Author Archives: EC SA

SAVE THE DATE – ECCO CONCERT 2021 DIGITAL EDITION

12 January 2021

The European Composer and Songwriter Alliance is pleased to update you on the broadcasting details of the ECCO concert, featuring the ensemble Slagwerk den Haag.

The 17th edition of the ECCO concert will take place on 2nd February 2021 at 20:00 CET as a one-time, online event. The concert will be streamed on ECSA’s official YouTube channel

You can mark your attendance on our Facebook event so as to stay informed about the direct link to the concert. 

The following composers’ pieces will be performed:

Age Veeroos –  Ma olen suur kuu su silmapiiril/I am the big moon on your horizon
(Estonia)
Davor Branimir Vincze – Na crti crta/Line upon Line 
(Croatia)
Katharina RothGute Reise!
(Austria)
Niels Lyhne LøkkegaardSound x Sound – Music for hi hats
(Denmark)
Petra StrahovnikBETWEEN EAST AND WEST for four percussionists
(Slovenia)
Thierry de MeyAFFORDANCE
(Belgium)*
 

*Thierry De Mey’s work (EROICA PRODUCTIONS) is supported by the Wallonia – Brussels Federation.

For more information on the composers, please see here.

 

The Ensemble: Slagwerk Den Haag 
                         

Photo Credit: Gerrit Schreurs
 
 
Ensemble Members
 Pepe Garcia
Joey Marijs
Niels Meliefste
Marianna Soroka
Frank Wienk

 

For more information on the ensemble, please see here.

TIME AND LOCATION

ECCO concert
2nd February 2021 20:00 CET
Online at ECSA’s YouTube Channel

For more please visit the website eccoconcert.eu or contact
European Affairs and Programme Manager Alicja Swierczek 
alicja.swierczek@composeralliance.org

NEWS FROM ECSA – December Edition

 

ECSA wishes Merry Christmas

Dear friends and colleagues,

The end of this peculiar year gives us the opportunity not only to extend our thoughts to everyone who has been affected by the Covid19 virus, but also to express our gratitude to all of you for your continuous support to ECSA. 

We wish you all a very safe and merry holiday season and a joyful New Year.

The ECSA Team

Meeting of the European Ministers of Culture on recovery measures, gender equality and a free and pluralistic media ecosystem

On 1st December, EU Ministers of Culture gathered online to discuss the recovery measures for the cultural and creative sectors and adopt Council Conclusions on gender equality in the field of culture and on a free and pluralistic media system.

The ministers welcomed the budget’s increase of the Creative Europe programme for 2021-2027 and agreed that the EU Recovery and Resilience Facility (RRF), should benefit the cultural and creative sectors through the various recovery measures designed at national level. German Federal Government Commissioner for Culture and the Media Monika Grütters stated that ”Our discussion confirmed Member States’ determination to continue supporting them at national and EU level, better targeting of recovery aid, adequate information on funding and flexible approach towards travel restrictions”.

In its  conclusions on gender equality in the field of culture, the Council acknowledges the existing obstacles to gender equality in the cultural and creative sector, and invites both EU Member States and the European Commission to take various measures to address this issue, including the promotion of role models, the establishment of synergies between gender equality and cultural policies, the enhancement of equal pay, work-life balance and female entrepreneurship, the promotion of research and data collection on gender equality, the exchange of best practices and guidelines, and the enhancement of projects and initiatives of awareness raising in the framework of EU-funded programmes.

Finally, the Council conclusions on a free and pluralistic media system shows the need for further transparency regulations for online platforms, including on the algorithms used and criteria for enhanced findability and discoverability to strengthen pluralism and cultural diversity.

The EU reaches an informal agreement on the next Creative Europe Programme (2021-2027)

On 14th December 2020, the EU institutions reached a provisional agreement on the next Creative Europe Programme (2021-2027). The next Programme will benefit from an increased budget of approximately 2,2 billion euros. It will also notably put a stronger emphasis on the music sector through the sectorial action “Music Moves Europe” and provide an additional support to audiovisual creators in the MEDIA sub-programme (which could benefit the FFACE committee and audiovisual composers). The Music Moves Europe Programme should now be better equipped to address the challenges faced by the music sector across Europe, notably the fair remuneration of creators, the lack of transparency and data, and the high level of concentration in the music market. This agreement offers a glimmer of hope to the cultural and creative sectors heavily impacted by the COVID-19 crisis but much remains to be done to ensure that all EU Member States make an optimal use of the EU recovery package to support creators and the cultural and creative sectors at national level.

ECSA’s Creators’ Roundtable on Music Streaming

On 1st December 2020, ECSA organised an online event entitled Creators’ Roundtable on Music Streaming.

MEP hosts Alexis Georgoulis (GUE/NGL) and Niklas Nienaß (Greens/EFA) along with speakers Chris Cooke (CompleteMusicUpdate), Michelle Leonard (singer-songwriter), Anton Gourman (Deezer), and Naomi Pohl (British Musicians’ Union) discussed the functioning of music streaming platforms and their impacts on songwriters and composers – as well as shared concerns and information on what could be done to ensure artists are proportionally remunerated. ECSA President Alfons Karabuda welcomed the participants and guided the discussions during the roundtable.

In his welcoming words MEP Niklas Nienaß highlighted the fact that “streaming is here to stay”, but since the focus is on consumer-friendly services, a balance must be found between consumers and creators. Nienaß also stated that in order to achieve fair remuneration for artists, between juristic overview and the free market as it is, it seems that we can no longer wait on the latter to solve the issue.

MEP Alexis Georgoulis complemented that statement by pointing out that, especially during the pandemic, the artistic world has given everything they could to the public – and need to be adequately repaid for their services, not in the form of charity, but with concrete reform and action.

Chris Cooke went on to make an informative presentation on how streaming services are licensed, revealing the complexity of the system.

Anton Gourman followed with a presentation on Deezer’s suggestion for a “user-centric” payment system– a model aiming at a more balanced distribution of revenue by allocating the user subscription fee only to the artists that the user is listening to, as opposed to the market share value model, which favours the most-listened-to artists platform-wide.

Michelle Leonard shared how the current streaming workings impact songwriters, highlighting that they are often ‘lost in translation’ due to the complexity of the music chain, and calling for a fairer revenue distribution within the music industry.

