Performers’ rights
Performers’ rights

Performers have rights in the use of their sound and audiovisual recordings.


Historical! The proportional remuneration of performers endorsed

The ordinance transposing the “copyright” directive, which was torn down hard in Brussels in 2019, thanks to the mobilization of all European creators, was adopted by the French Council of Ministers on May 12, 2021.

This transposition grabs in stone in French law the principle of proportional remuneration for the benefit of performers. The foundation that will allow the adaptation of the remuneration of performers to the digital world has finally been laid.

After 15 years of fighting, negotiations for fair remuneration for performers are finally opening!

The mobilization of performers for their remuneration on the Internet has paid off

Adopted by the European Parliament on April 17, 2019, the “Copyright” Directive establishes the principle of proportional remuneration for artists for the use of their work, in particular on the internet. Its adoption marks a turning point in the history of the rights of performers, finally allowing everyone to be paid as close as possible to the use of their work.

The examination of the “audiovisual” bill by the National Assembly, which transposed this directive into French law, initially scheduled for 2020 was upset by the health crisis.

For reasons of timing, it was decided that proportional remuneration would be adopted by ordinance, that is to say without debate and therefore without the possibility of improving the text.

This decision was the subject of an intense campaign to mobilize artists.

September 2018: all the creative partners meet to defend the European Copyright Directive

On 12 September 2018 MEPs vote again on the draft Copyright Directive. The challenge of this vote is huge for the future of Europe and culture.

EUROPE FOR CREATORS, a gathering of citizens, artists, creators and organizations fighting for the Copyright Directive, is today launching a broad movement calling on citizens and decision-makers to take part in debate and make their voices heard.

Right to remuneration of performers: everything is done at European level

European representatives of performers find, with figures, that their members perceive very little of the impact of broadcasting their recordings on platforms such as Netflix, Deezer or Spotify. To resolve this flagrant injustice, Adami – and his allies Spedidam and AEPO Artis – continue their fight in Brussels, but also in Paris and Berlin. Their wish: the introduction in the future Copyright Directive of an inalienable right to remuneration for performers, managed collectively, for these on-demand uses.

> aepo-artis.org

AEPO Artis is a member of the Fair Internet for Performers coalition of European performers, which advocates for fair remuneration for artists for the online exploitation of their performances.
This coalition is conducting an intense and continuous campaign on a European scale to demand the creation of this right to remuneration based on the principle of an interest in the success of works in which they participate regardless of their exploitation.

This campaign is based on an online petition “Make the Internet Fair for Performers!” Which calls on artists to support this mobilization. Which calls on artists to support this mobilization.

> fair-internet.eu

The french “Liberté de création” law voted in July 2016

From the beginning of the Internet, even before appear the profound changes for all beneficiaries, Adami has proposed innovative solutions to ensure fair compensation for the use and diffusion of artists’ records in the digital economy.

It has participated in all the successive missions over the years, to make the artists’ voices heard and extend their revenues for these new uses. After many setbacks, the “creative freedom” law voted in July 2016 includes two measures on the remuneration of artists for Internet broadcasts:

  • The extension of equitable remuneration to webradios

Just as terrestrial radio, Internet radio stations (webradios) can now freely distribute music in return for a royalty on their turnover. Revenues from webradios are shared 50/50 between artists and producers against about 10/90 before the adoption of the “creative freedom” law.

  • The extension of the private audiovisual copying regime to virtual digital video recorders

The new generation of digital video recorders stores television programs no longer at the user but in the cloud (in the cloud). This measure concerns all Adami associates (musicians, actors …) whose audiovisual performances are stored in this form.

Back top