1 Enriching Britain: Culture, Creativity and Growth The 2015 Report by the Warwick Commission on the Future of Cultural Value Enriching Britain: Culture, Creativity and Growth 1

2 University of Warwick Professor Jonothan Neelands Dr Eleonora Belfiore Dr Catriona Firth Dr Natalie Hart Dr Liese Perrin Dr Susan Brock Dr Dominic Holdaway Dr Jane Woddis Rapporteur John Knell Published by: The University of Warwick, Coventry CV4 8UW University of Warwick Designed by: Creative Triangle Printed by: WG Baird ISBN 978-0-9570404-8-9 2 Enriching Britain: Culture, Creativity and Growth

3 Foreword from the Vice-Chancellor of the University of Warwick 4 About the Warwick Commission on the Future of Cultural Value 6 Foreword by Vikki Heywood 8 Introduction 10 Ecosystem 18 Diversity and participation 30 Education and skills development 42 Digital culture 54 Making the local matter 64 Enriching Britain: Culture, Creativity and Growth 3

4 Foreword from the Vice-Chancellor of the University of Warwick I am delighted to welcome the report of the fourth Warwick Commission, Enriching Britain: Culture, Creativity and Growth. Our commissions seek to make a lasting impact on society. We use our intellectual curiosity to analyse challenges that concern our communities, our nation and our world. We then offer practical, realistic recommendations to policymakers on how we can meet those challenges. As the 7th highest ranked university for research in the UK, we are committed to ensuring that our research has tangible impact outside the academy, and the Warwick Commission offers the perfect opportunity to put our research excellence to practical use. Our Commission on the Future of Cultural Value is no exception. Provocation was built into the evidence-gathering process in the form of lively public debates, which stimulated intense discussion across the country around our investment in the arts, the UK s cultural education and the role of the Culture and Creative Industries in carving out Britain s global status. 4 Enriching Britain: Culture, Creativity and Growth

5 We truly value culture and creativity at Warwick. The Warwick Arts Centre the largest venue of its kind in the UK outside London lies at the heart of our campus and plays an integral part in university life. Our Faculty of Arts leads the nation in teaching and research, with many departments frequently topping the league tables, and creativity plays a key role in the Warwick Business School, which prides itself on bringing creativity and innovation to companies. That s why we ve been keen to put our energies into investigating the social, economic and artistic value that culture brings to Britain. It s why we ve organised our boundary-breaking researchers into multidisciplinary projects and creative collaborations with other distinguished figures. To lead the commission, and to co-ordinate the wider research programme, we were pleased to draw upon the expertise of Professor Jonothan Neelands from the Warwick Business School and Dr Eleonora Belfiore from the Centre for Cultural Policy Studies. The membership of the Commission was carefully selected to reflect as broad a range of skills, experience and expertise as possible. I am extremely grateful to all the external Commissioners who agreed to work with us and offered their time and knowledge so generously. In particular, I would like to thank the Commission s Chairman, Vikki Heywood CBE. As Chairman of the RSA and former Executive Director of the Royal Shakespeare Company, she has brought to the Commission a wealth of expertise and expertise, and her contribution has been invaluable. I would also like to thank our strategic partners the British Council, Cheltenham Festivals, the Design Council and the RSA whose support has been vital to the progress of the Commission s work. Finally, the Commission is grateful to those individuals and organisations who took the time to submit evidence, thereby enriching and broadening the scope of the report. This was a truly collaborative undertaking and I believe that, together, we can continue to make a constructive contribution in this arena. I commend this report to you. Professor Sir Nigel Thrift, February 2015 Enriching Britain: Culture, Creativity and Growth 5

6 About the Warwick Commission on the Future of Cultural Value The Warwick Commission on the Future of Cultural Value has conducted a 12 month inquiry into how Britain can secure greater value from its cultural and creative assets. Launched in November 2013, the Commission has been culturally led and academically informed. It has reviewed a wide range of inputs and analysis, including: Evidence and testimony from over 200 individuals from across the arts, culture and heritage sectors, the creative industries, organisations responsible for arts development and training, government bodies and academics. Insights from those knowledgeable about culture: those who make, market, consume, teach, learn, and enjoy art. Four Commissioner evidence days, which explored themes including education and talent, and valuing and investing in culture. Three high-profile public debates, including contributions from Robert Peston, Sir John Sorrell, Graham Sheffield CBE and Munira Mirza, amongst others. Targeted evidence and research reviews from key staff across the University of Warwick. Commissioners participated and advised as individuals. As a group they developed the recommendations set out in this report, but these do not necessarily represent the policies or strategies of their institutions or organisations. The analyses and recommendations in this report are the product of broader in-depth research. Further resources, including briefing documents, responses to our open call for evidence and interviews, can be found on the Warwick Commission website: http://www2.warwick.ac.uk/research/ warwickcommission/futureculture 6 Enriching Britain: Culture, Creativity and Growth

