2013 - kushima.org€¦ · Rapport Annuel Informe Anual 2013. Contents Chairman’s Foreword 05...

Annual ReportRapport AnnuelInforme Anual

2013

ContentsChairman’s Foreword 05

Director General’s Overview 06-07

Global Legal and Policy Strategy 08-09

Governance 10-11

Global Collections 12-13

Technological Landscape 14-15

Regional Overview – Europe 16

Regional Overview – Asia Pacific 17

Regional Overview – Africa 18

Regional Overview – Latin America and The Caribbean 19

Global Activities 20

The Creator’s Voice 21

Creators’ Councils Updates 22-23

Tribute to Robin Gibb 24

CISAC Board of Directors 25

Table des MatièresAvant-propos du Président 27

Le mot du Directeur Général 28-29

Stratégie juridique et politique globale 30-31

Gouvernance 32-33

Perceptions mondiales 34-35

Paysage technologique 36-37

Aperçu régional – Europe 38

Aperçu régional – Asie-Pacifique 39

Aperçu régional – Afrique 40

Aperçu régional – Amérique Latine et Caraïbes 41

Activités internationales 42

La voix des créateurs 43

Conseils des Créateurs 44-45

Hommage à Robin Gibb 46

Conseil d’Administration de la CISAC 47

ContenidoPalabras del Presidente 49

Visión del Director General 50-51

Estrategia jurídica y política global 52-53

Gobierno 54-55

Recaudación global 56-57

Panorama tecnológico 58-59

Panorámica Regional – Europa 60

Panorámica Regional – Asia-Pacífico 61

Panorámica Regional – África 62

Panorámica Regional – América Latina y el Caribe 63

Actividades globales 64

La voz de los creadores 65

Actualización de los Consejos de Creadores 66-67

Homenaje a Robin Gibb 68

Consejo de Administración de la CISAC 69

CISAC Member Societies 70-71

Sociétés Membres de la CISAC

Sociedades Miembros de la CISAC

02 CISAC Annual Report 2013 03CISAC Annual Report 2013

Chairman’s Foreword 2012 was a very busy year for CISAC. Our community and the licensing solutions made available by our members continued to develop, mature and expand at an amazing rate. Technology and new digital services have enabled the reach of creators’ works to become effortlessly global. Whilst making art more accessible to people around the world, market developments have continued to increase the challenges for our members in securing remuneration for creators.

In the Director General’s overview, Olivier Hinnewinkel explains how CISAC is responding to current market challenges by driving fundamental reform throughout our organisation. We are shifting our approach from being on the defence of authors’ rights, to a position of pro-active promotion of their interests. We are proud to uphold and convey the true value of authors’ work to the economy and culture.

Through the Master Plan initiated last year, we are moving transparency and best practices to the very front of our agenda. We are establishing CISAC as the leading organisation in its sector, an organisation that plays a key role in safeguarding creators’ rights and promoting the highest standards of practices for its members. A great endorsement of CISAC’s important role in the collective management landscape came in April with our victory in the CISAC Case. After a decade of campaigning, all accusation that we had colluded to restrict competition were finally dismissed.

We have also worked to increase the efficiency of our collections following their rise to a new record of €7.6 billion in 2011 and are pursuing ongoing projects in this area. The Global Repertoire Database project, for example, aims to establish a comprehensive source of information on musical works and with the design phase now complete, it is moving forward to the implementation phase.

The year ahead will be an exciting one for CISAC. I look forward to more progress and achievement as our work to champion creators’ rights and increase their voice continues.

Kenth MuldinChairman of CISAC’s Board of Directors

05CISAC Annual Report 201304 CISAC Annual Report 2013

Chairman’s Foreword

Director General’s Overview18 months into my tenure as Director General of CISAC, the major overhaul of the organisation that we have brought about is well underway. Across all of the regions and business lines in which CISAC operates, the organisation is accelerating towards its newly-defined goals of increased visibility, efficiency and solidarity.

We began the reform process by evaluating the real situation facing authors around the world in a series of member society visits. In addition to hearing feedback from our members, authors and law makers, this process heightened the visibility of CISAC’s work globally. Three key conclusions came to light as a result of this exercise. First, there is a lack of awareness of why remuneration for creators is so crucial to their livelihood and for the future of creative activity. Second, the work of CISAC and its members is often misunderstood as limiting access to the arts rather than promoting such access and guaranteeing the continued enrichment of our culture. And finally, copyright and collective management of rights are on the defensive and subject to continuous attacks. This is not only detrimental to authors everywhere, but also undermines our cultural interests and the diversity of cultural expressions.

The reform we have launched is very much shaped by the conclusions of our fact-finding mission, and its desired outcome is clear: we need to promote the ability of our

members to collect remuneration for authors’ works in every corner of the world; increase efficiency and transparency by exhibiting the highest business standards in every area of our activities; and grow solidarity by working with members to champion the cause of authors’ rights globally. Our roadmap to success is the CISAC “Master Plan” with its five key objectives:

1. Provide worldwide solutions to creators and rightsholders which benefit users;

2. Understand, influence and adapt to our environment;

3. Excel in business practices and tools;4. Contribute to the economy;5. Develop our worldwide business reach.

The last year has seen excellent progress towards achieving these objectives, as explained in more detail in this report. The highlight is certainly our victory in the so called “CISAC Case” this April, where the General Court of the European Union upheld our appeal against the 2008 EU Commission decision. In doing so, the allegation that our members in Europe had coordinated to restrict competition was finally rejected. This triumph capped a busy year supporting business process improvements throughout our sector and arranging assistance, training and educational activities for our members.

CISAC continues to work on promoting best practices for its members and helping them improve both their internal operations as well as the services they offer to creators. We are working relentlessly to consolidate the different governance rules and resolutions we have adopted over the years into a comprehensive Governance Model. We are very proud of this work. CISAC is the only organisation in our field which requires its members to commit to high standards of best practices and implement them in all areas of their activities. This unique and self-motivated initiative clearly demonstrates the seriousness with which we and our 231 members approach best practice and transparency in our business. With many legislative initiatives now

pending in the field of collective management governance, CISAC is already one step ahead.

We have also launched targeted projects to promote and defend creators’ rights in territories where their voice desperately needs to be heard. Our lobbying efforts are not only targeted at safeguarding authors’ interests, but are also giving authors the centre stage. We have begun to roll out the CISAC Ambassador Programme to bring other high profile voices to our cause, and keep working on the establishment of LINK, a new cross-repertoire think-tank for creators. We keep identifying areas where we can help raise awareness and provide useful information and guidance to our members. The first in a series of planned publications is our new Competition Law Compliance Guide, which has been produced to introduce managers to the principles of competition law and offer some practical advice for compliance. We plan to further assist our membership with similar educational material and guides in the next year.

