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To ask His Majesty's Government what total quantified estimate they have made of fraud and error in the Culture Recovery Fund; what methodology, including statistical sampling or independent audit verification, they used to calculate that estimate; and how that methodology has evolved since the start of the fund.
To ask His Majesty's Government what total quantified estimate they have made of fraud and error in the Culture Recovery Fund; what methodology, including statistical sampling or independent audit verification, they used to calculate that estimate; and how that methodology has evolved since the start of the fund.
While the department has recently updated data on detected fraud and error, there is no overall quantified estimate of total (detected and undetected) fraud and error for the CRF.
For the core grant programmes delivered by Arts Council England, British Film Institute, and National Lottery Heritage Fund, and DCMS’s loans programme: fraud risk assessment, due diligence, upfront eligibility verification and post award sampling of grants took place across the Fund. This was either conducted or reviewed by independent auditors, however, the methodologies were not all based on statistical sampling so can not be brought together.
The total fraud and error detected across the CRF programmes is £12.9 million, consisting mainly of dual funding with the Coronavirus Job Retention Scheme and breaches of terms and conditions. Of this, £10.3 million has been recovered.
To ask the Secretary of State for Culture, Media and Sport, whether her Department is restructuring loans issued under the (a) Culture Recovery Fund, (b) Sport Survival Package and (c) Rugby Football League Loan Scheme.
To ask the Secretary of State for Culture, Media and Sport, whether her Department is restructuring loans issued under the (a) Culture Recovery Fund, (b) Sport Survival Package and (c) Rugby Football League Loan Scheme.
The Department of Culture, Media and Sport (DCMS) assesses any loan reprofiling requests on a case by case basis, working alongside our Loan Agents, who continuously monitor the financial performance of borrowers. Requests will be considered where borrowers demonstrate evidence of need and have exhausted other funding routes. The Department has reprofiled individual loans of fewer than five borrowers (<5%) under the Culture Recovery Fund, Sport Survival Package and Rugby Football League Loan Scheme.
DCMS is not able to comment on specific cases.
I am repeating the following Written Ministerial Statement made on 21 April 2023 in the other place by my Noble Friend, the Minister for Arts and Heritage, Lord Parkinson of Whitley Bay:
Publication of the Culture Recovery Fund Evaluation and Release of Management Data
The Department for Culture, Media and Sport (DCMS)...
I am repeating the following Written Ministerial Statement made on 21 April 2023 in the other place by my Noble Friend, the Minister for Arts and Heritage, Lord Parkinson of Whitley Bay:
Publication of the Culture Recovery Fund Evaluation and Release of Management Data
The Department for Culture, Media and Sport (DCMS)...
Publication of the Culture Recovery Fund Evaluation and Release of Management Data
The Department for Culture, Media and Sport (DCMS) has today published a report evaluating the impact and delivery of the Culture Recovery Fund (CRF). I will place a copy of the report in the Libraries of both Houses. The...
Publication of the Culture Recovery Fund Evaluation and Release of Management Data
The Department for Culture, Media and Sport (DCMS) has today published a report evaluating the impact and delivery of the Culture Recovery Fund (CRF). I will place a copy of the report in the Libraries of both Houses. The...
I. Evaluation of the Culture Recovery Fund: final report. 138p. II. Annex to Evaluation of the Culture Recovery Fund. 126p. III. Culture Recovery Fund data report. 22p. IV. Cultural Recovery Fund data release. 16p.
I. Evaluation of the Culture Recovery Fund: final report. 138p. II. Annex to Evaluation of the Culture Recovery Fund. 126p. III. Culture Recovery Fund data report. 22p. IV. Cultural Recovery Fund data release. 16p.
Lords question for short debate on what plans they have to support the performing arts sectors throughout England.
Lords question for short debate on what plans they have to support the performing arts sectors throughout England.
My Lords, I am certain that the Minister and Secretary of State are both fully aware that cultural recovery post Covid in the regions of England is well behind London. In this debate, I am expecting the Minister to list the things that the Government are doing in terms of...
