The Creative Education Access Bill: Why Every Child Deserves Time to Create

For too long, creative education has been treated as an optional extra in our schools: a luxury to be squeezed in when time and budgets allow. Yet creativity is not an enrichment activity. It is a fundamental human capacity and one of the defining strengths of the British economy.

That is why the Creative Education Access Bill proposes a simple but transformative principle: every child should be guaranteed meaningful access to creative education, with a minimum of five hours a week in primary school and four hours a week in lower secondary education.

The case for this change is educational, economic and social.

Britain’s creative industries are one of our greatest national success stories. They contribute almost £146 billion annually to the economy and are growing faster than many other sectors. They encompass everything from music, dance, theatre, film and the visual arts to gaming, animation, digital design, architecture, advertising, fashion and creative technology. Together they represent one of the most dynamic and innovative parts of the UK economy.

Yet while we celebrate their success, we have steadily reduced opportunities for children to develop the skills, confidence and imagination on which they depend.

Creative subjects have too often been pushed to the margins of the curriculum. Schools operating under intense accountability pressures understandably prioritise what is measured. The result has been a narrowing of educational experience for many pupils, particularly those from less advantaged backgrounds.

This matters because creativity is not confined to the arts. The ability to imagine, innovate, collaborate, solve problems and communicate ideas underpins success across the economy. It is as relevant to a game developer, software designer, architect or entrepreneur as it is to a musician, dancer, actor or artist.

Employers consistently value these skills, and they will become even more important as artificial intelligence reshapes the labour market. In a world where routine tasks are increasingly automated, distinctly human capacities such as creativity, empathy, imagination and original thinking become more valuable, not less.

The Creative Education Access Bill recognises this reality. It is not about turning every child into an artist, musician, dancer or actor. Nor is it about training every child to work in the creative industries. It is about ensuring that every child has the opportunity to develop their creative potential and experience the confidence, curiosity and problem-solving abilities that creative learning fosters.

The benefits begin early. Creative activities support language development, emotional literacy, concentration and self-expression. They help children learn to work together, build resilience and develop confidence. For many young people, creative experiences provide the moment when education becomes engaging and meaningful.

Importantly, access to creative opportunities is currently unequal. Children from affluent families are often able to supplement school provision through music lessons, dance classes, theatre visits, coding clubs, design workshops, arts activities and cultural experiences. Those opportunities are far less available to many children growing up in disadvantaged communities.

The consequence is a widening opportunity gap. Talent is distributed evenly across society; opportunity is not.

That is why access matters. A guaranteed minimum entitlement would ensure that creative education is not dependent on family income, postcode or the priorities of individual schools. Every child, wherever they live, would have the chance to explore music, dance, drama, visual arts, creative writing, design, digital creativity, animation and other creative disciplines as part of their education.

The Bill also recognises that schools cannot achieve this alone. Strong partnerships with cultural institutions, artists, dancers, museums, theatres, libraries, universities, technology hubs and creative businesses can enrich learning and connect young people with the wider creative world. Such partnerships help bring education to life while creating pathways into future careers.

At a time when concerns about young people’s wellbeing are growing, creative education also offers something less easily measured but equally important. It provides opportunities for self-expression, belonging and connection. It helps young people make sense of themselves and the world around them.

Education should prepare children not only to earn a living but also to live fulfilling lives. A rich creative education contributes to both.

The Creative Education Access Bill is therefore not simply an arts policy. It is a statement about the kind of country we want to be: one that values imagination as well as information, innovation as well as instruction, creativity as well as compliance, and opportunity for every child rather than a fortunate few.

The question is not whether we can afford to give children time to create.

The question is whether we can afford not to.

Baroness Featherstone

Lynne Featherstone was a Liberal Democrat MP for two terms and a Minister in the Coalition Government for five years. She is best known as the originator and architect of the same sex marriage law. Now in the Lords she is on the DCMS team. Having been a designer and illustrator for twenty years before politics - she is delighted to return to her first love.