Lastly, Naomi Pohl brought some perspective from the UK,  problematising the fact that even artists with large fan bases have been hit severely by the pandemic crisis. With over 20.000 artists applying to the music industry Hardship Funds as a result of live venues closing in the wake of the pandemic, the issue of streaming royalties being insufficient has been emboldened in yet another way – an issue that the #FixStreaming campaign addresses.

This Creators’ Roundtable was followed by over 150 viewers from 24 countries, with a strong participation from EU policy makers, creators, representatives of Collective Management Organisations and many stakeholders from the music sector and the cultural and creative sectors at large.

Creators Talks at Eurosonic Noorderslag

The discussion about a fair music value chain has become more urgent than ever due to COVID-19 and the closure of live venues, bars and restaurants. As online platforms are increasingly the main avenues to listen to music, how does this new situation affect revenues streams? How can all stakeholders in the music value chain benefit in a fair way?

ECSA calls for an open debate with various parties to have a critical look at the business- and revenue models and discuss the way we can create a ‘fair music value chain’ for all parties, at the ESNS (Eurosonic Noorderslag) conference, on 14th January 11:00 – 12:00 CET (Channel 2). 

The panel will be moderated by songwriter and performer Aafke Romeijn (BAM! Popauteurs) and will include ECSA board member and songwriter Arriën Molema, Executive Chair of the European association of independent music companies (Impala) Helen Smith, Chief Executive of the Music Managers Forum (MMF) Anabella Coldrick, of-Counsel to Independent Music Publishers International Forum (IMPF) Ger Hatton, and co-founder and Managing Director of Complete Music Update Chris Cooke.

The European Commission publishes its first report on the implementation of the 2018 Geo-blocking regulation

On 30th November, the European Commission published the conclusions of its first short-term review of the 2018 Geo-blocking Regulation, which prohibits unjustified geographical restrictions in the sale of goods and services within the EU. This review includes a Commission report and the accompanying Staff Working Document (SWD).

Regarding a possible extension to music the Report concludes “that a further extension of the scope would not necessarily bring substantial benefits to consumers in terms of choice of content, as the catalogues offered are rather homogeneous (in many instances beyond 90%) among Member States”. The Report also highlights potential impacts on the price of services in certain Member States. Last but not least, the report also identifies the potential impact of an extension of the scope to the audio-visual sector but concludes that it needs to be further assessed. As a result, the Commission plans to launch a stakeholder dialogue with the audiovisual sector in order to improve consumers’ access to audiovisual content across the EU.

European Commission’s study on the status and working conditions of artists and creative professionals

As one of the five priority themes of the Council Work Plan for Culture 2019-2022 was ‘An ecosystem supporting artists, cultural and creative professionals and European content’, the objective of the study was to explore the concept of artist status and the working conditions and career paths of artists and creative professionals. ECSA contributed to this study with a survey involving ECSA Members, which highlighted that i) 92% of them are either self-employed or freelancers ii) 69% experience precarious working conditions and iii) 74% cannot live from the income from their artistic profession.

The study, by the European Expert Network on Culture and Audiovisual (EENCA) highlights that “artists and cultural and creative professionals are highly likely to be self-employed, freelancers, work part-time, combine two or more jobs, or do not have a permanent contract, which means that they are often excluded or only partially covered by social security protection”. It also makes several recommendations on the artists’ status, minimum wages, social security, taxation, but also the nature of their income and artistic freedom and expression.

Amongst its recommendations, the study also provides that “the swift and effective implementation of the Copyright Directive is essential to ensure the ability of creators to negotiate and be properly remunerated for the use of their works online. Last but not least, it also states that “lack of collective bargaining practices in the CCS contribute to poor job quality, low income and limited social protection” and recommends that “the conflict between labour law rights and competition law should be resolved so that all artists, including the self-employed, adequately enjoy freedom of association, the right to collective bargaining and the related beneficial outcomes”.

Read ECSA’s summary here.

The European Commission adopts its “Media and Audiovisual Action Plan”

On 3rd December 2020, the European Commission adopted its Media and Audiovisual Action Plan “to support the recovery and transformation of the media and audiovisual sector”. In the Commission’s words, the “Action Plan focuses on three areas of activity and 10 concrete actions, to help the media sector recover from the crisis by facilitating and broadening access to finance, transform by stimulating investments to embrace the twin digital and green transitions while ensuring the sector’s future resilience and empower European citizens and companies”. This Communication includes several positive references to the Copyright and AVMS Directives and helpfully mentions the issue of “work-for-hire” contracts (or buy-out contracts) and its harmful effect which “can “lock in” producers/talents” with those platforms. It also announces future initiatives to foster more diversity in video-on-demand catalogues, including an adequate share of co-produced European works or of European works of non-domestic origin in their services.

Composers Announced for the ECCO concert, Digital Edition 2021

ECSA is pleased to announce the 16th edition of the ECCO concert, taking place online on 2nd February 2021.

The European Composer and Songwriter Alliance is pleased to announce the official programme of the next edition of the ECCO concert, featuring the ensemble Slagwerk den Haag.

The 16th edition of the ECCO concert will take place on 2nd February 2021 as an online streaming event and will feature the works of six composers. Three pieces were selected by the ECCO Artistic Committee, with chair Dušan Bavdek, Jana Andreevska, Irina Hasnas, and Olli Virtaperko,  as well as by a member of the ensemble Slagwerk Den Haag, Fedor Teunisse. The remaining three pieces were selected by the audience through a public voting process.

The composers and their respective pieces selected are: 

  • Age Veeroos –  Ma olen suur kuu su silmapiiril (Estonia)
  • Davor Branimir Vincze – Na Crti Crta (Croatia)
  • Katharina Roth – Gute Reise! (Austria) 
  • Niels Lyhne Løkkegaard – Sound X Sound (Denmark) 
  • Petra Strahovnik – Between East and west for four percussionists (Slovenia) 
  • Thierry De Mey – Affordance (Belgium)

ECSA will announce technical details such as where to watch the concert in due time. 

Nominees & Jury members Announced for Camille Awards 2021

Camille Awards - European Film Composer Awards Logo

ECSA is  glad to announce the lineup for the next edition of the Camille Awards! The Awards will honour three composers of original music for audio-visual artworks in three categories: “Best Orchestral Score”, “Best Electro-acoustic Score”, “Best Original Music for a Series”.