7 The Commissioners were: Chairman: Vikki Heywood CBE Chairman, RSA Tony Ageh OBE Hasan Bakhshi MBE Sir Peter Bazalgette Damon Buffini Deborah Bull CBE Dinah Caine CBE Professor Geoffrey Crossick Darren Henley OBE Roly Keating Dr David Lan CBE Ruth Mackenzie CBE Paul Roberts OBE Jenny Sealey MBE Sir Nicholas Serota James Yarker Controller, Digital Archive, BBC Director, Creative Economy, Nesta Chairman, Arts Council England Main Board Member, RSC; Founding Partner, Permira Director, Cultural Partnerships, King s College London CEO, Creative Skillset Director, AHRC Cultural Value Project Managing Director, Classic FM Chief Executive, The British Library CEO and Artistic Director, Young Vic Artistic Director, Holland Festival Chair of the Board of Trustees, Creativity, Culture and Education Artistic Director, Graeae Director, Tate Artistic Director, Stan s Cafe Enriching Britain: Culture, Creativity and Growth 7

8 Foreword by Vikki Heywood The key message from this report is that the government and the Cultural and Creative Industries need to take a united and coherent approach that guarantees equal access for everyone to a rich cultural education and the opportunity to live a creative life. There are barriers and inequalities in Britain today that prevent this from being a universal human right. This is bad for business and bad for society. 8 Enriching Britain: Culture, Creativity and Growth

9 The Commission set itself the challenge of crafting a blueprint for greater cultural and creative success towards a national plan for how culture and creativity can further enrich Britain. One of the strengths of the British people is our diverse culture and shared values to be critical, curious, creative, tolerant, open minded and inventive. It produces the ideas, talent and enterprise that characterise the Cultural and Creative Industries, makes us proud of our achievements as a culturally rich and diverse society, and is at the heart of what makes us an attractive nation internationally. As we focused on the evidence, three insights came to the fore: The extraordinary cultural and creative talents we share contribute to the well-being of our society, our economic success, our national identity, and to the UK s global influence. These are precious returns, a powerful cocktail of public good and commercial return. They need to be recognised more fully, invested in more intelligently, and made available to all. Culture and creativity exist in a distinct ecosystem. They feed and depend on each other. The points of connection between the Cultural and Creative Industries are where the potential for greatest value creation resides culturally, socially and economically. Insufficient attention has been paid to the synergies between the interlocking sectors of the Cultural and Creative Industries Ecosystem. There is already a flow of talent, ideas, and public and private investment across and between the Cultural and Creative Industries. This flow needs to now be better identified and encouraged. Not enough is being done to stimulate or realise the creative potential of individuals, or to maximise their cultural and economic value to society. Improvement requires a greater degree of investment, participation, education and digital access. The workforce in the sector is growing over four times faster than the UK s workforce as a whole and we believe a coherent approach to our Cultural and Creative Industries is a vital national priority. A successful economy and a healthy, creative, open and vibrant democratic society depend heavily on this flourishing Ecosystem. It is a condition for individual creativity, identity, expression and freedom. The Ecosystem is a superconductor of creative talent and ideas that benefit our society and enrich Britain socially and economically. We hope this report will help galvanise action that builds on our success to date. Vikki Heywood CBE, February 2015. Enriching Britain: Culture, Creativity and Growth 9