There is still much to do and the coming months will be demanding, but also extremely rewarding for CISAC and our members. Copyright is being attacked on all fronts and the negative impact on authors’ livelihoods is significant and real. CISAC remains the only global organisation in its field that is able to defend against this and effectively protect and promote the interests of authors worldwide. Copyright is the foundation for creative activity and collective management is the engine that not only allows creators to make a living from their work, but also ensures that they continue enriching our lives and culture. We have confidence in our ability to promote authors’ rights and bring an even greater service to our members in the next year.

Olivier HinnewinkelCISAC’s Director General

“CISAC continues to work on promoting best practices for its members and helping them improve both their internal operations as well as the services they offer to creators.”

07CISAC Annual Report 2013

Director General’s OverviewDirector General’s Overview

Meeting of Olivier Hinnewinkel and Mitko Chatalbashev with Deputy Minister of Culture, Mrs. Mila Santova, Bulgaria, April 2013

06 CISAC Annual Report 2013

Increased focus on lobbying and government affairs at the centre of CISAC’s activities

Global Legal and Policy Strategy


outcome in this case cannot be overstated. If the decision is not overturned, it would not only result in substantial losses to authors in India but would also set a dangerous precedent which goes against fundamental principles of copyright. The high profile of the case and the importance of the issue at stake, led CISAC to take a key role in these proceedings on behalf of its global membership.

Policy and Government AffairsOver the past year, CISAC has stepped up its work in the public affairs field through numerous initiatives at an international, regional and national level, all aimed at improving the legislative framework on authors’ rights and defending the interests of creators.

CISAC has increased its visibility in international copyright debates by participating in a variety of formal and informal meetings on new copyright instruments. These included negotiations at WIPO’s Standing Committee on Copyright (SCCR) on new treaties on copyright exceptions and on the protection of broadcasters. Work in this area also included close cooperation with other international organisations representing rightsholders such as film studios, book publishers, record producers, music publishers, actors, musicians and others.

At regional level, CISAC prepared a position paper on the pending EU Directive on Collective Management of Rights. The future directive is of prime importance to both EU and non-EU countries and will have a major effect on societies’ operations and licensing practices. Through a process led by the Legal Committee, CISAC prepared a position paper on the pending text and met with Commission representatives to further elaborate on its views.

CISAC has also engaged national governments in a number of countries where copyright initiatives are underway. Particular lobbying efforts were put on China, where a major revision to the copyright law is ongoing. To help secure a favourable outcome for creators, CISAC has entered into a direct dialogue with the Chinese government, prepared a detailed comments paper on the pending text and organised meetings with the responsible government officials to articulate its position.

Cooperation with Other Rights Holders Groups and AcademiaCISAC is working to establish relationships with other stakeholders that share its goals in protecting creative content and promoting a supportive legal framework. Inter-industry discussions have been ongoing with international organisations representing record producers, film studios, music publishers and artist managers. They are focused on setting out a common position on the areas of copyright law fundamental to all creators and addressing the well-orchestrated attack on authors’ rights globally. CISAC is also reaching out to a number of academic institutions with a view to developing joint projects and organising events on copyright and collective management of rights.

Creating Wealth in BRICS CountriesIn an effort to highlight the potential contribution of creators in BRICS markets, CISAC has launched a dedicated project focussing on Brazil, Russia, India, China and South Africa. As a first step, an academic research paper was commissioned. Titled “The Way Forward for an Increased Contribution of the Creative Industries in BRICS Economies”, this paper will address the current and potential economic impact of creative communities in the BRICS countries, and identify action points for decision makers. The paper will also provide the basis for additional lobbying activities to promote a pro-creative agenda in the BRICS countries and increase awareness of the role played by authors in contributing to the local economy and culture.

New Guide on Competition Law Competition law potentially applies to a range of activities undertaken by CISAC members. It is also an area of law which attracts increasing attention from government bodies around the world. In an effort to promote a better understanding of the issues involved, ensure compliance with competition rules and assist in developing best practices among our community, a new guide on competition law has been produced for CISAC members. The aim of this publication is to provide essential information for member societies on the basic elements of competition law, areas of risk, compliance issues and other implications on the activities of collective management organisations.

Global Legal and Policy StrategyGlobal Legal and Policy Strategy


Gadi OronDirector of Legal & Public Affairs

CISAC is expanding its work in the legal and public affairs area through a range of activities aimed at leveraging the organisation’s position as the global voice of creators. Efforts to work closely with governments around the world, cooperate with international organisations, and coordinate with other rightsholders groups, are now at the centre of CISAC’s activities. The results can already be seen.

Litigation In April this year, the General Court of the European Union upheld the appeal filed by CISAC against the EU Commission’s 2008 decision that 24 CISAC societies had violated competition rules by coordinating the territorial scope of their reciprocal agreements. The ruling cleared CISAC and its European members of any wrongdoing and removed the only stain that ever existed in CISAC’s competition law compliance record. Importantly, it restored confidence in the system operated by CISAC and confirmed its ability to organise meetings and promote activities aimed at dealing collectively with issues of importance to its members. With so many legislative initiatives on collective management underway, and with the ever-growing attack on copyright and collective management organisations, this favourable decision could not have come at a better time.

CISAC has also been active in legal proceedings elsewhere to defend and promote authors’ rights. In India, in an effort to safeguard creators’ interests and in support of its local member, CISAC has filed a Special Leave Petition with the Supreme Court, seeking to overturn a Delhi Appeal Court decision which denied authors the ability to collect royalties from broadcasters. The importance of any


GovernanceEfficient collections, and our members’ ability to secure fair remuneration for their creators, depend on the support of our industry, law makers and the public. To achieve this, CISAC is building trust in the collective management system by setting a new benchmark for internal governance. This is done by promoting the highest level of professional standards in all its business practices.

A major challenge in championing creators’ rights is in the area of education. Through work with member societies and the ambassador programme, CISAC is helping the world understand what the organisation is about, what it does, and why its work is so crucial. Of equal importance however is confidence and trust in our work: of creators and rightsholders affiliated to our member societies; of CISAC’s business partners; of legislators, and of the general public. The efforts made over the past year have proved beyond doubt that CISAC’s community of 231 CMOs in 121 countries are the right people to manage collections.

Today, CISAC is the only international organisation in its field with a binding code of conduct to which every member society must adhere. Leading from the front, the CISAC community is setting the values for transparency and professional business conduct whilst delivering continuous improvement in all

regions and areas of repertoire.

