Tag Archives: Creative and cultural industries

Culture wars in the cultural committee?

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“This committee shapes Europe´s future”, the challenging words by Sabine Verheyen, the outgoing chair of the culture and education committee of the European Parliament (EP) .

The committee rarely hits the headlines, or even the inner pages. One of the smallest committees (only 30 MEPs) it covers culture and education, youth, audio-visual, media, multilingualism and sport. This disparate portfolio has one important glue: the EU has no “competence” in these areas. They remain steadfastly under national member state authority. The committee can advise, comment and publish its views. Its Activity review for 2019 to 2024 is here. Its main practical focus is on the EU´s own programmes of which Erasmus+ and the European capitals of culture (ECOC) are the most well known. In the EU jargon the committee is aptly known as CULT.

There is a new committee following the June 2024 election of a new parliament. For the first time the centre–left to centre-right groups have to contend with three far-right groups who hold 187 of the 720 seats. Far less than the doom-mongers were forecasting but still a sizeable bunch. Committee membership, for the next 30 months, reflects the political groups.

So what is the make up of the new CULT? 19 women and 11 men. Italy (5) Greece and France (4 each), Germany and Hungary with 3 each. The 2004/7 accession states contribute 10. In addition there are 30 substitutes who can attend and speak but only vote if a group member is absent. 12 women and 18 men. Germany and France have 4, Spain and Italy 3. There are no members or substitutes from Ireland, Estonia, Lithuania, Malta, Luxembourg, Slovakia, Sweden, Denmark or Czechia.

The European People´s Party (EPP) leads with 8 seats followed by 6 from the Progressive Alliance of Socialists and Democrats (S&D). The centrist Renew has 3 and the Greens 2. That makes 19 from groups which supported the re-election of Ursula von der Leyen as Commission president (although not all group members voted for her). Two from the Left leaves 9 from the far-right groups: 4 seats for Orban´s so-called “Patriots for Europe”. Meloni´s European Conservatives and Reformists have 3 and the AfD led “Europe of Sovereign Nations” has one seat. There is a single seat for the “Non-Attached group, for the time being assume he is on the far right. So a third of the committee are from far right parties.

The first action of the committee was to elect its chair. The Patriots sought the chair and put forward Malika Sorel from Marine le Pen´s party. The Greens put forward Nela Riehl who won 18-11 (one abstention). A secret vote so we have to wait for post meeting comments to see how people voted. The four vice-chairs were elected by “acclamation”: EPP, S&D, Renew and the Greens each picking up a post. The cordon sanitaire to keep the far right out of posts held up.

The election of the chair was itself a breakthrough . Nela Riehl: ” I was born and raised in Hamburg as a working-class child with roots in Germany and Ghana. As a child, I waited at barriers to cross borders within Europe, so I am deeply aware that only a united Europe is our future.” How will she get on with her opponent, Malika Sorel? Proposed by Marine le Pen´s former assistant, Sorel, whose parents were Algerian, has long been on the right. “She has written several essays on immigration and what she calls the “decomposition of France”, accusing “a part” of immigrants of “turning against the host country”. Malika Sorel-Sutter today highlights her “fear of a Lebanonization of France”, with a “migratory, security and educational chaos.”

Predictably the Patriots of Europe (a misnamed group if there ever was one) members make their views known. The Wikipedia entry for Afroditi Latinopoulou, is blunt: She is against abortion rights, opposes LGBTQ+ rights, and has expressed homophobic, transphobic, and anti-immigrant views, repeatedly calling for the borders to be closed. She has also supported the Great Replacement conspiracy theory. In June 2024, she called for Pride Parade to be dissolved, saying, “It is a celebration of vulgarity, emphasising the sexuality of sadomasochists and other various abnormalities in public view. She has also described homosexuality as “unnatural” and claimed it contradicts religious beliefs. Similar views from from Bulgarian Ivan Valchev. “ITN (his party) does not find it appropriate to give teenagers any access to propaganda that includes non-traditional practices that do not fit into the traditional Bulgarian values of gender and family”.

Some members actually have relevant experience. Of course there are many lawyers and several career politicians at mayoral, regional and national level. The education remit benefits from teachers and a former headmistress and university academics ranging from historians, speech therapists, special needs children and economists. I can´t find anyone who admits to being an Erasmus alumni.