10 Enriching Britain: Culture, Creativity, and Growth 10 Enriching Britain: Culture, Creativity and Growth

11 Introduction 1Enriching Britain: Culture, Creativity and Growth 11

12 1 The UK s cultural and creative success 2 Scaling up success Through an extensive process of consultation and review of research and policy, the Warwick Commission now presents its final report as a blueprint for Britain s cultural and creative enrichment. We can be proud that British fashion, architecture, publishing, craft and design, film and TV, video games and software, museums, theatre, dance, popular and classical music and visual arts are internationally recognised as world class. 1.7 million people work in these industries. Together they contribute almost 77bn in value added, equivalent to 5.0% of the economy. The latest DCMS estimates show that they grew by 9.9% in 2013, higher than any other sector. 1 Allowing for the contribution of creative talent outside the creative industries, the creative economy s share may be approaching one-tenth of UK s economy. 2 These industries have an impact on us as individuals and in our shared culture they shape our arts, contribute to our view of the world, influence our consumer choices and improve the enjoyment of environments in which we live and work. They also shape the way in which we are perceived by others around the world. The Cultural and Creative Industries are now recognised as one of the mainsprings of the British economy and their future sustainability and growth need to become a priority for the nation. We must begin to care about, understand and invest in our cultural and creative assets in the same way that we value and plan for health, education and welfare. Too often we have let our historical advantage in key industries be eroded by our international competitors. To sustain our success we need to invest in and support our world-class Cultural and Creative Industries and the cultural and creative traditions that feed them and make them special. Since 1998, Government has recognised the important contribution that the creative industries make to our economy. In 2014, the Department for Culture, Media and Sport (DCMS) introduced new classifications and metrics for measuring the economic performance of these industries. 3 The Creative Industries Council has recently produced *Create UK as an industrial strategy for promoting further growth of the sector. 4 The Arts and Humanities Research Council (AHRC) is running a large-scale research programme to understand better the value of the arts and culture in ways more varied than economic value alone. 5 Arts Council England, the AHRC and Nesta have funded a major three-year programme of work on digital Research and Development (R&D). Nesta s recent pamphlet on The New Art of Finance presents new thinking on how to bring additional finance into the arts and make public money work harder. 6 The Heritage Lottery Fund and the RSA have recently announced Heritage and Place: Phase 2 an initiative for applied research into the potential role of heritage in local strategic planning and development. 7 The newly formed Creative Industries Federation represents a wide range of cultural and creative businesses and organisations and will be a powerful unifying and lobbying group for the sector. 8 At the same time, British Council research has shown the significance of culture in shaping the UK s place in the world, what makes it attractive to others, and how it supports trade and tourism. 9 These are all important initiatives which the report s recommendations seek to support. There is momentum and a live opportunity to amplify and grow Britain s cultural and creative strengths. 12 Enriching Britain: Culture, Creativity and Growth

13 3 Achievable goals for growth and enrichment In developing our blueprint for growth we have identified five goals to ensure that the Cultural and Creative Industries can fully enrich Britain. In the report that follows we give a more detailed account of the challenges and opportunities for each goal area and present supporting recommendations. For ease of reading, each chapter will be structured in the following way: Goal, Context, Challenges, Recommendations. The Commission discovered that there is a dynamic flow and exchange between different parts of the Cultural and Creative Industries which is vital to their future success. We have adopted the term Cultural and Creative Industry Ecosystem to capture and encourage this reality. The sum is greater than the parts and each part makes its contribution to the whole. The Cultural and Creative Industries Ecosystem Crafts Architecture Design: product, graphic and fashion design Film, TV, video, radio and photography Advertising and marketing Music, performing and visual arts Museums, gallaries and libraries IT, software and computer services Publishing The sum is greater than the parts and each part makes its contribution to the whole. IT, software and computer services Publishing Museums, gallaries and libraries Music, performing and visual arts Advertising and marketing Design: product, graphic and fashion design Architecture Film, TV, video, radio and photography Crafts Enriching Britain: Culture, Creativity and Growth 13

14 3.1 Investing in the ecosystem Goal 1: A Cultural and Creative Ecosystem generating stronger cultural wellbeing and economic growth and opportunity for all citizens and communities. More needs to be done to build national cross-party support for a new national plan and investment case to support the Cultural and Creative Industries Ecosystem and underpin the *Create UK industrial strategy. Strategic investment from a wider range of private and public sources is essential to future growth. The *Create UK strategy identifies important barriers to investment, with detailed attention to the commercial creative industries; the Commission focuses on the public and private investment required for the growth of the cultural sector in particular. Both sectors depend on private and public investment. Tax incentives for film, TV, software development, theatre and orchestras are essential to the Ecosystem but so are other forms of public investment in supporting R&D, testing new ideas and developing new talent. Traditional non-profit arts and cultural organisations are discovering new income streams, marketing their commercial potential and attracting private investors. Stimulating this variety of investment and income is a vital priority. 3.2 Using the diversity and range of talent in our society to enrich the ecosystem Goal 2: Production and consumption of culture and creativity should be enjoyed by the whole population and deliver the entitlement of all to a rich cultural and expressive life. Greater diversity is essential to the future success of the Ecosystem and our society. Our cultural identity is made up of the fusion of ideas, creativity and traditions that have long been part of the British identity together with those of people who have come from across the world and have become part of our culturally rich, diverse and multicultural society. Despite commitment to the inclusion of the whole population, diversity of the creative workforce, leadership and consumers remains a key challenge to the future success of the Cultural and Creative Industries and to the cultural wellbeing of the British public. Making decisive progress is both a social and economic imperative, and work needs to be done across the Cultural and Creative Industries Ecosystem to achieve this goal. We cannot fully enrich Britain unless we do. The Warwick Commission believes strongly that further reduction from current levels of public investment will undermine the Ecosystem, creating a downward spiral in which fewer creative risks are taken, resulting in less talent development, declining returns and therefore further cuts in investment. Without adequate baseline investment we cannot expect to maintain, let alone build on, our current cultural and creative success and our leading international role. 14 Enriching Britain: Culture, Creativity and Growth