My Lords, I am certain that the Minister and Secretary of State are both fully aware that cultural recovery post Covid in the regions of England is well behind London. In this debate, I am expecting the Minister to list the things that the Government are doing in terms of...
I welcome the opportunity to participate in this debate and thank the noble Baroness for securing it.
As noble Lords will be well aware, last year music, performance and the visual arts contributed an estimated £11.5 billion to the UK economy and, importantly, provided priceless joy and entertainment to millions across...
I welcome the opportunity to participate in this debate and thank the noble Baroness for securing it.
As noble Lords will be well aware, last year music, performance and the visual arts contributed an estimated £11.5 billion to the UK economy and, importantly, provided priceless joy and entertainment to millions across...
My Lords, I congratulate the noble Baroness, Lady Featherstone, on the helpfully wide view of her opening speech. I am grateful for briefings from the Independent Society of Musicians, Equity, UK Music and the Music Venue Trust. There are so many concerns now facing the performing arts—indeed, all the arts—that...
My Lords, I congratulate the noble Baroness, Lady Featherstone, on the helpfully wide view of her opening speech. I am grateful for briefings from the Independent Society of Musicians, Equity, UK Music and the Music Venue Trust. There are so many concerns now facing the performing arts—indeed, all the arts—that...
My Lords, I too am grateful to the noble Baroness, Lady Featherstone, for securing this debate and share the concerns of many other noble Lords about the challenges facing BBC musicians and the need to support small venues and touring programmes. The case has been made eloquently.
I am also grateful...
My Lords, I too am grateful to the noble Baroness, Lady Featherstone, for securing this debate and share the concerns of many other noble Lords about the challenges facing BBC musicians and the need to support small venues and touring programmes. The case has been made eloquently.
I am also grateful...
My Lords, I cannot demur from anything I have heard thus far. I thank the noble Baroness for instigating this debate. I declare my interests as a composer, a broadcaster and—the right reverend Prelate will be pleased to hear—an ex-chorister at Westminster Cathedral.
Drawing on my broadcasting experience, at least 50%...
My Lords, I cannot demur from anything I have heard thus far. I thank the noble Baroness for instigating this debate. I declare my interests as a composer, a broadcaster and—the right reverend Prelate will be pleased to hear—an ex-chorister at Westminster Cathedral.
Drawing on my broadcasting experience, at least 50%...
My Lords, I start by thanking my noble friend for this important debate.
We applaud the concept of levelling up but the delivery is most important—I think this is what the noble Earl, Lord Clancarty, was saying—and an essential part of that is the performing arts sector. The year 2023 marks...
My Lords, I start by thanking my noble friend for this important debate.
We applaud the concept of levelling up but the delivery is most important—I think this is what the noble Earl, Lord Clancarty, was saying—and an essential part of that is the performing arts sector. The year 2023 marks...
My Lords, it is always a pleasure to follow the noble Baroness, Lady Bonham-Carter. She always puts her finger on the point and makes it well. I congratulate the noble Baroness, Lady Featherstone, on her robust and trenchant opening speech, because she has opened up a debate that we will...
My Lords, it is always a pleasure to follow the noble Baroness, Lady Bonham-Carter. She always puts her finger on the point and makes it well. I congratulate the noble Baroness, Lady Featherstone, on her robust and trenchant opening speech, because she has opened up a debate that we will...
My Lords, I am grateful to the noble Baroness for securing the debate today and to all noble Lords who have spoken for their thoughtful contributions.
The past two or three years have been a turbulent time for the performing arts. I was appointed Arts Minister, the first time round, towards...
My Lords, I am grateful to the noble Baroness for securing the debate today and to all noble Lords who have spoken for their thoughtful contributions.
The past two or three years have been a turbulent time for the performing arts. I was appointed Arts Minister, the first time round, towards...
To ask the Secretary of State for Digital, Culture, Media and Sport, whether there were any restrictions on the way the Culture Recovery Fund could be used in a pay award.