Sport has several members. Latinopoulou may have far right views but was a professional tennis player in younger days. Lara Magoni (ECF Italy) was an Olympic skier. One of the substitutes, Carolina Morace (The Left, Italy) has 105 caps for the Italian national team and is an international football coach and member of UEFA´s Football Board. “My wife Nicola is Australian, we lived in Australia and Great Britain and now we live in Rome. In civilized countries, same-sex marriage is the norm. It is only a taboo in Italy and in countries where democracy practically does not exist, like Russia.“

The youth portfolio (let´s be generous and say under 30 years old) has three who have moved from studying straight into political roles. Zala Tomašič  (EPP Slovenia) who “will fight for the Slovenes to be in the first place in Slovenia, for everyday values ​​to be “God, family and homeland” and for “life in a world where there are only two sexes”.  Sabrina Repp (S&D Germany) takes a different view “strengthening democracy also includes protecting vulnerable groups such as women, children, LGBTQI* or migrants. Anti-democratic tendencies primarily threaten their living environment. Emma Rafowicz (S&D France) takes a similar view: “Racism, anti -Semitism , LGBTphobia exist and are eating away at the cohesion of our society. All the texts that help us understand and combat it better must be studied. Denying them on principle would be a mistake“.

Being a familiar face on TV clearly helps with political recognition. Two members and two substitutes made their names on TV (2 EPP and 2 S&D) whilst another 4 members were journalists.

Turning to the culture remit we see two Polish government ministers, one a minister of culture 2007-14 (EPP) and Joanna Izabela Scheuring-Wielgus, a recent state secretary (S6D). She was a cultural manager before entering the national parliament. A former minister of culture in Spain is among the EPP substitutes. The four vice-chairs have varying degrees of cultural experience. Hristo Petrov (Renew) is an hip-hop musician. Diana Riba i Giner (Greens) ran a bookshop specialising in children’s and youth books and was previously a cultural programmer; Emma Rafowicz (S&D) was until the elections the deputy mayor for culture, crafts and heritage, in the 11th arrondissement in Paris. Bogdan Andrzej Zdrojewski (EPP) was in his younger days a commercial photographer. Among the substitutes we find two more photographers and architect and an award winning novelist, Sibylle Berg.

Perhaps the member with the most immediate relevance to culture on the committee is the S&D member from Austria Hannes Heide. A member since 2019 he was the mayor of Bad Ischl, he now chairs the Board of one of the 2024 European Capitals of Culture Bad Ischl-Salzkammergut. “I am convinced that the EU must move closer to the people again and become tangible for them in order to regain acceptance. It is precisely the regions outside of urban centres that need to be strengthened, because that is where EU scepticism and nationalism are most pronounced.”. and “the New European Bauhaus is an opportunity and has real potential to become a cultural movement like its historical model and to create new awareness. But it will only be successful if it reaches the people of Europe, if it does not become an elitist project, if Europeans can imagine what it means, if there is no contrast between urban centres and rural areas, if access is social, fair and inclusive“.

So what can we expect from the new committee? There are obvious and distinct differences of approach to life between members. The traditional political and economic differences between members from the centre right to centre left now have to contend with views on culture in the broadest sense. Some oppose the LGBTI+ rights and same-sex marriage which impinge directly on some other members. Racism, hiding often behind calls for immigration controls, is a touchstone. Will there the strengthened right seek to reduce the role of common EU interventions citing subsidiarity or outright Euroscepticism? Will the far right seek to cut out references to “woke” concepts in criteria for EU programmes? Will we see more votes which require members to attend meetings (the previous CULT was not known for full attendances).

To paraphrase Dr Strangelove: no culture wars here, this is the culture committee.

Brexit and UK-EU27: How will culture fare?

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The short answer is that nobody knows.  UK Prime Minister May is refusing to offer a running commentary on the British approach to negotiating the exit and EU27 is refusing to open negotiations in advance of the formal notification under the now infamous Article 50.

The nearest to anything like a policy view during the referendum campaign was Boris Johnson’s comment that the “UK is leaving the European Union but not leaving Europe”.  Oh that it would be that simple. The arts sector overwhelmingly voted to Remain. A view>  Simpler still to stay in but that’s another story.

This is the first in a series of postings where I look at the possible future UK-EU27 relationships in the culture arenas (and there is certainly more than one arena!).  To start with in this post I simply list the areas, and programmes, which need to be addressed in the Brexit negotiations. I don’t claim this is exhaustive so please drop me a comment and I’ll update the post.

Later posts will start to look at the implications.

I’m assuming the dark Brexit day will be sometime in 2019, before the elections to the European Parliament and before the next EU finance period from 2020. I’m also ignoring both any “transitional” arrangement and a straight switch to the EEA/Norway model as PM May wants a “bespoke” deal.  Many formal statements emphasise that the UK remains a member and so can still play its full part: see the Arts Council of England.  But then they would wouldn’t they!.

Let’s be clear about one thing. The Article 50 process means EU27 have the upper hand, by a long way. They will decide the terms of the exit.  Will culture be seen as a small area, with no EU competency, so can the UK/EU27 carry on as before?  Or will it be seen as the UK trying to cherry pick the “nice” parts of the EU?   Time will tell.