15 3.3 Fully harnessing the importance of creativity in education and skills development Goal 3: A world-class creative and cultural education for all to ensure the wellbeing and creativity of the population as well as the future success of the Cultural and Creative Industries Ecosystem. Education and skills development are essential in order to maximise our nation s full creative and cultural potential. The key to enriching Britain is to guarantee a broad cultural education for all (through arts skills acquisition, participation in arts and cultural events and enhanced appreciation), an education and a curriculum that is infused with multi-disciplinarity, creativity and enterprise and that identifies, nurtures and trains tomorrow s creative and cultural talent. The English education system does not provide or encourage either of these priorities and this will negatively impact not just on the future of the creative industries but on our capacity to produce creative, world-leading scientists, engineers and technologists. As the evidence in this report demonstrates, children born into low income families with low levels of educational qualifications are the least likely to: be employed and succeed in the Cultural and Creative Industries; engage with and appreciate the arts, culture and heritage in the curriculum; experience culture as part of their home education and have parents who value and identify with the cultural experiences on offer from publicly funded arts, culture and heritage. 3.4 Maximising the opportunities created by the digital age Goal 4: A thriving digital cultural sphere that is open and available to all. We are only fifteen years into the digital millennium and it is clear that creative and innovative uses of technology are essential to future success. The lesson from industries as wide-ranging as visual effects and video games to broadcasting and digital media is that the Cultural and Creative Industries are driving technological progress as well as benefiting from it. The digital revolution has increased levels of participation in informal cultural and creative activity and has expanded the universe of artists. It has created new networks and forms of interaction, transformed the production and distribution of established art and cultural content and allowed new forms of art and culture to emerge. It has also enabled many more people to access UK culture internationally and has the potential to reach still more. But we can do more to exploit the opportunities offered by digital media to broaden interest in and access to culture by enhancing the experiences of consumers and producers alike. The public sector has a vital role to play in supporting digital R&D in the Cultural and Creative Industries, which is aimed at innovative content production, audience engagement and financial models, and at exploring ways of creating new forms of cultural and social value as technologies evolve. Publicly supported organisations should be expected to share the insights and lessons from publicly funded R&D this is all the more important in conditions of austerity. Allied with this, there needs to be a broader endeavour to make publicly funded digital content more easily discoverable via a Digital Public Space a dedicated and freely accessible digital cultural library of all our digitised cultural achievements. Enriching Britain: Culture, Creativity and Growth 15

16 3.5 Prioritising the role of culture and creativity in generating a sense of identity, place and community across the country Goal 5: A vibrant creative life at local and regional levels that reflects and enriches community expressions of identity, creativity and culture across the UK. The analyses and recommendations in this report are the product of broader in-depth research. Further resources, including briefing documents, responses to our open call for evidence and interviews, can be found on the Warwick Commission website: http://www2.warwick.ac.uk/research/ warwickcommission/futureculture The Cultural and Creative Industries have a vital role to play in successful place shaping. Until now the emphasis of policymakers has primarily been on the positive economic influences of a rejuvenated cultural offer across our towns and cities. Whilst this is of vital importance, the Cultural and Creative Industries also deliver crucial benefits in building and forming local identity and creative aspiration and shaping international views of the different regions and cities of the UK. The Commission welcomes Art Council England s Creative People and Places initiative which is exploring how best to generate cultural demand and aspirations in areas of the country with very poor profiles in terms of cultural participation. 10 There is a general need for public funders to more proactively fashion investment strategies and interventions that are more responsive to local needs and demand, to talent from across the country, and to natural organic growth in the vibrancy of our towns and cities. This will require more assertive efforts to bring together new models of public and private partnership on a regional and city basis. Cultural organisations need to do a better job at coming together locally to share resources, devise partnerships that will unlock financial savings and generate income benefits, and join forces in making their case What Next? shows the potential. 11 They should invest time, effort and self-criticism in a deeper understanding of the economic, social and environmental challenges facing their local communities so they are able to make an intelligent and realistic arts-based contribution to solving those problems. 16 Enriching Britain: Culture, Creativity and Growth