Professional rules have been implemented for a number of years and were strengthened in June 2012 with changes aimed at

increasing the reliability and accountability of the financial elements communicated by

members to CISAC. These changes ensure that CISAC’s broad community can benefit from, and rely on, the information provided by each member. The changes introduced the required submission of audited financial statements and annual reports and require CFO sign-off for all income and expenditure declarations.

In March this year, CISAC’s Governance and Compliance Committee worked with the Board of Directors to build upon this experience and approve a number of governance model revisions that incorporated three key areas of development:

1. Rules to Achieve Good GovernanceEach CISAC member is expected to adhere to the highest professional standards of efficiency and transparency, guaranteeing excellent service to creators, facilitating content users’ licensing and royalty payment, and enabling accurate and timely distribution of royalties to creators. As part of CISAC’s governance model, which includes Professional Rules and Binding Resolutions, the introduction of fresh rules is driving financial transparency in key business areas. These new rules require that every year, each member makes available a description of its internal policies on the treatment and management of:

a) Unidentified uses or works and associated monies available. These need to include the internal processes concerned with efficiently and diligently identifying and linking works to corresponding uses, as well as the allocation of their income.

b) The financial and other non-copyright related income of the member, including the use made of this income.

Also included in these new rules is guidance on corporate governance. Each member is required to provide for a clear separation of function between the management of the company and the supervision function, by establishing a collegiate body whose role is to effectively and independently supervise the management body. The members of this supervisory team should ideally be separate from the management

and if not, their voting rights and powers must be carefully controlled to ensure independence.

The final element is new binding resolutions especially for music societies that, taking into account an implementation timeline based upon each member’s repertoire and level of maturity, set out the technical requirements to deal with:

• Debit and credit payment adjustments (based on the DTC - Distribution Technical Committee document CTR11-0787R1)

• Unidentified uses (based on the DTC document CTR12-2128)

• International Repertoire Node (IRN) to extend CISNet contribution to foreign musical works used within a society’s own territory

• International Standard Musical Work codes and methods to ensure they are assigned to musical works managed by Mechanical Rights Organisations (based on DTC document CTR12-1065 & ISWCMC12-0234R1)

• Insufficient documentation processes (based on DTC document CTR13-0250R1)

2. On-site Compliance Reviews To ensure that all members meet CISAC’s standards for good governance, revisions were also brought to the area of compliance reviews. Currently the selection process used to identify societies for review is entirely random. Due to the high number of smaller societies within CISAC’s community, it was felt that the probability of a medium or large society being selected is too low. The recent revisions introduced a size criterion to

address this imbalance. In addition, a proposal was made to allow specific societies to be added to this randomly generated list, if other member’s substantiated complaints were received or if special attention was considered helpful.

The composition of the compliance-verification team has also been addressed. These teams will be reinforced, utilising external independent resources, to help review the larger societies. This has the dual benefit of bringing objective input into the process and of allowing the regional directors to focus on providing the more direct coaching that smaller societies need.

3. SanctionsAn additional area for updates relates to sanctions for non-compliance. Whilst CISAC would always prefer to avoid the imposition of sanctions for failure to meet its standards, it also has the responsibility to ensure that the rules which its community has voluntarily adopted are respected by all the membership, without exception. The sanctions available under CISAC’s governance model help towards this goal and are now being extended to include fines and exclusion from eligibility for committees and board membership. CISAC’s key objective is to support its members’ operations according to the very best and most transparent practices of the industry.

In addition to this, the governance revisions help lawmakers, industry and the public to see the values to which CISAC’s entire organisation operates and ultimately assist authors in obtaining the proper value of remuneration for their creative works.

GovernanceGovernance

10 CISAC Annual Report 2013 11CISAC Annual Report 2013

“Defining ambitious but reasonable common rules and standards with which all its members voluntarily comply is a vital service that CISAC brings its members on all continents. In today’s increasingly connected world, being able to visibly demonstrate continuous improvements above an already high level of efficiency and transparency is a key asset. Our societies are providing business users with access to a world of creative works in all repertoires and their creators and publishers can be reassured that the CISAC is helping all its members set the bar appropriately high.”Eric Baptiste, Chair of CISAC’s Governance and Compliance Committee

Anne FortierDirector of Finance & Governance

Global CollectionsGlobal Collections

Global Collections

Worldwide collections rose to a record high of €7.6 billion in 2011, capping an era of steady growth that has seen an overall 23% increase across the previous eight years. Whilst collections have somewhat slowed, the picture for collective licensing of rights remains positive.

2011 saw a strong increase in the collection of royalties for public performance rights. However, the overall slowdown of growth experienced that year results from the continued decrease in collections of mechanical royalties, which is attributed to market changes and the transition from physical to digital uses. Offsetting the decrease in mechanical royalties with collections for other uses is a key challenge for our members, but it also highlights the major opportunities for future growth.

The overall figures for 2011 demonstrate that the consumption of art is not slowing; in fact, the rise of

new digital services and the ever-growing popularity of digital mobile devices are making it far easier for global audience to discover, use and enjoy creative works. To capitalise on these opportunities, authors’ societies are working to increase their understanding of new markets, adapt to new innovative business models and develop new license solutions to match the market needs.

Strong progress has already been made with growth in collections from digital channels, including on-demand viewing and listening and ”internet protocol TV” rising 55% in 2011 to €205 million. Whilst this only represents 3% of total global rights, it demonstrates a huge growth potential for the coming years despite some shifts in music licensing policy. Digital’s share of public performance rights has even greater potential as it currently represents just 2.2% of global collections.

Emerging Markets ProsperEurope currently represents 60% of all CISAC’s performing rights collections and as the market in this region matures, growth is naturally slowing. It is extremely encouraging therefore that CISAC’s work in developing regions – particularly Asia Pacific and Latin America – is providing one of the most positive features of these latest figures.

TV and Radio Rights Despite digital technologies leading to speculation on the long term demise of traditional television and radio, collections from both have performed well in recent years. The level of royalties collected from TV and radio grew particularly strongly in Asia Pacific and Latin America and demonstrated steady growth in Europe. Growth in cable broadcasters’ royalties came primarily from North America, Asia Pacific and Europe.

The Economic Contribution of CreatorsCISAC’s latest figures demonstrate the extent to which royalty collections contribute to the national economies.

