As the North of England's arts and culture is gutted, the London-centric press looks away

Newcastle is to cut 100% of its art funding, but the southern-dominated media can't report it.

At the end of 2011, I signed on at Newcastle City Jobcentre Plus. Because of unusually high service demand, I was given a monthly seven-minute appointment on the fourth floor, halfway up an imposing building that teemed with the freshly down-and-out. Newcastle was grey, perpetually raining, and terminally pessimistic. Down on the second floor, two of my middle-aged relatives, recently made redundant, were signing on too.

For the next six months, I regularly stood in a long queue of fellow twentysomethings, all bemoaning the system that was demonstrably failing us with a poignant sense of camaraderie. That Christmas, I went round every shop in the city centre and dropped off my CV when they began to advertise holiday vacancies; out of 27 stores, not one even called me in for an interview. This stung not just because I’d just graduated from UCL and therefore considered myself academically overqualified, but because I’d spent my university years working part-time in retail. My CV had been constructed around a Jobcentre template for the sector and I didn’t mind the unspoken criteria (often actually voiced if you got to speak to the manager) of being easily laid off in January; I just wanted enough money to return to London, which I’d been driven out of, post-graduation, by skyrocketing rent.

This story was familiar to most of those twentysomethings in the self-styled Queue of Little Hope. Like me, they were northerners who had defected to the south and been left gobsmacked by the relative levels of opportunity there. Those of us who wanted careers in the media knew that the requisite networking, the schmooze-and-boozing, the right-place-right-timing, had to be done in the big city. Unemployment in the North East was high, and wages were low. A girl that I met in the Jobcentre line, who eventually found herself employment with an advertising agency, then reluctantly picked up sex work to supplement her wage. The full-time job she’d been shunted into left her with £15 per week after bills and rent – and strip clubs were stepping up their recruitment drives in the wake of so many disillusioned, penniless female "NEETs" (young people not in education, employment or training) returning home.

Recession tales like this are now, unfortunately, fairly commonplace. But Newcastle has made the headlines in the last few weeks for one very conspicuous decision: to cut 100 per cent of its own arts funding. This sticks out as a particular example of cruelty in a city which had only recently benefited from what many lauded as a cultural regeneration (in 2011, the Turner Prize was hosted by the Baltic Gallery on the local quayside.) Councillor Nick Forbes has already defended the contentious figures behind his reasoning for them in this magazine, and conspiracies about how his own ambitions affected his decisions have been rife. But all of this reporting and speculation has been done in a tone symptomatic of how the London-dominated media speaks about the north: with little actual outrage, and a lot of head-shaking and resigned passivity in its place.

Newcastle will be a "test city" for withdrawal of all arts funding, journalists have suggested; the capital of the North East, razed of its accessible culture and its previously abundant community projects, will be a physical scar on the face of austerity Britain. A commenter on one such article accused Forbes of "martyring a city to prove a political point" – and there’s no doubt that the gravity, the total and profound finality, of 100 per cent as a quantity has attracted attention. It speaks loudly and clearly of the reality of coalition government cuts across the UK, and their often disproportionate effect on the north. When it comes to proposing real action, though, the protests are left to individual institutions in Newcastle itself, bar a few Geordie celebrities who have attempted to generate national interest in a petition they created themselves.

A comprehensive breakdown of Newcastle, presented in statistics and wildly depressing pie-charts on the local council’s website, seems like the numerical manifestation of the old adage "it’s grim up north." Just under a third of Geordie children live in poverty, with 26 per cent qualifying for free school meals. The city’s own internal inequalities are stark: the difference in male life expectancy between the relatively affluent area of South Gosforth compared to the relatively deprived area of Byker is a staggering 12.6 years. In other words, this is no place for southerners’ apathy. It is the place and the time for those with the clear media advantage to stand up for their counterparts. Some publications have been kind enough to pick Newcastle up of late, dust it off, and wonder loudly whether the city will show us all how terrible our national economic situation really is. But the overall impression remains that these particular cuts are an unfortunate but interesting social experiment to keep a sympathetic eye on, rather than a cause worth championing. The apparently politically conscious and fairly diverse cross-section of Londoners I now rub shoulders with were mostly unaware of the North East’s arts situation when I asked them this week.

Part of the problem is undoubtedly that reporters themselves are very rarely from or living in Newcastle. Northerners have always been rare in the national press, and if publications have deigned to have an actual Geordie write a piece on the latest crisis, it has almost always been as a one-off piece rather than by a regular contributor. The Guardian has a blog entitled The Northerner, as if to hammer home how out-of-place that species is in a national newspaper. And the "call to arms" type of reporting that might have dominated front pages if such cuts had been made in London are replaced by vague conceptualising, amused celebrity-chasing, and comment pieces on whether Forbes really is really enacting a self-serving strategy. Meanwhile, High Heaton Library – where my mother became the first of her family to complete an A Level assignment, down the road from my grandparents’ cramped and overcrowded council house – prepares to close its doors.