17 Section 1 Endnotes 1 DCMS (2015) Creative Industries Economic Estimates, January 2015, Statistical Release. London: Department for Culture Media and Sport. Available from: https:// www.gov.uk/government/uploads/system/uploads/attachment_data/file/3... Creative_Industries_Economic_Estimates_-_January_2015.pdf. 2 Nesta (2013) Manifesto for the Creative Economy. London: Nesta. Available from: http://www.nesta.org.uk/publications/manifesto-creative-economy. 3 DCMS (2014) Creative Industries Economic Estimates, January 2014, Statistical Release. London: Department for Culture Media and Sport. Available from: https:// www.gov.uk/government/uploads/system/uploads/attachment_data/file/2... Creative_Industries_Economic_Estimates_-_January_2014.pdf. 4 Creative Industries Council (2014) *Create UK: Creative Industries Strategy. London: Creative Industries Council UK. Available from: http://www. thecreativeindustries.co.uk/uk-creative-overview/facts-and-figures/new-createuk-strategy. 5 See: http://www.ahrc.ac.uk/funded-research/funded-themes-and-programmes/ Cultural-Value-Project/Pages/default.aspx. 6 Nesta (2014) The New Art of Finance: Making money work harder for the arts. London: Nesta. Available from: http://www.nesta.org.uk/sites/default/files/ the_new_art_of_finance_wv.pdf. 7 See: http://www.hlf.org.uk/file/12461/download?token=pf4qgvkqnbgcwia07gr 9j8gWpFatNYXwtlfBUkQbn7k. 8 See: http://www.creativeindustriesfederation.com/. 9 Culligan, K., Dubber, J. & Lotten, M. (2014) As Others See Us: Culture, attraction and soft power. London: British Council and Ipsos MORI. Available from: http:// www.britishcouncil.org/organisation/publications/as-others-see-us. 10 See: http://www.artscouncil.org.uk/funding/apply-funding/funding-program... creative-people-and-plarts Council Englands-fund/. 11 See: http://www.whatnextculture.co.uk/. Enriching Britain: Culture, Creativity and Growth 17

18 Goal 1: A Cultural and Creative Industries Ecosystem generating stronger cultural and economic growth and opportunity for all citizens and communities. 18 Enriching Britain: Culture, Creativity and Growth

19 Ecosystem 2Enriching Britain: Culture, Creativity and Growth 19

20 2.1 Context The Cultural and Creative Industries make a significant contribution to the British economy and are the fastest growing industry in the UK. The Gross Value Added (GVA) of the sector was estimated by DCMS at a global 76.9bn in 2013, representing 5.0% of the UK economy. 12 The Cultural and Creative Industries described by government as the Creative Industries are those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property. 13 Within this broad grouping there are creative industries such as Software, Advertising and Publishing that are extraordinarily successful both in economic terms and as examples of the creativity and entrepreneurship that characterise the UK s cultural and creative tradition. 14 The United Nations define the UK s creative industries sector as being at the crossroads between the arts, business and technology. 15 The Commission s use of the term Cultural and Creative Industries seeks to encompass and emphasise this positioning. As well as specialising in creative activity, all of these industries shape reflect and develop our culture and embody our creative and consumer responses to changing trends and technological advances. As a result, our lives are constantly being enriched and influenced by Architecture, Design, Fashion, Film and TV and the other creative industries. 16 The Visual and Performing Arts mirror and significantly contribute to and challenge our cultural progress and identity. 76.9 DCMS s 2013 estimate of global Gross Value Added (GVA) of the Cultural and Creative Industries. 12 Within the Cultural and Creative Industries, sub-sectors such as Music, Performing and Visual Arts, Film and TV, and Museums, Libraries and Galleries are significant employers and contribute to the UK s reputation as a world leader in standards of cultural production and, more widely, to making the UK attractive internationally to tourists, students and investors. 17 These sub-sectors have also traditionally relied on public investment to survive and flourish. In a time of austerity and diminishing public resources, it is important to stress the interdependence of the economically successful parts of the creative industries with these publicly supported sub-sectors. The Commission is particularly keen to raise awareness of the extent to which the success of the Cultural and Creative Industries as a whole is dependent on the talent development, R&D, networks and career opportunities that have been supported by public investment. billion In this context, the proportion of public spending on the arts, culture and heritage is infinitesimal compared to their GVA and their contribution to the economic success of the broader Cultural and Creative Industries. The direct spend on arts, culture, museums and libraries, for instance, is only around 0.3% of the total public spend. 18 It is therefore a grave mistake to think that any further reductions in levels of public investment will only affect the reach and impact of the arts, culture and heritage. They will also impact negatively on the quality and diversity of the content and talent that is the wellspring of the UK s Cultural and Creative Industries Ecosystem. In a time of austerity and diminishing public resources, it is important to stress the interdependence of the economically successful parts of the creative industries with these publicly supported sub-sectors. 20 Enriching Britain: Culture, Creativity and Growth