Key Figures

Total collections from CISAC member societies in 2011: €7.6 billion

• +1% worldwide year-on-year growth

• 60% of global collections generated in Europe (€4.5bn)

• 55% growth in collections from digital channels (€205m)

• 88% (€6.7bn) of collections from musical repertoire

• 75% (€5.7bn) collections from public performance royalties


Public performance

Mechanical reproduction

Other (private copying, resale right, reprography, lending right, multimedia, karaoke...)

Share Of Collections By Type Of Rights In 2011: Global

74.6% 18.9% 6.5%

7,584

7,514

7,133

7,035

7,141

6,987

6,776

6,502

6,157

6,321

6,4952001

2002

2003

2004

2005

2006

2007

2008

2009

2010

2011

20102009 2011

Africa

Latin America

Asia-Pacific

Canada-US

Europe

Long Term Trend In Global Collections Global Split Of Collections

4,487 4,591 4,537

1,3691,449

1,368

987

1,123 1,270

248

303 36542

49 44

CISAC 2012 Accounts (All figures in €000s)

Total income: €7,190Including:CISAC Members’ subscription: €5,717CIS services invoiced to Members: €947

Total expenses: €6,788Including:CISAC operating expenses: €5,417(includes provision & depreciation but excludes CIS services cost)

CISAC Facts & Figures

Number of Personnel at CISAC• Head Office: 16• Regional offices: 8

In six out of CISAC’s top 20 territories – Argentina, Russia, Brazil, Switzerland, Denmark and Australia – growth in royalties’ collections outpaced GDP growth. In a further two countries – the UK and Japan – collections grew despite flat or falling GDPs. The expanding BRICS economies are emerging as having particular potential for the growth of collections for creators’ rights.

Outlook As the understanding of market dynamics improves,

CISAC is paving the way for existing and new societies to take a pro-active role in market development and secure new deals and collections for creators. The growth experienced in digital collections and in emerging markets gives further indication that CISAC’s actions are putting the focus in the right places. The title of its latest publication on global royalty collections is titled “On the Lookout for Growth” for a good reason: CISAC strongly believes that through its ongoing efforts to promote effective collections, growth will be achieved in the years to come.

2011 collections continue growth trend but experience slowdown, while digital opportunities are maturing


Technological Landscape

Global Repertoire DatabaseCISAC is closely involved in the Global Repertoire Database (GRD) initiative for musical works. The project, which started in 2010, has made major progress in the last 12 months and is now entering the implementation phase.

The GRD will provide, for the first time, a single, comprehensive and authoritative representation of the ownership and control of musical works worldwide. It will massively streamline the business of using music, eliminate the duplication of effort (and cost) in data processing, clearly identify ownership and speed the collection and payment of royalties.

The Requirements and Design phase, which ended in May 2013, set out the business model and rules of the GRD, including a definition of standards for musical works, agreements and repertoire mandates as well as a definition of the technology architecture. A new governing structure for the project was set up and the GRD now has three main bodies: the GRD Working Group, the Programme Board and the Design Authority. CISAC is represented in all groups either directly or through member societies’ representatives. Also, a legal identity for the GRD project is currently being established.

Project delivery is being driven by the GRD Working Group, comprising representatives from 14 organisations of creators, publishers, collective management societies (including CISAC), digital service providers and their trade associations. Nearly 30 organisations, represented by almost 100 individuals, are directly involved in the work worldwide. Thirteen collective management societies for music are supporting the GRD with funding, knowledge and access to their databases. The project is being managed by Deloitte.

A combined use of technology from ICE (International Copyright Enterprise) and FastTrack will serve as the

basis for the future GRD platform and information exchange layer that is expected to go live in January 2015 with the data from the initial R1 (Release 1) Societies.

CISAC participates in all aspects of the GRD development, ensuring that societies’ views are taken into account throughout this process. To assist with this effort, on the occasion of the 20th CIS Sessions (24-28 Sept. 2012), CISAC established a dedicated body to represent the interest of the societies in the project. This body - titled the “GRD Society Council (GSC)” ensures that CISAC’s participation in the GRD project is well coordinated and that its community speaks with one voice. It comprises the so-called R1 Societies (APRA, GEMA, PRS for Music, SACEM and STIM), the first societies to take part in the implementation phase, and 8 additional Societies (ASCAP, BMI, BUMA, SABAM, SGAE, SIAE, SOCAN and UBC) that are also funding the project and provide internal resources to the many requirements and design streams. The group, chaired by CISAC’s Director General, held regular

meetings and coordination calls since its inception and has tracked the GRD progress while aligning societies’ positions and helping non-GRD participants to understand the project’s status.

CIS-NetCISAC’s CIS-Net continues to provide a genuinely global network of creative works information, which is extensively used on a day-by-day basis for the exchange of data amongst CISAC’s community. The database infrastructure has been consolidated to become more robust, stable and reliable.

From the perspective of data contained in the network, a new Data Quality project will contribute to achieving a higher level of metadata accuracy. This project will support a system that will provide and retrieve information to and from the GRD database, the future authoritative source of Societies’ works information. To bring the CIS-Net to this level, additional developments will have to be put in place to enable multi-territory and multi-right support. These developments will impact the core of the system which is the data model, the description of the works information as well as their properties and relationships. The current model has undergone several improvements in recent years, but it now needs to be completely rebuilt to adapt for the new class of information that is required to fully express the territorial information of works documentation.

Standards and IdentifiersCISAC continues its work on the development of an international and comprehensive identifiers landscape. Recent projects involved the following:

- ISWC (International Standard Musical Work Code): a project on the dissemination of ISWCs to third parties, such as data providers and music licensees, has been initiated on the basis of a mandate from CISAC’s Board of Directors. CISAC is in contact with a number of interested online services who have expressed an

interest in receiving ISWCs and integrating them in their reports to societies, and a plan for dissemination is being developed.

- ISNI (International Standard Name identifier): CISAC’s Board of Directors has previously approved the organisation’s participation in the consortium that operates the ISNI International Agency, on the condition that CISAC will provide the matching service for the musical and audiovisual repertoires. The initial ISNI database was created from the founding members’ databases: Bibliothèque National de France, The British Library, CISAC, IFRRO, IPDA, OCLC and ProQuest. ISNI is currently ingesting information from many additional data sources with the objective of both enriching the archive and reconciling party names with public identities. This reconciliation process represents a steer from the original ISNI plan and raised concerns among CISAC’s community. As a result, CISAC has suspended the IPI data extraction process and a Task Force has been appointed to look into the issue more closely and identify the way forward for our community’s involvement in the project.

