion of programmes the broadcaster is required to commission from these companies will increase from 25 per cent to 35 per cent.

Ofcom will also be given new duties to review how Channel 4 uses new freedoms to make and own its content, should it choose to do so, as part of plans to ensure the wider sector is not unduly impacted.

Independent production companies are a key part of our thriving creative industries and the government are keen to maximise their potential through these changes. The government’s Creative Industries Sector Vision details our plan to grow the creative industries by £50 billion and create one million extra jobs by 2030, whilst supporting a talent pipeline that will continue to support one of the best TV industries in the world.

Minister for Media, Tourism and Creative Industries Sir John Whittingdale said:

Channel 4 has earned a reputation for distinctive TV which reflects and shapes our culture. As viewing habits continue to shift dramatically, we want the corporation not only to survive these changes but to thrive long into the future.

The corporation’s duty to support independent producers has helped build one of the most successful TV industries in the world. That’s why it’s so important that any reforms work for the wider industry, and minimise any market shocks.

This package, the product of months of close collaboration with the sector, strikes a fair balance between empowering Channel 4 for a more sustainable future while preserving the fantastic work of TV companies all over the UK.

Alex Mahon, Chief Executive of Channel 4, said:

We have been working with the Department for Culture, Media and Sport to ensure any in-house production at Channel 4 would harness the benefits of Channel 4’s vital public-service role and mitigate the risks to the UK’s world-beating independent film and TV production sector.

In the complex and highly competitive future we foresee, in-house production may well offer good long-term support for Channel 4’s financial sustainability, but it would never alter Channel 4’s fundamental belief in the importance of independent producers in the UK. Throughout our history, they have had the opportunity to build their companies by launching shows with us and owning their own IP. That partnership has been, and I am sure will remain, the lifeblood of our creative sector. Indeed, in a world where fewer rights are owned by indies, it must remain so.

That is why we are exploring this right offered by the government, but we will also raise our formal qualifying indie commitment to the sector by 40% should we take up this opportunity – the largest commitment of any UK broadcaster. So, if we do choose to build an in-house production unit, it will be only after careful consideration of the effects of our approach. Most of all, we are only too aware how hard times are across the sector with the impact of the advertising downturn and will always have that at the forefront of our minds in our commissioning strategy.

In addition, Channel 4 remains entirely committed to representing the whole of UK and to growing our impact across the country, including reaching our commissioning and spending targets in the Nations and Regions, achieving 600 roles outside of London by the end of 2025 and doubling our 4Skills budget to £10 million in 2025.

Sir Ian Cheshire, Chair of Channel 4 said:

The Channel 4 Board welcomes the Minister of State’s remarks outlining the ability for Channel 4 to produce and own the IP of some of its content, following engagement with TV producers of all sizes from across the UK.

Channel 4 has been working with the Department for Culture, Media and Sport to ensure that any form of in-house production would enhance the value of its public-service role and mitigate negative impacts on the independent production sector.

I especially wish to stress any move Channel 4 may make into in-house TV production will be gradual, build on the existing diversity in the market and with the intention to avoid any market shock. By way of illustration, we would expect five years after launch, the total of external commissions will still substantially exceed in-house production spending.

This would be further strengthened by an increase of Channel 4’s existing qualifying independent production quota from 25% to 35%, to bolster its enduring commitment to the sector, particularly with small- and medium-sized independent producers.

Channel 4 remains entirely committed to its presence, programme-making and impact across the Nations and Regions. This includes its commitment to regional producers, voluntary investing 50% of its commissioning budget outside of London and growing its 4Skills training which promotes social mobility and economic growth across the UK.

Our Board of Directors will supervise all these developments as part of their new duty to ensure the corporation’s financial sustainability.

The introduction and passage of the Media Bill remains a priority for all Public Service Media organisations. We will wait to see how those elements that affect Channel 4 and the independent production sector are expressed in law before we can be certain of the best way of proceeding on in-house production. In the meantime, we will continue to prepare for the exciting future ahead.”

Under current legislation Channel 4 – a publicly-owned, commercially funded public service broadcaster (PSB) – is more limited than other PSBs in its ability to make and own its own content. It currently operates as a ‘publisher-broadcaster’, meaning all its shows are commissioned or acquired from third parties – such as independent producers or other broadcasters – who typically retain the rights to those programmes. This has been central to Channel 4’s role over the last 40 years in developing the UK’s independent production sector, which is now worth nearly £4 billion.

Like all UK broadcasters, Channel 4 is currently facing unprecedented competition for viewers, programmes and talent in an era of global streaming platforms. Following the decision made in January 2023 not to pursue a sale of Channel 4, the government confirmed an ambitious package of measures to drive growth at the broadcaster and support its long-term sustainability.

This includes reforms via the Media Bill – which had its first reading in the Commons today – which will allow Channel 4 to make and own some of its content should it choose to do so, expanding opportunities for it to generate revenue to reinvest in programmes and talent.

Following engagement with TV producers of all sizes from across the country, today the government has announced new measures to safeguard Channel 4’s important role driving investment into the TV production sector should they choose to start a production business.

The measures include:

• increasing Channel 4’s independent production quota from 25 per cent of qualifying programmes to 35 per cent;
• providing a new statutory role for Ofcom to oversee the measures Channel 4 puts in place to ensure open and fair access to its commissions;
• requiring Ofcom to review the impact of Channel 4 developing its own production capability, should they choose to do so, as part of one of their upcoming public service broadcasting reviews.

In addition, Channel 4 has committed to set up any new in-house studio as a separate company – with its own Board and financial reporting – as part of plans to ensure it cannot favour commissions from its own studio over external production companies.