21 2.1.1 The Creative and Cultural Industries Ecosystem The Warwick Commission uses the Ecosystem metaphor to capture the connections between the publicly funded and commercial successes of the Cultural and Creative Industries. We use it to connect our creative and cultural success to the shared national cultural identity and foundations that continue to produce world-class talent. The creativity and cultural vibrancy within our shared UK identity also nurtures brilliance in design, engineering and enterprise more generally. The Ecosystem describes the interconnectedness of the Cultural and Creative Industries in terms of the flow of ideas, talent and investment from public and private sources that characterises them. Many creative organisations are small business-to-business operations feeding the needs of other organisations within the Cultural and Creative Industries and dependent on the success of the Ecosystem as an integrated whole to survive and flourish. The flow between the commercial and cultural ends of the Ecosystem generates economic value, audiences and consumers. 19 This is why we so often see artists and creative businesses working in the same locations. 20 It is also important to note that Britain s cultural and creative ecosystem nurtures relationships with other ecosystems on a global scale via interchange with other countries cultural and creative sectors, from international film co-productions to the blossoming Biennales across the world. The Ecosystem thrives because it exists within a cultural tradition that is constantly evolving and which reflects our diversity and values, a cultural tradition that nurtures critical, curious, creative, tolerant and inventive people. Danny Boyle made this visible in the opening ceremony of the 2012 London Olympics, most memorably in the section which layered Mike Oldfield s iconic Tubular Bells soundtrack with the NHS, contemporary dance, J.M. Barrie and Peter Pan, J.K Rowling and Harry Potter, and other significant works of British literature. Other sections of the ceremony, including the arrival of the 1948 Windrush and the performance of Grime artist Dizzee Rascal, demonstrated that our cultural identity is made up of the ideas, traditions and people that have come to the UK from across the world and which, because of our curiosity and openness, have become part of who we are as a richly diverse and multicultural society. Diversity of creative talent and participation is essential to the expressive richness and the economic and social prosperity of the ecosystem. It is a mistake to think that the under-representation of Black and Minority Ethnic (BAME) individuals, women, deaf and disabled people and low-income groups in the Cultural and Creative Industries is purely a social justice issue. It is also very bad for business, diminishing the breadth and depth of creative perspectives, audiences and consumers. 21 A lack of diversity and under-representation also damages our international reputation and trust in the UK as a diverse and tolerant society. 22 Viewed from the outside, the UK is seen as being creative, innovative, confident and entrepreneurial and is regarded as a world leader in the arts. According to a recent British Council report, As Others See Us, culture and the arts play a central role in attracting visitors and investment from overseas and rank among the top three things British people should be proud of. 23 In the 2014 Anholt-GfK Roper Nation Brands Index, the UK ranked third overall for its perceived wealth in contemporary culture just after the United States and France, but with very similar absolute scores; it has ranked in third or fourth place every year since 2008. 24 But we cannot afford to be complacent. Unless the challenges to the Cultural and Creative Industries identified in the *Create UK strategy and by this report are recognised and addressed, we will not maintain this high international regard or be able to compete artistically and commercially with other world players. Diversity of creative talent and participation is essential to the expressive richness and the economic and social prosperity of the ecosystem. It is a mistake to think that the underrepresentation of Black and Minority Ethnic (BAME) individuals, women, deaf and disabled people and lowincome groups in the Cultural and Creative Industries is purely a social justice issue. Enriching Britain: Culture, Creativity and Growth 21

The 2015 Report by the Warwick Commission on the Future of Cultural...