- ISAN (International Standard Audiovisual number): 19 Registration Agencies (RA) are currently appointed by ISAN-IA, while there is a growing interest for ISAN in Asia. 3 new RA are undergoing the appointment process: Korea, India and China. The ISAN registry is populated with over 825,000 ISAN identifiers allocated to various types of audiovisual content as of May 2013. ISAN works are undergoing a matching process against IDA and, after validation of the matches, the ISAN information is being integrated into IDA database.

CISAC is fully committed to developing the best set of identifiers that will help societies accomplish their goals of reducing costs by better and more accurately identify usages for distribution purposes.

Technological LandscapeTechnological Landscape


José MacarroDirector of Information Systems

Key projects in the technological field are underway


Regional Overview – Europe Regional Overview – Asia PacificEurope is home to more creators’ societies than any other region and is responsible for 60% of all performing rights collections. Despite significant legal, political and economic challenges, collections in 2011 remained solid at over €4.5 billion.

CISAC’s European Committee, which counts 101 members, held its recent meetings in April 2012 in Lisbon and in April 2013 in Bratislava. The agenda included discussions on new business models and role of CMOs; EU copyright initiatives; developments in the audiovisual and visual arts sectors; and the relations between authors’ rights and related rights.

Whilst most European countries have adopted the necessary WIPO treaties and EU directives, a major gap remains in some countries (in particular, in Eastern Europe) between the law and its implementation. The regional office is addressing this situation from both sides and, whenever possible, in cooperation with other organisations, by engaging in a range of lobbying activities and training on good governance and best practices for local societies.

Lobbying for Authors’ RightsIn Bulgaria, CISAC met with the Deputy Minister of Culture and the Council of Electronic Media, obtaining a pledge to facilitate licensing deals with cable operators. In Russia, meetings were held with the local member RAO to engage CISAC’s lobbying support for the accreditation of the collective management system in Russia. In Latvia, CISAC intervened directly in an effort to oppose amendments that could impinge performance rights in broadcasts. In Serbia, CISAC called upon the government to comply with its international obligations and meet the copyright standards of the EU as a potential candidate country. In Romania, intervention by CISAC helped reverse a controversial decision to allow the state supervisory body unlimited access to the databases and data processing resources of local CMOs, including CISAC member UCMR-ADA.

CISAC has made continuous progress in the Asia-Pacific region, with the 29 authors’ societies achieving a growth rate of over 13% during the past two years. Collaboration with music publishers to implement a regional licence offer for iTune is just one success from a very busy year.

Close attention is being paid to the legislative copyright revision in China and the final version of the law, awaiting approval by the Legislative Affairs Office of the State Council, incorporates a number of important points for CISAC. In addition to legislative work, CISAC continues to lobby to secure an increase of the broadcasting tariffs in China.

In India, CISAC has initiated an appeal against a decision that denies the rights of lyricists and composers to collect royalties from broadcasters. Also, as part of a feasibility study on the creation of a new visual arts society, has begun investigating the positions of key stakeholders to collective management in this repertoire.

Focus on Other Developing SocietiesCISAC welcomed the Indonesian collections society WAMI as a member in 2012, helping them with a range of advisory work and organising and funding training of their Executive Director. In the Philippines, CISAC is providing essential training both to the new management team at FILSCAP (Filipino Society of Composers, Authors and Publishers) and the new Executive Director of FILVADRO, the Filipino Visual Arts and Design Rights Organisation. Additionally CISAC is lobbying law makers at the Intellectual Property Office to fully implement new regulations for the resale rights.

In Japan, CISAC has successfully supported the establishment of JASPAR, a new visual arts society that will assume the functions of the current rights management societies, SPDA and the Japan Artists Association.

CISAC has maintained its pressure on the Ukrainian authorities to improve collective management and copyright enforcement whilst a new joint licensing and distribution agreement has been facilitated between the two CISAC music members in Turkey.

Finally, seminars were held in Armenia, Georgia and Uzbekistan where CISAC (in co-operation with WIPO) worked with regional societies and local state authorities to identify improvement opportunities and raise awareness for creators’ rights.

Good GovernanceOver the past year, the Director of European Affairs undertook the compliance review of six randomly-selected European societies; all demonstrated a high level of compliance with CISAC’s Governance Model. Of the 27 European CMOs that have been selected for review over the past four years, only two cases required further steps and the consideration of sanctions to urge improvement.

Training EventsCISAC co-organised three best practice training events for European societies. The Mechanical Right Day in Bucharest attracted 40 participants whilst a four day workshop in Zurich shared best documentation and distribution practices with six developing societies from Armenia, Georgia, Kazakhstan, Kyrgyzstan, Ukraine and Uzbekistan. The annual CISAC Central and Eastern Europe seminar stimulated discussions on best practices in the public performance field with delegates from 27 societies.

In other Asia Pacific countries, CISAC’s Small Societies Development Project has been working to increase licensing revenues in Macau, commence the payment of royalties in Brunei and provide support to societies lobbying to increase licensing tariffs in South Korea and Taiwan.

Training and AwarenessCISAC has commenced best practice training across all member societies and is working to improve the understanding and appreciation of creators’ rights in the region. It has met with the Asian Music Publishers Ltd (AMPS) Board of Directors in Hong Kong, participated in WIPO activities across the region and contributed to conferences such as Music Matters and the Sydney Song Summit. Further meetings are planned to discuss broader issues such as licensing in China, regional new media and the licensing in countries where mechanical rights are not administered by CISAC societies.

Regional Overview – Europe Regional Overview – Asia Pacific


Benjamin NgRegional Director, Asia-Pacific

Mitko ChatalbashevRegional Director, Europe



Regional Overview – Latin America And The Caribbean

Regional Overview – Latin America and The Caribbean CISAC members in the region comprise 47 societies and have achieved the highest worldwide growth rate for rights collections, increasing 25% over the past 24 months. Projected results for the future remain extremely positive.

In addition to the three major markets in the region – Brazil, Mexico and Argentina – CISAC has a real backbone of societies both in the Andean countries of Venezuela, Colombia, Ecuador, Peru, Bolivia and Chile as well as in the countries of Paraguay and Uruguay. With a combined market of around 160 million people, collections in these eight nations have exceeded $100m for the first time with a growth of 30% versus the previous year.

Total coverage of Latin America Digital Market In collaboration with selected publishers, CISAC’s member societies launched the “Latinautor & Publishers” digital one-stop-shop project. It is unique in providing a multi-territorial digital license service across 14 countries

and focuses especially on downloading and interactive streaming services.

New model of Cooperation: Memorandums of Understanding

(MoU) in St. Lucia and MexicoIn September, an MoU was signed in St.