In Newcastle, where the educational output is well below the national average, accessibility to the arts is vital. It bleeds into every area of life for children who, for the most part, don’t benefit from drama clubs, LAMDA courses, and extracurricular debating societies in their oversubscribed state schools packed with children from low income backgrounds. Down the road, Newcastle University now boasts one of the most academically prestigious - along with one of the most privately educated cohorts - of all higher education institutions across the UK. The wealthy area of Jesmond is now dominated by student housing that has become too expensive for most other residents to afford. In no other British city is such a discrepancy in socio-cultural opportunity more obvious.

Outside the galleries in Newcastle now, sad flyers that plead "NOT 100%" are fluttering in a cold February breeze. The fourth floor of the Jobcentre still boasts a lengthy queue. The north of England has always seemed strangely far away from the south, much further in the collective mind than it ever could be geographically – and it has never seemed so far removed. Will libraries in Heaton and Byker close? Probably. The council continues to hold its final consultations, but the local mood is changing. And sadly, it feels like it will be a very long time until the concerns or the achievements of the North East find their way into the national news again.

Photograph: Getty Images
Holly Baxter is a freelance journalist who writes regularly for The Guardian and The New Statesman. She is also one half of The Vagenda and releases a book on the media in May 2014.
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Cabinet audit: what does the appointment of Andrea Leadsom as Environment Secretary mean for policy?

The political and policy-based implications of the new Secretary of State for Environment, Food and Rural Affairs.

A little over a week into Andrea Leadsom’s new role as Secretary of State for Environment, Food and Rural Affairs (Defra), and senior industry figures are already questioning her credentials. A growing list of campaigners have called for her resignation, and even the Cabinet Office implied that her department's responsibilities will be downgraded.

So far, so bad.

The appointment would appear to be something of a consolation prize, coming just days after Leadsom pulled out of the Conservative leadership race and allowed Theresa May to enter No 10 unopposed.

Yet while Leadsom may have been able to twist the truth on her CV in the City, no amount of tampering will improve the agriculture-related side to her record: one barely exists. In fact, recent statements made on the subject have only added to her reputation for vacuous opinion: “It would make so much more sense if those with the big fields do the sheep, and those with the hill farms do the butterflies,” she told an audience assembled for a referendum debate. No matter the livelihoods of thousands of the UK’s hilltop sheep farmers, then? No need for butterflies outside of national parks?

Normally such a lack of experience is unsurprising. The department has gained a reputation as something of a ministerial backwater; a useful place to send problematic colleagues for some sobering time-out.

But these are not normal times.

As Brexit negotiations unfold, Defra will be central to establishing new, domestic policies for UK food and farming; sectors worth around £108bn to the economy and responsible for employing one in eight of the population.

In this context, Leadsom’s appointment seems, at best, a misguided attempt to make the architects of Brexit either live up to their promises or be seen to fail in the attempt.

At worst, May might actually think she is a good fit for the job. Leadsom’s one, water-tight credential – her commitment to opposing restraints on industry – certainly has its upsides for a Prime Minister in need of an alternative to the EU’s Common Agricultural Policy (CAP); a policy responsible for around 40 per cent the entire EU budget.

Why not leave such a daunting task in the hands of someone with an instinct for “abolishing” subsidies  thus freeing up money to spend elsewhere?

As with most things to do with the EU, CAP has some major cons and some equally compelling pros. Take the fact that 80 per cent of CAP aid is paid out to the richest 25 per cent of farmers (most of whom are either landed gentry or vast, industrialised, mega-farmers). But then offset this against the provision of vital lifelines for some of the UK’s most conscientious, local and insecure of food producers.

The NFU told the New Statesman that there are many issues in need of urgent attention; from an improved Basic Payment Scheme, to guarantees for agri-environment funding, and a commitment to the 25-year TB eradication strategy. But that they also hope, above all, “that Mrs Leadsom will champion British food and farming. Our industry has a great story to tell”.

The construction of a new domestic agricultural policy is a once-in-a-generation opportunity for Britain to truly decide where its priorities for food and environment lie, as well as to which kind of farmers (as well as which countries) it wants to delegate their delivery.

In the context of so much uncertainty and such great opportunity, Leadsom has a tough job ahead of her. And no amount of “speaking as a mother” will change that.

India Bourke is the New Statesman's editorial assistant.