Exceptionally, this year ECSA will also recognise the work of another composer with an “Special” Award.

The members of the International Jury, which consists of film music composers solely, are:

  • David Arnold
  • Patrick Doyle
  • Sophia Ersson
  • Pascal Gaigne
  • Eva Gancedo 

Visit the Camille Awards website for more news about the nominees and the International Jury! Or follow us on Facebook!

Winners of the Ivors Composer Awards 2020 announced!

The Ivors Composer Awards 2020 celebrates works that are composed by a UK born or ordinarily resident composer and received a UK premiere performance, either live or broadcast, between 1st April 2019 and 3rd March 2020. Nominations were announced on Tuesday 3rd November. The winners were revealed on Tuesday 1 December as part of a two-hour ceremony broadcast exclusively on BBC Radio 3.

In addition to the eleven categories, three Gift of the Academy Awards were presented as part of the BBC Radio 3 broadcast on 1st December. These included an Academy Fellowship, the highest honour bestowed by The Ivors Academy, the Innovation Award and the Ivor Novello Award for Outstanding Works Collection.

NEWS in MAP: Survey to women in formal leadership positions in music organisation 

In the framework of NEWS in MAP, a three-year strategic partnership project funded by the European Commission’s Erasmus+ programme, the Association of European Conservatories (AEC) has launched a survey addressed to women in formal leadership positions in music organisations. The survey aims to gather female leaders’ opinions on which skills and training are necessary to assume formal leadership positions, and their perceptions of barriers to leadership.

The NEWS in MAP project seeks to raise the consciousness of women in relation to their suitability for positions of leadership, to increase both the participation of women at all levels of decision making and the opportunities for women to assume leadership roles. The context for this project lies in the discrepancy between the skill sets required by the greater music career and the traditional education available at music departments of European Conservatories and Music departments of European Universities.

European Film Awards’ European Original Score announced!

Dascha Dauenhauer won the European Original Score 2020 of the 33rd European Film Awards (EFA) for Berlin Alexanderplatz

The score in Berlin Alexanderplatz makes use of the entire spectrum of film music – from big orchestral arrangements to chamber-like strings, electronic and immersive sounds to pop music. Dascha Dauenhauer’s impressive score blends perfectly with the sound design and continuously propels the story forwards.

Listen to the score here.

Many calls open for music artists!

JUMP is looking for professionals with great ideas!

What is JUMP? Co-funded by the Creative Europe Programme of the European Commission, JUMP – the European Music Market Accelerator provides a framework for music professionals to develop innovative business models. It aims to help the music sector adapt to the recent transformations of the market, while encouraging it to work on a transnational level.

How does it work? For nine months, 10 to 20 participants coming from all over Europe will have the opportunity to develop their projects and ideas, and to benefit in parallel from an extensive training and a personalised tutorship. JUMP will offer three fellowships over its duration (2018-2022), each taking place respectively in 2019, 2020 and 2021.

If you are an experienced professional developing an innovative idea addressing one or more of the music industry’s needs feeling that you are missing the necessary tools, knowledge and networks to support its development, apply before Monday February 1st, 2021!

Apply and find out more here.

i-Portunus 2020-21 needs artists to support international collaborations!

i-Portunus is an EU mobility scheme supporting artists, creators and cultural professionals, with the aim of supporting international collaborations. A second pilot-project has been selected and co-funded by the Creative Europe Programme and is implemented by a consortium headed by Goethe-Institut with Institut français and Izolyatsia.

i-Portunus will launch five open calls for applications, targeting artists, creators and cultural professionals in music, literary translation, architecture and cultural heritage in December 2020, January 2021 and February 2021.

Calls for applications for the music and literary translation sectors are now open until 28th February 2021.

Create an account at my.i-portunus.eu and fill in the online application form to apply!

Carmen Mateu Young Artist European Award 2021 is searching for talents!

Call for nominations: Carmen Mateu Young Artist European Award !

The Castell de Peralada Private Foundation announces the Second Edition of the Carmen Mateu Young Artist European Award, Opera and Dance, aimed at the category of opera, and specifically at the discipline of composition. The award recognises young artists for the excellence of their career in Europe, deserving support in their development.

On Friday 27th November 2020, the period for receiving nominations began, ending on 28th February 2021 at 23:59 GMT.

The prize will be a total of 30,000 euros gross (subject to applicable tax) for the commissioning of a pocket opera, a trophy created by the artist Santi Moix and produced by the renowned creative jewellers’ Bagués Masriera, together with the option of mentoring with the composer Alberto García Demestres and Medal of Honour of the Festival Castell de Peralada, during the creative process of the work.  

The premiere will take place at the Festival Castell de Peralada and will be co-produced by the Gran Teatre del Liceu in Barcelona and the Teatro Real in Madrid, where it will also be performed later.

The prize will be distributed as follows: 

  • the first 10,000 euros will be awarded at the same time as the award ceremony;
  • the next 10,000 euros will be awarded during the process of creating the work commissioned by the Castell de Peralada Festival, at the time determined by the Festival;
  • and the remaining 10,000 euros will be awarded when this opera is premiered at the Castell de Peralada Festival. 

You can find the rules and requirements for submitting applications here

COMPOSERS ANNOUNCED FOR ECCO, DIGITAL EDITION 2021

11th December 2020

The European Composer and Songwriter Alliance (ECSA) is pleased to announce the official programme of the next edition of the ECCO concert, featuring the ensemble Slagwerk den Haag.

The 16th edition of the ECCO concert will take place on 2nd February 2021 as an online streaming event and will feature the works of six composers. ECSA will announce where to watch the concert in due time. 

Three pieces were selected by chair Dušan Bavdek (Slovenia), Jana Andreevska (North Macedonia), Irina Hasnas (Romania), and Olli Virtaperko (Finland),  as well as by a member of the ensemble Slagwerk Den Haag, Fedor Teunisse (Netherlands). The remaining three pieces were selected by the audience through a public voting process.