Lucia between the Anglo-American and the English-speaking

Caribbean societies to begin a three year improvement plan to develop areas such as overseas repertoire claims, administrative expenses and financial control. Subsequently, a second MoU

between seven sponsoring societies from Argentina, Mexico, Spain, USA and UK and six Central American societies set out a new cooperation plan to optimise efficiency and professional standards in their regions.

New Audiovisual Societies During the last general assembly, “The Dublin Group” was established to boost the number of audiovisual societies in the region. Community discussions and a series of legal and business intelligence studies identified Colombia, Chile and Panama as having the most favourable conditions. Project feasibility reviews are now underway.

The LatArt Project The LatArt project aims to create a collaborative platform for Latin American visual art societies whilst building alliances with OLA (the European AGP digital platform) to address on-line licensing. A knowledge sharing portal has already been developed whilst operating bylaws and standardised licenses are now coming into effect.

Continuous ImprovementThe regional office is developing a crisis management manual to consolidate the lessons learned during the difficult recent copyright protection and collection campaigns. A white paper has been drafted and distributed among local societies for review.

Additionally, CISAC has been leading an intensive program of training with 37% of local members selected for best practice reviews and a new program launched in coordination with the Finance Director of CISAC, to help society auditors and accountants improve transparency. Other new proposals included a symposium on “Public Policy on Copyright” to build dialogue between governments and the creative community, and formation of a new network of university professors and academics to aid strategy discussion of artistic creation, copyright and the creative economy in the region.

Regional Overview – Africacopyright treaties’ provisions. In practice, however, inadequacies remain. Some countries’ laws have not been revised for almost two decades and the term of copyright protection, penalties and key enforcement measures differ considerably between certain nations. Much can be explained by the differing legal forms that many African CMOs take depending upon the manner in which the individual states had initiated them.

CISAC and its societies are making every effort to bring the entire region into alignment by participating in challenging cross-African initiatives to promote copyright across the continent.

Compliance Assessments A number of African societies have been selected for compliance assessments in recent years. Driven by the new Regional Director for Africa, CISAC believes that this process will help improve the efficiency and transparency of society business practices and deliver tangible results for the creator.

Government Meetings in Burkina Faso and AlgeriaFollowing an invitation from the Minister of Culture and Tourism, CISAC’s Director General visited Burkina Faso in March of this year to participate in the 23rd Ouagadougou Pan-African Cinema and Television Festival. Wider discussions of creators’ rights also focused on the anti-counterfeiting and piracy project that was recently launched by the country’s president. This was followed by a similarly high level visit to ONDA in Algeria where again creators’ rights were at the forefront of the agenda.

Plans were also made to hold a dedicated summit of African Heads of States in which CISAC aims to take an active role to bring its support against counterfeiting and piracy and champion the principles of intellectual property that remain a threat for creators across all of Africa.

Regional Overview – Africa

In Africa, the collective management of creators’ rights has developed significantly in recent years. Whilst CISAC secured a number of important achievements, the collections landscape remains challenging and efforts are accelerating to keep pace with this fast developing region.

CISAC’s 35 members in the Africa region now represent 33 of the 54 countries and, with a further 10 societies expected to join in the near future, collections amounted to about €50 million in 2011. This, however, comprises less than one percent of global collections and just two societies, the Southern African Music Rights Organisation (SAMRO) and the National Office of Copyright and Related Rights (ONDA) in Algeria, account for more than 75% of all African collections. Great gains could be made by strengthening activities in other areas of the region.

Operating Specialisation and Multidisciplinary ActivityGrowth potential is also present in the repertoire

distribution of CISAC’s societies in Africa with the vast majority primarily only managing musical rights, either as their operating specialisation or as the predominant component of their wider activities. Whilst in principal, 80%

of the societies are multi-disciplinary, just four currently demonstrate a full

management of all the repertoires.

The Legal Environment of Collective Management In Africa The legislative protection of literary and artistic works in Africa is sound, with most national laws incorporating the relevant international

Balamine OuattaraRegional Director, Africa

Santiago SchusterRegional Director, Latin America & the Caribbean


Global Activities The Creator’s Voice

Roundtable on Collective Managemenent Moscow, Russia

Asian regional Meeting, Singapore, May 2013

Visit to ACDAM Cuba - Professional Rules Review

Training for Audiovisual Societies, Buenos Aires, Argentina

Government Meeting in Burkina Faso

European Regional Meeting Press Conference in Bratislava, Slovakia

The Creator’s Voice

Over the past 12 months we have made tremendous strides towards our goal of rolling out the CISAC Master Plan and, as part of that, increasing the reach of creators’ voice. By modifying the structure of the organisation and providing new platforms for collaboration, CISAC is greatly enhancing the voice of creators across all regions and repertoires.

As a road map of key projects, the master plan touches on all the elements of CISAC’s work. However, as befits an organisation whose primary responsibility is to its members, a prime objective is specifically focused on supporting creators and rightsholders.

Here we have launched a number of significant initiatives that each aim to help raise awareness of the challenges facing creators and of the importance of properly remunerating both this and the next generation of authors for their work.

Firstly CISAC launched LINK, the multi-repertoire think-tank dedicated to addressing the issues facing creators and authors around the world. As well as providing a forum to discuss global concerns and set strategy, LINK will nominate five leading authors to lobby international law makers to make the right decisions to protect creators’ rights. The first meeting of this new organisation will be on the 4th June 2013, in Washington, and the next year will see LINK spread the authors’ message precisely where their voices need to be heard.

Other work concentrated on the creation of our “Ambassadors Program”, a unique exercise targeted at putting creators back at the centre of CISAC’s activities and raising their profile. The focus of attention on creators and their visibility and influence in CISAC’s work is also well reflected in our ongoing restructuring, which allocates creators a centre stage within our organisation.

The appointment of a number of Vice-Presidents for CISAC continues in the same direction. This year CISAC is changing both the election mechanism and the organisation of its Presidency, to help place the creator’s voice at the very centre. For the first time in its history, the election has been an open process initiated by a call for candidates to the member societies. Additionally, the CISAC Board of Directors has recommended the appointment of more Vice Presidents, to serve as ambassadors for the creative community and increase the representation given to all regions and all repertoires, both within and outside CISAC.

It has been an extremely busy year but the building blocks are in place to make the next 12 months just as productive.

Silvina MunichDirector of Repertoires & Creators Relations

CISAC Increases the Visibility and Impact of Creators

CISAC Annual Report 2013 21

© Matt Rybansky. European Committee Meeting in Bratislava, Slovakia

Seminar on Performance Rights in Budapest, Hungary


The International Council of Dramatic, Literary and Audiovisual Creators (CIADLV) has fully embraced CISAC’s new approach to the promotion of creators’ rights over the past 12 months, demonstrating great progress in a number of areas.

