Chamber and committees

I believe that, under the new legislation, the funding package runs for between two and three years, whereas the European funding package ran for up to seven years. Will that have an impact on the industry?

I thank the witnesses for coming along. Scotland and salmon farming are synonymous—I believe that about 75 per cent of supply chain is in Scotland. I am interested in hearing more about the innovative work that is happening, as well as how that work impacts on the environmental side of things, such as how you are reducing the environmental impact of salmon fishing.

My question is for Katie Gillham. I asked the previous panel of witnesses about the legislation that was brought in as a result of our leaving the EU. I am interested in your views on the objectives in the Fisheries Act 2020 and the priorities in the development of the joint fisheries statement and fishery management plans under the act.

I will keep my question short in order that we hear more from the witnesses. What are your priorities for post-EU-exit fisheries policy, specifically around the national benefit objective and the climate change objective set out in the Fisheries Act 2020? What are your priorities for the development of joint fisheries statements and fisheries management plans?

You have painted a very stark picture, Mr McManus.

I would like to move back to the issue of tours. We have festivals that have musicians coming across from Europe. I would like to hear your thoughts on how the present situation is impacting on the work that our musicians are doing. I have heard from musicians that they are concerned about the creativity that is brought about by their ability to spark off people from other traditions and countries across Europe. Looking at the funding, is there anything that we can do to support them in that regard, following on from what Dr Allan was saying about us losing access to Creative Europe?

I have some anecdotal evidence of that. Friends of mine and my mother were very appreciative of the religious output that the channel provided during lockdown.

You touched on what you have learned through the pandemic. On production, you mentioned quicker commissioning. I would be interested to hear you expand on what you said about that.

The BBC Alba channel started about 10 to 12 years ago—in fact, I think it was longer ago than that. Several times, you have mentioned BBC Alba’s involvement in co-productions. I am interested in looking at the different ways in which BBC Alba commissions. It commissions pasgan agreements for bundles of programmes from producers, followed by top-up commissioning rounds. That allows economies of scale to be achieved for the broadcaster and the programme producers, and it allows them to plan their output. You could argue that it also reduces risk on producer and broadcaster. I would be interested to hear your thoughts on that model for the BBC Scotland channel and more widely across BBC Scotland.

I have a brief final question. I am interested to know whether the BBC Scottish Symphony Orchestra’s performances have perhaps been impacted by the inability to get performers over from Europe. I appreciate that, with the Covid situation, there will not be many live performances, but what are you doing to alleviate any issues there for the future?

I have a quick question that follows on from what Steve Carson said about the audience age range target for the BBC Scotland channel. How is BBC Scotland progressing on its diversity targets, both in front of and behind the mic or camera? I am also interested in the other big news story that hit the BBC, which was about equal pay.

It is great to welcome both of the witnesses to the committee. I want to make a voluntary declaration that I worked for BBC Scotland—I left 11 years ago.

Steve Carson, you commented on the reduction in spend in BBC Scotland on production last year, which was due to Covid. However, if I have read the figures correctly, I understand that the number of hours of production still hit the target. Therefore, I am interested to know about the mix of commissioning. Were cheaper programmes commissioned in Scotland? You also note in your report—and you have said—that the BBC has committed to exceeding network spending targets in future years. Therefore, can you give us an indication of the programming types and timescales?

Steve and Leigh Tavaziva have mentioned on several occasions the plan to move commissioners out of the London metropolitan area. Again, I would like to know the timescale for that, if possible, please.

Thank you for joining us. The session has been very informative.

To follow on from Dr Allan’s questions, I am interested to hear a bit more about the touring that we will—we hope—be able to start seeing happening in Scotland and about your thoughts on the fund that the Scottish Government introduced through the programme for government to get musicians and theatre companies out to more rural areas. They, too, are crying out for much more culture and creativity to come back to them.

I live on Islay, where the very successful Cantilena festival brings in young musicians. I am interested to hear what the MU is doing to support young musicians again. It is clear that, through lockdown, their education will have been taking place in their own rooms and online. What support structures are needed to ensure that the throughput of emerging artists in Scotland continues?