Below the list of the composers and the respective pieces which will be performed:

Age Veeroos –  Ma olen suur kuu su silmapiiril
(Estonia)
Davor Branimir Vincze – Na crti crta
(Croatia)
Katharina RothGute Reise!
(Austria)
Niels Lyhne LøkkegaardSound x Sound
(Denmark)
Petra StrahovnikBETWEEN EAST AND WEST for four percussionists
(Slovenia)
Thierry de MeyAFFORDANCE
(Belgium)*

 

*Thierry De Mey’s work (EROICA PRODUCTIONS) is supported by the Wallonia – Brussels Federation.

For more information on the composers, please see here.

THE ENSEMBLE

Hailing from The Hague, Slagwerk Den Haag has been a leader in performing both familiar and lesser-known percussion pieces, in the Netherlands and abroad, since 1977. With a repertoire comprising hundreds of works from all over the world and collaborations with partners from various disciplines, the ensemble tests the possibilities of ordered sound and new instruments.

Photo Credit: Gerrit Schreurs

Ensemble members

 Pepe Garcia
Joey Marijs
Niels Meliefste
Fedor Teunisse
Frank Wienk

 

TIME AND LOCATION

ECCO concert
2nd February 2021
Online

Stay tuned for more information on where to watch the concert.

For more please visit the website eccoconcert.eu or contact
European Affairs and Programme Manager Alicja Swierczek 
alicja.swierczek@composeralliance.org

NEWS FROM ECSA – November Edition

 

Joint letter from the Cultural and Creative Sectors on the inclusion of culture in the EU Recovery and Resilience Facility (RRF)

In these joint letters to the European Commission and national governments, ECSA alongside 110 organisations from the cultural sector urged to protect culture and make it an integral part of the recovery plans of the Recovery and Resilience Facility (RRF). The Recovery and Resilience Facility is the key instrument at the heart of NextGenerationEU, the EU recovery plan designed to help the EU emerge stronger and more resilient from the current crisis.

The letters ask that at the very least 2% of national RRF budgets are allocated to the CCSs, as called for by the European Parliament in its recent Resolution on the “Cultural Recovery of Europe”.

The letter states that “it is our common duty to preserve culture in these challenging times, and we hope you will do everything possible to safeguard the diversity, vibrancy and richness of Europe’s Cultural and Creative Sectors”.

ECSA’s reacts against Spotify’s recent announcement

ECSA spoke out against the recent announcements by Spotify to “amplifying artist input in personalized recommendations” in exchange of lower royalty rates. Spotify per-stream rate is already one of the worst amongst streaming platforms. ($.003 and $.005 at best).

“As music creators heavily suffer from Covid 19 and its consequences, promising more exposure in exchange of lower royalty rates shows once more Spotify’s profound disrespect to the community of creators who struggle to make a living”, ECSA stated.

Read our full statement here and several press articles about the statement herehere and here.

The EU reaches a provisional agreement on the EU Budget with a sharp increase for the next Creative Europe Programme (2021-2027)

The European Parliament, the Council of the EU (EU Member States) and the European Commission reached a provisional agreement on the next EU budget (Multi Financial Framework budget from 2021 to 2027). While the European Parliament and Member States still need to formally approve the deal, the EU negotiators agreed to dedicate 600 million more to the next Creative Europe Programme, on the top of the 1 642 millions agreed by the European Council in June. This means that the Programme will benefit from a budget of approximately 2,2 billion euros, an increase of 50% in comparison with the 1,4 billion for the current Programme (2014-2020).

This is clearly good news for the future of the Creative Europe Programme, including for the future Music Moves Europe sectorial action which should be able to benefit from additional funding. However, as EU Member States now still need to formally approve this provisional agreement, some of them (in particular Poland and Hungary) refused to do so until now. Despite this obstacle, we are confident that the EU budget will eventually be approved and that the Creative Europe Programme regulation will be adopted soon and benefit from a sharp increased budget in the coming years.

Two studies launched under the 2018 Music Moves Europe Preparatory action finally published by the European Commission

ECSA participated to the consultations undertaken by the authors of those studies by bringing its glance on the music sector and the specific challenges faced by composers and songwriters.

Feasibility study for the establishment of a European Music Observatory (EMO)

The specific objective of the study was to analyse different scenarios for the set-up and operation of the Observatory (a core strategic resource to drive relevance and value for future policy actions in the music portfolio), taking into account the specific characteristics and requirements of the European music sector. 

The study shows that: “as data collection in the field of music is fragmented, scarce and poorly-harmonised, a European Music Observatory would help fill data gaps, contribute to a better knowledge of the sector and help inform music sector policy within Europe”.

It concludes that “having an independent, fully-fledged EMO would allow for a more inclusive governance structure and ensure that the needs of stakeholders and policymakers are met. However, the most feasible option would involve starting on a modest scale with the view of increasing the scope of the Observatory over a period of time, potentially reaching a fully-fledged independent structure in the future”.

To be more precise, “a number of approaches for scaling-up have been presented in this study, and the authors can conclude that a structure housed and coordinated within the Commission that conducts a number of activities in parallel, working with a number of different interested partners could serve this goal in the short-term”.

Read the study here.

Read a short summary of the study here

Analysis of market trends and gaps in funding needs for the music sector

The primary objective of the study was to identify future market trends and funding needs for the music sector in Europe: what is currently being addressed sufficiently by the Creative Europe programme and what is not.

It covers many topics: From key trends in the music sector (recorded music industry, streaming and piracy, consumption & audiences) to a gap analysis in funding needs at European and national level.

It also identifies 16 key policy recommendations, articulated around  three main ideas : the importance of ensuring tailor-made actions for music under the CE funding programme, promoting the awareness of music sector organisations of funding opportunities by other EU programmes and transparency requirements (to better monitor the cross-border circulation of repertoire but also allow music professionals gain a finer and more granular understanding on how the digital music environment affects their business practice, by enhancing transparency for streaming platforms for example).

Read the study here.

Read a short summary of the study here.

ECCO Concert 16th edition – Public Voting is open!

ECSA is pleased to announce the 16th edition of the ECCO concert, taking place online on 2nd February 2021.

Much like all other concerts and cultural activities in the past several months and the months foreseen, ECCO is also going digital. Adapting to these new circumstances due to the COVID-19 pandemic does not have to hinder the connectivity events such as these have to offer, however. In line with ECSA’s objective to embrace digital tools and engage the audience in new ways, ECSA is premiering public voting for the ECCO concert this year.