To ask the Secretary of State for Digital, Culture, Media and Sport, whether there were any restrictions on the way the Culture Recovery Fund could be used in a pay award.
Culture Recovery Fund resource grants were awarded subject to terms and conditions.
There was some variation in the language of the terms and conditions between Arm’s Length Bodies. However, it was standard that grantees were required to exercise pay restraint for at least 18 months from the date of their Grant Agreement, where legally possible for them to do so. This included – but was not limited to – imposing a pay freeze for all senior employees (defined as staff earning over £100,000) and a 10% pay reduction in remuneration to the pre-Covid-19 remuneration packages for employees contracted to receive above £150,000 per year.
DCMS did not issue any guidance on the optimal distribution of funds between different levels of employees within organisations.
To ask the Secretary of State for Digital, Culture, Media and Sport, whether her Department issued guidance on the optimal distribution of funds between different levels of employees in the event that the Culture Recovery Fund was used to provide pay uplifts by organisations.
To ask the Secretary of State for Digital, Culture, Media and Sport, whether her Department issued guidance on the optimal distribution of funds between different levels of employees in the event that the Culture Recovery Fund was used to provide pay uplifts by organisations.
Culture Recovery Fund resource grants were awarded subject to terms and conditions.
There was some variation in the language of the terms and conditions between Arm’s Length Bodies. However, it was standard that grantees were required to exercise pay restraint for at least 18 months from the date of their Grant Agreement, where legally possible for them to do so. This included – but was not limited to – imposing a pay freeze for all senior employees (defined as staff earning over £100,000) and a 10% pay reduction in remuneration to the pre-Covid-19 remuneration packages for employees contracted to receive above £150,000 per year.
DCMS did not issue any guidance on the optimal distribution of funds between different levels of employees within organisations.
To ask the Secretary of State for Digital, Culture, Media and Sport, whether it was possible for the Culture Recovery Fund to be used to top up furloughed staff in order that they received full remuneration.
To ask the Secretary of State for Digital, Culture, Media and Sport, whether it was possible for the Culture Recovery Fund to be used to top up furloughed staff in order that they received full remuneration.
The Government’s Job Retention Scheme rules evolved throughout the pandemic, as did the Culture Recovery Fund's interaction with them. Details on the eligible and ineligible costs can be found in the relevant fund guidance documents for the different rounds.
The most recent set of fund guidance documents (from November 2021) states that "The optional salary costs not covered by the Government’s Job Retention Scheme for hours not worked by staff on furlough, or any additional optional salary costs for hours not worked about the furloughing cap" were not an eligible cost. However organisations should consult the relevant guidance for the appropriate round of the scheme that their grant pertains to.
To ask Her Majesty's Government what percentage of applications to the Culture Recovery Fund seeking an emergency grant were successful.
To ask Her Majesty's Government what percentage of applications to the Culture Recovery Fund seeking an emergency grant were successful.
The first round of the Emergency Resource Support strand of the Culture Recovery Fund (CRF) ran in Summer and Autumn 2021 and was delivered by Arts Council England, Historic England, the National Heritage Memorial Fund, and the British Film Institute. The second round was launched in Winter 2021.
The first round of this funding supported 183 organisations, from a total of 259 full applications, giving a success rate of 70.66%. This excludes organisations which did not reach full application stage, and (for Arts Council England) applications ruled out for technical eligibility reasons. Further information on success rates will be published in due course, as set out below.
The CRF is delivered at arm’s length from the government by Arts Council England, the British Film Institute, the National Heritage Lottery Fund, and Heritage England. Data for successful grant offers that have been published can be found on their websites.
We acknowledge that there is public interest in aggregated all-CRF geographical breakdowns for this important investment, as well as the organisation size breakdowns for successful applicants. For this reason, later this year DCMS will publish sets of aggregated and anonymised management data to demonstrate the geography and characteristics of the CRF applicants and awardees - to the extent that our data-set allows. This will also include further up-to-date information on success rates.
We will deposit a copy of this information in the Libraries of both Houses.