The specific areas fall into money, people and processes.

Money: funding sources from the EU which could dry up with a very hard Brexit.

People:  restrictions on the free movement of people both to the UK and from the UK to EU27

Processes:  how “access” to the single market could work, taxes, laws, standards, influence,

A fourth area covers external influences:  the UK economy, exchange rates and importantly the effects on the culture sectors in EU27 after Brexit.

Taken together they illustrate the complexity of Brexit (imagine the same issues multiplied across most of the UK economy).

In terms of impact we need to look from three different directions:

from the cultural and creative sectors: the producers

from the audiences and future audiences

from the effect on the 30 year momentum of the increasing influence, ambition and internationalism of the British cultural world

The worst case will be a serious and possibly slow shift to an inward looking insular society where because of money (lack of), difficulty, or even purpose the arts offer in the UK diminishes in ambition.  There is a risk the Brexit cultural debate will focus on the producers, the list below does.  The more important issue will be the effect on “the audiences” and the longer term momentum.

Creative Europe (or its successor).  Will the UK seek to remain and pay an annual fee ( as Norway or as Turkey until they withdrew earlier this year over a genocide reference and took their €2m+ annual fee with them).  The UK arts sector does well from Creative Europe.   Continued participation in Creative Europe after 2020 should also smooth the path to co-host a European Capital of Culture in 2023 as membership of Creative Europe is a pre-condition).  See Labour’s view >  and mine on ECOC2023>

Media programme, (part of Creative Europe) gives funds for cinemas in UK showing films from other EU countries (and these cinemas are by far the main locations for any foreign language films in the UK).  Supports pre-production costs (I, Daniel Blake received almost €100,000, The Kings Speech over €500,000), supports British films shown in the EU, has training programmes.  Funding also helps co-productions. A view>

Other Funding Opportunities> Erasmus+, Europe for Citizens, COSME, INTERREG, ERDF (helped fund Peaky Blinders) and more.  The British Council  is successful in winning  or managing EU projects, for example SHARE in South East Asia, European Voluntary Service, projects in China, Kosovo, Lebanon, Egypt. Will the British Council stay in the European Union Network of Cultural Institutes (EUNIC)? Will it take part in the new programmes of culture in the European Union’s external relations?  Is there any effect on the UK’s and the EU’s soft power?  A view>

Freedom of Movement.   The “Big One”.  Will UK arts organisations still be able to recruit staff from EU27?  Will the creative and cultural industry sector still be able to recruit?  Will existing EU27 staff and self employed keep their full rights after Brexit?  Will any new recruits after Brexit need visas? Will the UK government impose sectoral quotas or salary thresholds?   Will British citizens now in EU27 still be able work in EU27? Or only tied to their current country and/or current job?  And in future will British citizens still be able to go to EU27 to work: (Bowie’s Berlin days a thing of the past?).  Architects, animation studios, museums, heritage: you name it, the UK workforce is diverse (one of its strengths).  Not forgetting those academics in cultural subjects in universities. What will EU27ers in the UK feel as they show their pre-Brexit or post Brexit ID cards?  Will the rise in xenophobia die down?

Carnets and permissions?   Will British based touring companies need a country by country carnet as they do for China?  Touring orchestras, rock bands, early music groups, Adele, Rolling Stones, djs, theatre companies , exhibitions etc all affected.  Will touring artists from EU27 also need carnets to bring their equipment etc. into the UK; effect on festivals? A view>

Qualifications: will UK qualifications still be accepted?   A version of the qualifications issue is that EU committees, panels, “Open Methods of Coordination” (which discuss a wide range of policies)  will no longer have British members.  Will I be the last member and chair of the Selection Panel for European Capitals of Culture as membership is limited to nationals of EU member states?

Exports.  Over 40% of the creative industries exports go to EU27.  Free trade continues?  Or tariffs (and WTO does not have any useful categories to use and Free Trade Agreements normally have little to say on services).  Will British architects still be able to compete for commissions (Foster’s Reichstag?).  Will the UK still benefit from the Digital Single Market?  Will British TV and films still be classed as European in those countries with European quotas?   And of course the mirror image of exports are imports.  The cultural sector has supply chains as well as Nissan!  Import duties on items from EU27?

Intellectual Property Rights.  A minefield.  A loss of engagement with developments in the fast moving field?.  A view>

More law: Artists Resale Rights, Export Licencing Regime, restitution claims, the art market   A view> and another>

And then there are the broader issues, the consequences of a Brexit.

The £ and exchange rates.   A lower £ sterling affects many areas of the cultural sector. A view>

Weaker public finances.  Will these put a further strain on public sector budgets at national and local levels?

I don’t expect this list is exhaustive. Please add!