The audience has the chance to vote for their favourite pieces by a selected pool of talented composers who submitted their work for this concert edition. Most voted for pieces will then be brought to life by the ensemble Slagwerk Den Haag, in a one of a time, online stream.

Here you can go on the ECCO website, where you can find a short introduction to the nominated composers, listen to their pieces, as well as register your vote by 9th December, 24:00 CET. One vote can be registered per e-mail address.

The ECSA’s Creators’ Roundtable on Music Streaming

As live venues are closed, music lovers have turned to streaming services to reconnect with their favourite music. But how does music streaming function? How do creators feel about music streaming? Is it a sustainable model? What are possible alternatives to current streaming models?

ECSA invites policy makers, music sector experts and creators to answer these questions during the Creators’ Roundtable on 1st December 2020, 13:00 CET.

With: Members of the European Parliament Alexis Georgoulis, Niklas Nienaß and the support of the Cultural Creators Friendship Group (CCFG).

Last chance to participate!

Register today before 14:00 CET (Monday, 30th November)

Capacity Triangle webinar – Creators & their Managers

On 26th November, ECSA organised a Capacity Triangle webinar on the relationship between music creators and managers in collaboration with the European Music Managers Alliance (EMMA), which gathered 70 participants from more than 15 different countries.

Throughout the 1st panel, the speakers exchanged on the creators’ and managers’ personal experiences and they gave the attendees practical entrepreneurial tips. 

With: Arriën Molema, BAM! Popauteurs (The Netherlands)- Kate Havnevik, NOPA (Norway) – Marie Dimberg, Dimberg Jernberg Management (Sweden) – Joan Vich Montaner, Ground Control (Spain).

During the 2nd panel ECSA & EMMA representatives exchanged on the current measures taken in the frame of the current COVID19 pandemic to improve the remuneration and working conditions of music creators. 

With: Per Kviman, Versity Music and EMMA Chair (Sweden) – Marc du Moulin, ECSA Secretary General – Arriën Molema, BAM! Popauteurs and ECSA board member (The Netherlands).

Both panels were moderated by Anna Lidell, chair for the organisation of songwriters and composers in Denmark, DJBFA, The recording of the webinar will be soon available on ECSA’s YouTube channel.

International Young Talented Composers Competition by Oscar Navarro Music

The online International Young Talented Composers Competition organised by Oscar Navarro Music aims to give visibility and support to talented young people, amateurs or professionals, in the field of symphonic music composition.

Composers from 18 to 39 years old can submit their work until 15th March 2021.

For more information about requirements and registration, please see here.

Classical:NEXT Encore

Classical:NEXT Encore is a new online event series from Classical:NEXT, dedicated to music industry professionals. It takes place three to four times a year, offering sector and regional meet ups, presentations of the latest innovations and developments, project pitches and of course, music and networking. For the first series, taking place from 30th November to 11th December, topics include coaching and psychological support, understanding media landscapes and podcasting.

For more information and registrations, please see the website.

Trempolino and Sacem present Slash Program – season 2: open call

Slash is a European learn­ing pro­gram ded­ic­ated to 9 emer­ging pro­fes­sion­al song­writers-pro­du­cers from all over Europe, who wish to step up their career.

The main goals of this pro­gram is to sup­port creation in this new con­text and to provide con­crete and prac­tic­al tools to solve issues, detect new oppor­tun­it­ies and deal with day-to-day life.

The program :

  • three 6-days workshops in Lisbon (PT), Aarhus (DK) and Nantes (FR) (TBC),
  • an individual coaching program (online)
  • inspiring meetings with professionals from cultural & creative industries
  • a creating residency with the mentors

The themes addressed will be actual, innovative and practical : designing a SLASH musician brand based on storytelling, marketing and operational direct-to-fan strategy, monetizing the artist’s music, discovering future issues of music (connected speakers, blockchain, artificial intelligence, algorithm…), understanding the entire author’s right and copyright value chain and composing in a binaural approach, etc.

The program also includes networking opportunities on international festivals and showcases. 

The learning program is completely free. Travel, housing and catering, coaching and workshops expenses are covered by the program.

This program has been created and is curated by Trempolino and Sacem. It is co-founded by the European Union through its Music Move Europe program.

Apply before 6th December 2020 here.

The members of the Cultural Creators Friendship Group (CCFG) live!

On 4th December 2020 from 09:00 to 11:00 CET, the first public event of the Cultural Creators Friendship Group (CCFG) gets live and online. The Cultural Creators Friendship Group (CCFG) is a cross-partisan coalition in the European Parliament (EP) with members from six different political groups. Its aim is to improve the whole European cultural ecosystem and especially the situation and conditions of creators, e.g. authors, performers and artists.

The Members of the CCFG will present themselves, explain what the CCFG is and does, and discuss the current situation of cultural creators in the EU.

With: Mariya Gabriel, European Commissioner for Culture, Alexis Georgoulis, Laurence Farreng, Ibán García del Blanco, Niklas Nienaß and many more.

Sign up here.

 

ECSA’s reaction to Spotify’s suggestion to “amplifying artist input in personalized recommendations” in exchange of lower royalty rates

 

16th November 2020

The European Composer and Songwriter Alliance (ECSA) represents over 30,000 professional composers and songwriters in 27 European countries. Our main objective is to defend and promote the rights and interests of music authors.

Today, we feel compelled to speak out against the recent announcements by Spotify to allegedly “amplifying artist input in personalized recommendations” in exchange of lower royalty rates.

According to recent data, Spotify’s per-stream rate is already one of the worst amongst music streaming platforms and has further decreased recently. On average, Spotify pays most artists between $.003 and $.005 for each stream[1], in the best possible scenario. The company also appealed against better royalty rates for songwriters in the US while the average yearly salary of a Spotify’s employee hit $132,301 in 2018 – more than double what it was in 2011[2].

Now and in the foreseeable future, music creators heavily suffer from the COVID-19 pandemic and its consequences all over the world, with a lock-down for most cultural activities and a severe decrease of royalties’ that will continue impacting music creators in the long term.

In that context, Spotify’s suggestion to promise more exposure in exchange of lower royalty rates shows once more its profound disrespect to the community of creators who struggle to make a living. Such a “payola” also puts the spotlight on Spotify’s opaque practices which effectively results in a pay-for-play model to the benefit of a few players with detrimental consequences for the vast majority creators, consumer choice and cultural diversity alike.