The corporation will report regularly on how it is ensuring fair and open access to commissions in its annual report, set up a new complaints process to settle disputes between producers and Channel 4, and minimise the risk of market shocks by taking a gradual approach to setting up any new production company.

The broadcaster has also said it will maintain its existing commitment to spend 50 per cent of its budget for main channel commissions on programmes made outside of London. Ofcom will consider whether any changes to Channel 4’s regional programme making quotas are required as part of its upcoming consultation on the terms of the next Channel 4 licence.

Other elements of the sustainability package include a new, statutory duty on the Channel 4 Board to consider the corporation’s long-term sustainability alongside fulfilment of the Channel 4 remit, and a revised Memorandum of Understanding (MoU) with updated financial reporting information and processes to allow Channel 4 to access debt finance within their statutory borrowing limit. The revised MoU has also been published today.

The press release issued by the Department for Culture, Media and Sport on 4 November 2023.

Swimming pools and leisure centres across England have today received a share of £20 million central Government funding to keep them afloat in response to increased operating costs.

• Over 100 local authorities awarded a share of £20 million to keep their swimming pools and leisure centres open
• £60 million in total to be distributed over the next few months, to assist with increased operating costs and to improve sustainability
• Supports Government ambition to get 3.5 million more people active by 2030

Swimming pools and leisure centres across England have today received a share of £20 million central Government funding to keep them afloat in response to increased operating costs.

Swimming is a valuable life skill for people of all ages, important for safety and both physical and mental health. Swim England’s latest Value of Swimming report showed how swimming helps generate social benefits, such as improved communities, skills and education worth £2.4 billion a year.

The Swimming Pool Support Fund was announced at the March Budget to support facilities with swimming pools. This first £20 million of funding is going to the swimming pools and leisure centres most at risk of closure or significant service reduction, and will be used to help with the recent rise in energy costs, such as paying towards immediate maintenance costs, heating and pool chemicals.

Today’s announcement means that 196 leisure centres and swimming pools in 103 local authorities will benefit from this funding supporting over 23 million swims a year collectively, meaning millions of people across the country will have the chance to stay fit and healthy a, contributing to the Government’s aim to cut obesity rates and get millions more people active.

Operating costs including but not limited to heating, alongside general inflationary pressure has increased considerably over recent months, with local authorities facing greater challenges to make ends meet as a result.

Sports Minister Stuart Andrew said:

Leisure centres and pools are  vital for millions of people to stay fit and healthy, and we know that many public swimming pools are experiencing greater pressure due to increased operating costs.

We have heard their concerns and have stepped in to help them make ends meet with £20 million immediate relief, and a further £40 million to help improve sustainability of public swimming pools over the long term.

This is part of our support for grassroots sports facilities with more than £400 million in order to achieve our ambitious target of getting 3.5 million more people active by 2030.

Five-time Olympic Swimmer Mark Foster said:

Swimming pools are at the heart of communities, and there are so many reasons why this funding to keep almost 200 open in England is so important.

From babies and children learning to swim, to older adults using their local pool to get active and socialise, swimming has a huge range of benefits and I am a passionate advocate for investment in the grassroots.

Executive Director for Place, Sport England, Lisa Dodd-Mayne said:

We know just how vital swimming pools and leisure centres are to our nation’s activity levels, which is why Sport England is proud to have played a central role in the delivery of this fund.

Many pools have faced a real and significant threat to their survival this year, as operators battle the challenge of increased energy and maintenance costs, weakened reserves and difficulties with retaining staff.

Today’s announcement is an important moment in time, but is by no means the end of the work facing us or the support available as we continue to work with our partners to ensure the long-term viability of these vital community resources.

Over the coming months the recipients of a further £40 million will be announced. This part of the fund will be made available for investment in making the pools and leisure centres more energy efficient, including funding new heating systems and energy saving interventions. This is intended to help the long term energy and financial resilience of the sector.

The Government recently published its new sport strategy to get 2.5 million more adults and one million more young people meeting the Chief Medical Officer’s guidance of 150 minutes per week for adults, and 60 minutes per day for young people by 2030.

To help reach this target, this support for swimming pools is part of record investment of almost £400 million in grassroots facilities, including in multi-sport facilities and park tennis courts.

This also follows the £100 million National Leisure Centre Recovery Fund which has secured the survival and reopening of more than 1,100 swimming pools since 2019, with over 100 new facilities also being opened.

The John Warner Sports Centre in Broxbourne, which offers swimming lessons and sessions for people of all ages, has received almost £190,000 of funding to keep it open for the community,

Leader of Broxbourne Borough Council, Councillor Lewis Cocking said:  > > There is currently particularly high demand for the Council run swim schools which serve a wide range, and diverse group of people including babies, families, students through to older residents and users with disabilities. > > In recent years, the rising cost of utilities have presented many challenges, specifically for the day-to-day running of our swimming pools. At the John Warner Sports Centre alone, since 2019/20 costs have increased by 375% for gas and 221% for electricity, putting at risk the financial viability of this service. > > I am therefore thrilled that the Council has been awarded this funding which will help ease the current pressures associated with rising energy costs for what is a highly valued centre that plays a vital role in supporting the physical and mental wellbeing of many of our residents.

These 196 facilities were chosen based on their risk of closure, the proximity to other swimming pools providing public swimming, and the level of demand for the facility.

The St Ives Leisure Centre in Cornwall for example, has received over £100,000 to support operating costs to allow it to continue to offer family and fitness swimming sessions. The Barnsley Metrodome Leisure Complex in South Yorkshire received £400,000, which will go towards keeping the venue and its Accessible Swim sessions running.

Others across the country include The Wave in Coventry, which received over £108,000 to keep its indoor waterpark running, and the Neptune Centre in Middlesbrough, which received £110,700 to go towards keeping its many classes open.