By adopting a multi repertoire methodology, CIADLV has collaborated with the other creators’ councils and societies, heightening the focus on young authors and new forms of production and distribution. The council has worked with CIAM on the “value of our rights” and “moral rights” initiatives and has held its first communication workshop where authors collaborated on strategy and actions. Additionally, a new joint action plan has been launched to help promote authors’ rights and collective management for directors and screenwriters and to support the creation of new audiovisual authors’ societies in Latin America.

Over the next year the key objective is to speed the reform of CIADLV to become a worldwide umbrella organisation of dramatic, literary and audiovisual writers and directors. Statues and organisational structure are being improved, a new roadmap initiated and international representation and visibility increased through new branding and social media strategies.

CIADLV will also continue its collaboration with other international organisations, including cultural and educational institutions, whilst driving the focus on freedom, privacy and rights in the digital environment, creators’ integrity, fair and sustainable innovation and cultural diversity.

The authors that this council represents produce incredible work that unites the public the whole world over and that has a unique place in their lives. It has real value and demands proper remuneration.

Creators’ Councils Updates

CIAMThe International Council of Music Creators (CIAM) has made significant progress towards its goal of an increased global reach, by supporting the growth and membership of two new entities. In South America the formation of ALCAM (Latin American Music Authors Alliance) is strengthening the

promotion of authors’ rights in this region whilst in the US and Canada, a new organisation called “Music Creators North America” has been established and also joined CIAM as a partner member.

Additionally, the existing cooperation with PACSA (Pan-African Composer Songwriter Alliance) and ECSA (European Composer Songwriter Alliance) is strengthening and several common initiatives are already underway.

CIAM also began actively lobbying for creators’ rights by issuing support declarations and with lobbying visits in a number of countries, including Brazil, Costa Rica, Ecuador, India and Malawi. Thanks to these visits, pro-active meetings and the work with LINK the creators’ think tank, the ties and exchange of experience with other repertoire councils are now stronger than ever.

Over the next 24 months, CIAM plans to reach out to more creators in the Asia Pacific region and look for opportunities to form more regional alliances. This will allow creators from the region to take part in the ongoing collaboration within CIAM and to participate in the exciting projects the council has planned. One of these projects is the “Fair Music” initiative that will offer certification to every participant in the music business that adheres to standards of transparency and fair compensation for music creators.

CIAM aims to continue to lobby for creators and study the issues surrounding the defence and promotion of their rights. One aspect of particular importance is the concept of “moral rights” which analyses the balance between creators’ rights, the public interest and the issues surrounding fundamental rights such as freedom of expression.



Lorenzo Ferrero Yves Nilly

CIAGPCIADLV The International Council of Creators of Graphic, Plastic and Photographic Arts (CIAGP) held its general assembly in March of this year with societies from all continents present. The congress began with a roundtable discussion on the future of collective management for this

repertoire and reviewed the organisation’s position in a number of important global rights issues.

These included plans regarding “private copying” that might modify the way royalty on blank media is charged as well as the “orphan works” issue, currently the topic of a directive in the EU and ongoing legislative activities in the USA, which remove the penalty for copyright infringement if the creator of a work cannot be located.

The first positive effects of the “Rio Rules” for the harmonisation of the management of visual arts were also presented and proposals were made to strengthen artists’ resale rights in countries like US, Switzerland, China and India. This was reinforced by the adoption of a resolution to implement article 14ter of the Berne Convention, which provides for these resale right, as a mandatory rule.

The assembly closed with the election of French artist Hervé di Rosa as the new President of CIAGP, taking on the mantle of leadership from Frank Stella after two years of extremely successful work.

Challenges for the coming year include the harmonisation of distribution rules between the authors’ societies, continuing the implementation of the Rio Rules, driving the introduction of resale rights in countries where it does not currently exist in law and improving the OLA (On Line Art) System to drive the international management of the on-demand rights of visual art works.

Hervé di Rosa

M U S I C C R E AT O R S O F T H E W O R L D

© Laurent Villeret / Dolce vita. Left to Right : Frank Stella (US Painter) , Olivier Hinnewikel (CISAC Director General), Aurélie Filippetti (French Minister of Culture and Communication),Werner Stauffacher (CIAGP Rappoteur General), Marie-Anne Ferry-Fall (ADAGP CEO), Pierre Peyrolle (ADAGP President and French Painter)

CIAM Press Conference




The People Behind CISAC (May 2013)CISAC Vice-President And Acting President Hervé Di Rosa (French painter and visual artist)

(3 year-term, elected by the General Assembly in June 2010)

Board of Directors of CISAC (3 year-term, elected by the General Assembly in June 2010):

STIM (Sweden) Kenth Muldin – Chair

SACD (France) Janine Lorente – Vice-Chair

SAMRO (South Africa) Nicholas Motsatse – Vice-Chair

APRA (Australia) Brett CottleARTISJUS (Hungary) András SzingerASCAP (USA) John LofrumentoBBDA (Burkina Faso) Adama SagnonBILD-KUNST (Germany) Urban PappiBMI (USA) Del Bryant

GEMA (Germany) Harald HekerJASRAC (Japan) Mitsuo SugawaraLIRA (Netherlands) Jochem DonkerPRS for Music (United Kingdom) Robert AshcroftSACEM (France) Jean-Noël TroncSADAIC (Argentina) Guillermo OcampoSGAE (Spain) Anton ReixaSIAE (Italy) Gaetano BlandiniSOCAN (Canada) Eric BaptisteUBC (Brazil) Marisa GandelmanVEGAP (Spain) Javier Gutiérrez Vicén

CIS Supervisory Board (CSB)Olivier Hinnewinkel Chair Alan Balchin APRA (Australia)Michael Battiston ASCAP (USA) Harty Bronwen SAMRO (South Africa)Antonio Brunetti SIAE (Italy) Karen Buse PRS for Music (UK) Henk Dekker BUMA (Netherlands) Angel Del Peso Martin SGAE (Spain)Lida Fraticelli SADAIC (Argentina) Johan Hammarström STIM / NORD-IC (Sweden) Willy Heyns SABAM (Belgium) Hansruedi Jung SUISA (Switzerland)Géraldine Loulergue SACD (France) András Oláh ARTISJUS (Hungary) Sylvain Piat SACEM (France) Edward Oshanani BMI (USA) Thimo Prziklang GEMA (Germany) Christian Sarrazin SOCAN (Canada) Kazuhiro Seko JARAC (Japan)Ney Tude UBC (Brazil)Tatiana Urrutia SCD (Chile) Legal CommitteeMelissa Moore SAMRO (South Africa)Jonathan Carter APRA (Australia)Thierry Desurmont SACEM (France)Gábor Faludi ARTISJUS (Hungary)Etel Ferraro SADAIC (Argentina)Eduardo de Freitas AGADU (Uruguay) – Vice-ChairJoan McGivern ASCAP (USA) – Chair