Music creators are at the very source of all music on Spotify and have effectively subsidised its lack of a proper business model for years. They should not be financing yet another broken idea and deserve more respect from this company, whose current model prevents an overwhelming majority of them to make a living. It is more than time creators receive appropriate and proportionate remuneration for the use of their works.

As policy makers in Europe are implementing the Copyright Directive and increasingly considering how to regulate digital gatekeepers and the use of artificial intelligence, we encourage them to engage in critical assessment on the functioning of music streaming services including on the tools (such as playlists) they provide. We also encourage public authorities to review and analyse the distribution of streaming revenues to various categories of rights-holders so that music creators can be properly paid for the use of their works and continue to be at the source of Europe’s cultural diversity.

[1] https://www.digitalmusicnews.com/2020/08/17/how-much-does-spotify-pay-per-stream-latest/

[2] https://www.musicbusinessworldwide.com/the-average-salary-of-a-spotify-employee-hit-132301-last-year-more-than-double-what-it-was-in-2011/

Picture Credits: C D-X 

Please download the pdf here.

Letter to the European Commission & Member States: Culture in the RRF

November 2020

Culture has always been a vibrant social resource, able to heal wounds in times of crisis. Culture carries tremendous intrinsic value and contributes significantly to the economy, with 4.2% of the EU GDP and 7.4 million jobs created.

Cultural and creative sectors (CCSs) themselves are among the most seriously damaged by the pandemic. Cultural activities are being halted, millions of jobs are frozen or wiped out, micro and small businesses are on the brink of bankruptcy and many talents are forced to leave the sector altogether.

“It is our common duty to preserve culture in these challenging times, and we hope you will do everything possible to safeguard the diversity, vibrancy and richness of Europe’s Cultural and Creative Sectors”.

In these joint letters to the European Commission and national governments, ECSA alongside 110 organisations from the cultural sector urge to protect culture and make it an integral part of the recovery plans of the Recovery and Resilience Facility (RRF).

 

Signatories:

Amateo – Europe’s Network for Active Participation in Culture | Arty Farty | Association de producteurs de cinéma et de télévision (Eurocinema) | Association des Centres Culturels de Rencontre (ACCR) | Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen (AEC) | Association of European Performers’ Organisations (AEPO-ARTIS) | Association of European Radios (AER) | b.creative network | Biennale des Jeunes Créateurs de l’Europe et de la Mediterranée (BJEM) | BOZAR – Centre for Fine Arts | Centre Européen de Musique (CEM) | Centre of the Picture Industry (CEPIC) | Circostrada – European Network for Circus and Street Arts | Coalitions Européennes pour la Diversité Culturelle (CEDC) | Confédération internationale des cinémas d’art et d’essai (CICAE) | Culture Action Europe (CAE) | De Concert! Fédération Internationale de Festivals | European Association of Archaeologists (EAA) | ELIA – globally connected European network of higher arts education | ESNS (Eurosonic Noorderslag) | EU National Institutes for Culture (EUNIC) | Europa Cinemas | Europa Distribution – The European Network of Independent Film Publishers and Distributors | Europa Nostra | Europavox | Europe Jazz Network (EJN) | European and International Booksellers Federation (EIBF) | European Arenas Association (EAA) | European Association for Music in Schools (EAS) | European Association of Independent Music Companies (IMPALA) | European Audiovisual Production (CEPI) | European Children’s Film Association (ECFA) | European Choral Association – Europa Cantat (ECA-EC) | European Composer & Songwriter Alliance (ECSA) | European Concert Hall Organisation (ECHO) | European Council of Associations of Literary Translators (CEATL) | European Creative Business Network (ECBN) | European Creative Hubs Network (ECHN) | European Cultural Foundation | European Dancehouse Network (EDN) | European Fashion Heritage Association (EFHA) | European Federation of Fortified Sites (EFFORTS) | European Federation of Journalists (EFJ) | European Federation of National Youth Orchestras (EFNYO) | European Festivals Association (EFA) | European Games Developer Federation (EGDF) | European Grouping of Societies of Authors and Composers (GESAC) | European Historic Thermal Towns Association (EHTTA) | European Music Council (EMC) | European Music Exporters Exchange (EMEE) | European Music School Union (EMU) | European network for live music associations (Live DMA) | European Network for Opera and Dance Education (RESEO) | European Network of Cultural Centres (ENCC) | European Network on Cultural Management and Policy (ENCATC) | European Publishers Council (EPC) | European Route of Industrial Heritage (ERIH) | European Theatre Convention (ETC) | European Union of Music Competitions for Youth (EMCY) | Europeana Foundation | Europeana Network Association | Eurozine | Fédération européenne des écoles de cirque professionnelles (FEDEC) | Federation of European Publishers (FEP) | Federation of European Screen Directors (FERA) | Federation of Screenwriters in Europe | Future for Religious Heritage (FRH) | ICMP – The global voice of music publishing | IFPI – representing the recording industry worldwide | IN SITU, European platform for artistic creation in public space | Independent Music Publishers International Forum (IMPF) | Innovation Network of European Showcases (INES) | Interactive Software Federation of Europe (ISFE) | International Artist Organisation of Music (IAO) | International Association of Art (IAA) Europe | International Association of Music Information Centres (IAMIC) | International Association of Music Libraries, Archives and Documentation Centres (IAML) | International Federation of Actors (FIA) | International Federation of Film Distributors’ Associations (FIAD) | International Federation of Film Producers Association (FIAPF) | International Federation of Musicians (FIM) | International Music+Media Centre (IMZ) | International Network for Contemporary Performing Arts (IETM) | International Video Federation (IVF) | Jeunesses Musicales International (JMI) | Kids REGIO | Literature Across Frontiers (LAF) | Liveurope – the live music platform for new European talent | Michael Culture Association (MCA) | National Association of Music Merchants (NAMM) | Network of European Museum Organisations (NEMO) | News Media Europe | Northern Dimension Partnership on Culture (NDCP) | On the Move | Opera Europa | Pearle* – Live Performance Europe | REMA – European Early Music Network | Res Artis – Worldwide Network of Arts Residencies | SHAPE platform | System Europe | Société des Auteurs et Compositeurs Dramatiques (SADC) | South East European (SEE) Heritage Network | The European Network for Professional Chamber Choirs (Tenso) | The International Federation of Reproduction Rights Organisations (IFRRO) | The Society of Audiovisual Authors (SAA) | Trans Europe Halles (TEH) | UNI Global Union – media, entertainment & arts (UNI MEI) | Union Internationale de Cinémas (UNIC) | We are Europe | Yourope – The European Festival Association

NEWS FROM ECSA – October Edition

 

 

Joint letter from the Cultural and Creative Sectors (CCSs) in support for culture

As the COVID-19 crisis had a disastrous impact on the livelihood of millions of creators and cultural professionals, ECSA and many other European organisations from the CCSs sent a joint letter to BUDG, ECON and CULT MEPs on Tuesday 20th October. The letter asks MEPs to support a number of amendments tabled on the draft Report on a Recovery and Resilience Facility. These amendments which are in line with the European Parliament’s recent resolution on the cultural recovery of Europe, for at least 2% of the Recovery and Resilience Facility to be earmarked for the cultural and creative sector.

ECSA, FERA and FSE advocate for a consistent EU framework for collective bargaining agreements

On 21st  October 2020, ECSA, FERA (Federation of European Film Directors) and FSE (Federation of Screenwriters in Europe) continued their dialogue with the European Commission on the interplay between competition law and collective bargaining agreements. They stressed that the application of competition law in various EU Member States allows authors to collectively bargain in some countries but refuses them this facility in others, even though the Copyright Directive very much encourages collective bargaining. The three associations ask the European Commission to eliminate these discrepancies to ensure collective bargaining can improve authors’ remuneration and working conditions.

ECSA participation to a CULT focus group on “CCS in post Covid-19 Europe” 

“Measures related to cost – reduction for the CCS, updated legal frameworks and status of the artist / freelancer”

On 21st October 2020, ECSA took part in a focus group implemented in the framework of the study “Cultural and Creative Sectors in post-COVID-19 Europe–Crisis effects and policy recommendations” commissioned by the European Parliament’s Committee on Culture and Education (CULT Committee). This study aims at providing an aggregated analysis of medium and long-term effects of the COVID-19 pandemic on the cultural and creative sectors and propose adequate policy recommendations for the sustainable recovery of the sectors. ECSA highlighted the necessity of implementing the Copyright Directive in order to increase authors income from the digital exploitation of their works as well as providing artists and freelancers fundamental social rights. 

ECSA welcomes the Cultural Creators Friendship Group’s strong and ambitious working plan

The Cultural Creators Friendship Group (CCFG) is a cross-partisan coalition in the European Parliament (EP) with members from six different political groups, which aims at improving the whole European cultural ecosystem – i.e. the Cultural and Creative Sectors (CCS) – and especially the situation and conditions of creators, e.g. authors, performers and artists. On 8th October, the CCFG adopted its working plan, which focuses on several key topics for authors, such as creators’ working conditions and contract situations (in particular buyout contracts), fair and transparent remuneration, the implementation of the current EU legislative framework and collective bargaining agreements, gender equality, accessibility to EU funds dedicated to Covid19, importance of data usage for appropriate remuneration of creators, transparency of algorithms of streaming services, and the impact of artificial intelligence on cultural creation. ECSA welcomes this working plan and is very much looking forward to working with the CCFG Members in the future.

ECSA at SoundTrack_Cologne

On 15th October, ECSA Secretary General Marc du Moulin participated to a panel on Music Politics at SoundTrack_Cologne, with Prof. Dr. Gerhard Pfennig (Initiative Urheberrecht), Matthias Hornschuh (GEMA Aufsichtsrat), John Groves (Composers Club), Micki Meuser (DEFKOM+GEMA Aufsichtsrat), moderated by Anselm Kreuzer. While the discussion focused on the implementation of the Copyright Directive in Germany, Marc presented the state of play of the Directive’s implementation in Europe and the guidelines envisaged by the European Commission on Article 17.

ECSA at Jazz Now

EU Affairs and Programme Manager Alicja Swierczek participated in the panel entitled “EU-copyright policy and music streaming questions and answers for jazz creators”  in the frame of the event JAZZ NOW (Deutsche Jazzunion) on 15th October 2020. The discussion focused on the state of play of the implementation of the EU Copyright Directive and the newest draft law in Germany. Furthermore, the panelist explained the revenue streams of the digital exploitation of music on platforms as well as live streaming of concerts.

 

Submission deadline for the ECCO concert 2021

ECSA’s ECF Committee members are invited to submit pieces for the ECCO concert foreseen for February 2021. More here.

Furthermore, ECSA announces that the concert will take place in a digital format. More information to follow in the coming weeks.

ECCO concert 15th edition broadcasting date! 

The September edition of the ECCO concert will be available for two weeks on radio 100,7‘s website starting from November 4th . Co-organised with FLAC, this edition featured works of 6 amazing composers: Jouni Hirvelä (Finland), Ziv Cojocaru (Israel/Austria), Krzysztof Ratajski (Poland), Jan Martin Smørdal (Norway), Henrik Strindberg (Sweden) and Roland Wiltgen (Luxembourg). Their works were performed by the talented ensemble United Instruments of Lucilin and conducted by Thomas Goff in the Luxembourg’s Philharmonie.

Listen to the concert here.

More about ECCO here.

ECSA’s members lounge on Gender & Equality

On 28th October, ECSA members met in an informal ECSA lounge videoconference to exchange about gender and diversity initiatives in their organisations and countries.

ECSA thanks all the participants and look forward to pursuing the productive discussion in a further meeting!

 

In memoriam: Jean-Marie Moreau

ECSA mourns the loss of Jean Marie Moreau, who passed away on 29th October 2020. Our sincere thoughts and condolences go to Jean-Marie’s family and friends. Jean-Marie Moreau was a French songwriter working mainly for pop artists. He also wrote musicals. He worked as a composer, publisher and producer for advertising music and as artistic director for some young performers. Jean-Marie Moreau was elected on to the ECSA board in February 2013 and within the network and various organisations in France, he advocated fearlessly and tirelessly for authors rights and for creating better conditions for music creators. We will always remember him with gratitude, as a colleague, friend and mentor to many music creators in Europe and around the world.