Pablo Hernandez SGAE (Spain)Martti Kivistö TEOSTO (Finland)Carine Libert SABAM (Belgium)Stuart Rosen BMI (United States)Vincent Salvade SUISA (Switzerland)Sydney Sanches UBC (Brésil)Gilles Daigle SOCAN (Canada)Tobias Holzmüller GEMA (Germany)Debbie Stones PRS for Music (UK)Hubert Tilliet SACD (France)Marije Van Der Jagt LIRA (Netherlands)Luisa Vullo SIAE (Italy)Helena Woodcock STIM (Sweden)

Internal Audit Committee José Rafael Farinas SACVEN (Venezuela) Franz Leo Popp LITERAR-MECHANA (Austria) / VDFS (Austria) Cato Strom TONO (Norway)

Governance and Compliance Committee Eric Baptiste SOCAN (Canada) – ChairBrett Cottle APRA (Australia)Janine Lorente SACD (France)Jean-Noël Tronc SACEM (France)Guillermo Ocampo SADAIC (Argentina)András Szinger ARTISJUS (Hungary)

Finance Committee John Lofrumento ASCAP (USA) – ChairNicholas Motsatse SAMRO (South Africa)Marisa Gandelman UBC (Brazil)

CISAC SecretariatDirector General Olivier HinnewinkelDirector of Legal & Public Affairs Gadi OronDirector of Finance & Governance Anne FortierDirector of Repertoires & Creators Relations Silvina MunichDirector of Information Systems José Macarro

Regional Director, Europe Mitko ChatalbashevRegional Director, Asia-Pacific Benjamin NgRegional Director, Africa Balamine OuattaraRegional Director, Latin America & the Caribbean Santiago Schuster

Chairs of main CISAC bodiesInternational Council of Creators of Music (CIAM) Lorenzo Ferrero (SIAE)

International Council of Dramatic, Literary and Audiovisual Creators (CIADLV) Yves Nilly (SACD) International Council of Creators of Graphic, Plastic and Photographic Arts (CIAGP) Hervé Di Rosa (ADAGP)

African Committee Acting Chair: Polisile Ncube (ZIMURA)

Asia-Pacific Committee Scott Morris (APRA), Vice-Chairs: Masayuki Ohara (JASRAC), Jing Ming Qu (MCSC)

Canada/USA Committee John Lofrumento (ASCAP)

European Committee Nenad Marcec (HDS-ZAMP)

Ibero-American Committee Alexis Buenseñor (AGADU)

Legal Committee Joan Mcgivern (ASCAP) Vice-Chair: Dr. Eduardo de Freitas (AGADU)

Radio and Television Broadcasting Technical Committee (CT-RTV) Jakob Huttel (KODA) Vice-Chair: Eduardo Falcone (SADAIC)

Dramatic, Literary and Audiovisual Works Technical Committee (CT-DLV) Jürg Ruchti (SSA)

Distribution Technical Committee (CT-R) Declan Rudden (IMRO) Vice-Chair: Gustavo Gonzalez (ABRAMUS)

Communication Committee Tania Spriggens (DACS) Vice-Chair: Martin Wüthrich (SUISA)

Tribute to Robin Gibb CISAC President and Relentless Champion for the Rights of Creators

On Sunday 20th May 2012, the world lost one of the most talented songwriters and musicians of a generation. Creators, musicians and members of CISAC around the globe also lost a man that for over five years had determinedly campaigned for the defence of their rights.

Robin Gibb’s musical career spanned almost 50 years, beginning with the release of the first Bee Gees single in 1963, and ending just months before his untimely death with a standing ovation following a triumphant concert at the London Palladium in support of injured servicemen. In 2007 he was elected president of CISAC and in this role displayed the tireless dedication to the protection of creators’ rights that led to his unanimous re-election for a further five consecutive years.

“I’m proud to be President of CISAC,” he said during the 2011 World Copyright Summit in Brussels, adding poignantly, “I will keep on fighting for creators’ rights as long as I can draw breath.”

He went on to keep this promise and, throughout his tenure, the contribution he made was immeasurable. As the voice of three million creators around the world, he enthusiastically used his position as President and as one of the world’s most popular songwriters to strongly defend the copyright system, challenging big business and governments whenever they argued that author copyright stifled commercial development. His interventions regularly featured on the global news agenda and the examples of how he personally effected policy change are numerous.

As a direct result of Gibb’s intervention in April 2009, the Croatian government abandoned an initiative that would have dramatically reduced royalties paid by the hotel, restaurant and catering sector. A letter sent by Gibb in November of the same year helped bring about a Presidential veto of a damaging law being proposed in Chile.

He spoke out against the 2008 European Commission Decision that accused authors’ societies of restricting competition and would have been delighted to see that

ruling overturned in April of this year. He also criticised the delay taken by China to adopt a broadcasting tariff and the reluctance of Serbian national broadcaster RTS to pay royalties.

In June 2010 a video message demonstrated Gibb’s solidarity with Brazilian creators and authors’ societies, urging authorities to reject proposed reforms to the copyright act that would be detrimental to creators’ rights. In 2010 and 2011, Gibb strongly supported the Copyright Act reform in India to improve music composers and filmmakers’ rights; a move that helped urge the Indian Senate to adopt the crucial amendments to this act that finally recognised the rights of the creators in this country.

With his strong commitment and restless determination to assist creators, he not only set a very high threshold for future presidents but also reshaped the role, making it both influential and crucial to CISAC’s activities. Such was Gibb’s contribution that this year, the CISAC board of directors recommended the appointment of four vice presidents rather than one in order to continue the momentum that his work brought to the cause of creators’ rights.

In his 2011 World Copyright Summit keynote address, Gibb beautifully summed up the reasons for his devotion to this cause in a statement that, when applied to all repertoires, remains a key defining principal for CISAC and its members today:

“The important thing is to give young people the encouragement to compose and create the big song catalogues of tomorrow without feeling that they’re not going to be in control of their work. That’s the backbone of tomorrow’s industry.”

Robin GibbSinger, Songwriter, President of CISAC, 1949-2012.

Tribute To Robin Gibb

© Bill Waters


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