New board at UNAC

On Monday 28th October, UNAC held a General Assembly at the end of which the partial renewal of the Board of Directors was announced. 6 positions were filled. The following were therefore elected or re-elected: Marco Attali, Jean-Marie Leau, Benoît Menut, Etienne Forget, Frédéric Kocourek, and Patrice Mercier.

The Board of Directors, which was held following the assembly, made it possible to elect the new board:

  • Chairman: Laurent Juillet.
  • Vice-presidents: Anne Dorr, Frédéric Kocourek, Patrick Lemaître, Christine Lidon.
  • Secretary-General: Patrice Mercier.
  • Deputy Secretary General: Laure Desbre.
  • Treasurer: Benjamin Bleton.
  • Assistant Treasurer: Raphaël Pottier.
  • Directors: Marco Attali, Alain Chamfort, Dominique Dalcan, Etienne Forget, Anne Goldstein, Jean-Marie Leau, Benoît Menut, Michel Pelay, Richard Seff.

“We wish them good luck and all the positive energy necessary to carry out the missions that will be theirs for this new exercise” said Patrice Mercier, Secretary-General.

Ivors Academy Board Directors statement for Black History Month

“If a race has no history, it has no worthwhile tradition, it becomes a negligible factor in the thought of the world, and it stands in danger of being exterminated.” Carter G Woodson, ‘The Father of Black History’

“Black History Month is a time to recognise, value and honour the achievements of black people throughout every aspect of society and life.

The Ivors Academy takes this annual moment of celebration to reflect on the outstanding and far-reaching contribution that music creators of African and Caribbean heritage have made to British musical life and music creativity throughout the world.

The importance, significance, and influence of black music creators to popular music and beyond has been one of the undeniable rocks that the global music industry has been built upon. The diaspora has shared unconditionally, its traditions, cultures, inspirational composers, and performers with the world. It is impossible to ignore the stories, stimulus, and innovative impacts on the development of music of all genres. This rich history needs to be embraced, explored, documented, and celebrated, as it will continue to enrich all our lives both today and in the future.

The Ivors Academy stands in solidarity with the community of black music creators in UK to champion diversity in the UK music industry, and fight for a fair and inclusive approach for all.”

By Directors Orphy Robinson MBE, Jin Jin, Daniel Kidane on behalf of The Ivors Academy Board.

 

ECSA Letter of support to the Screen Composers Guild of Canada

On 21st October, ECSA sent a letter of support to the Screen Composers Guild of Canada (SCGC) to support the its efforts to improve the contractual position and remuneration of Canadian creators and encourage Canadian authorities to work towards this direction.

In recent years, ECSA had several fruitful exchanges with the Screen Composers Guild of Canada, which have shown that composers and songwriters share similar objectives and challenges on both sides of the Atlantic. In particular, the expansion of buy-outs contracts is a global phenomenon affecting composers and songwriters worldwide. All composers are suffering from similar unfair contractual practices whereby they give up their rights for all uses and all territories, and do not benefit from the royalties that may be generated by the work overtime.

Read the letter here.

NEWS FROM ECSA – September Edition

photo of European Commission in Brussels by Dimitris Vetsikas

Margaritis Schinas, Vice President of the European Commission replies to ECSA and the cultural and creative sectors

On 3rd September, in reply to the joint letter sent in June (Investing in Europe’s next generation by investing in culture) Margaritis Schinas, Vice President of the European Commission sent a letter to ECSA Secretary General. In his reply, Mr. Schinas recognizes the very hard impact of the crisis on the cultural and creative sectors and lists the different measures that have been agreed in the recovery plan, both specifically for the cultural and creative sectors (such as Creative Europe) or available to them.

 

The European Parliament adopts a resolution on the cultural recovery which firmly supports the cultural and creative sectors

The European Parliament adopted on 17th September a resolution on the cultural recovery of Europe, which reflects several points made by ECSA and the cultural and creative sectors in the last months. Although not binding, it includes very good provisions such as i) an EP message of solidarity with creators ii) the need to earmark for the cultural and creative sectors at least 2% of the economic recovery measures iii) the need to raise the overall budget of Creative Europe to €2.8 billion iv) a call on the Commission to introduce a European framework for working conditions in the cultural and creative sectors and industries at EU level v) the need to transpose the Copyright, AVMS and SatCab Directives, stressing that “the implementation of those directives and forthcoming legislative proposals must preserve and promote collective mechanisms to ensure adequate protection of individual creators”. ECSA sincerely thanks all MEPs for this resolution and for their support to the cultural and creative sectors in those very difficult times.

 

ECSA, AEPO-ARTIS and FIM condemn Epidemic Sound’s malpractices and its profound disrespect for authors and performers’ rights

On 23rd September, ECSA, together with the Association of European Performers’ Organisations (AEPO-ARTIS) and the International Federation of Musicians (FIM), has issued a statement which “strongly denounces Epidemic Sound’s malpractices and its profound disrespect for authors and performers’ rights”. In a context where creators activities are under existential threat because of COVID-19 and its consequences, the development of buyout contracts and the expansion of Epidemic Sound represents yet another threat against the fair remuneration of music creators around the world. Several press articles (herehere and here) mention this statement.

 

ECSA response to the European Commission public consultation on the Digital Services Act Package

On 8th September, ECSA submitted its position to the European Commission’s public consultation on the Digital Services Act package. In its response, the Alliance first calls on the EU to respect the 2019 Copyright Directive and to better address copyright infringements and unlicensed platforms. It also encourages efficient measures to increase transparency and diversity online and asks for an assessment on the functioning of music streaming services. Finally, we urge the European Commission to ensure that the application and interpretation of EU competition law no longer prevents authors to engage into collective bargaining agreements.

 

ECSA response to the targeted consultation on Article 17 of the Copyright Directive

Following the stakeholder’s dialogue, which took place between October 2019 and February 2020, the European Commission published a consultation document and a targeted public consultation to hear the views of stakeholders on Article 17. On 10th September, ECSA submitted its response to communicate certain important concerns raised by this document. Together with many other stakeholders in the cultural and creative sectors, the Alliance also sent a joint letter to Commissioner Breton, to communicate joint views and concerns.

 

ECCO concert Luxembourg

The 15th edition of the ECCO concert will take place at the Philharmonie in Luxembourg on 6th October 2020 Co-organised by ECSA and FLAC (the Luxembourgish Federation of Authors and Composers), funded by Creative Europe, the concert aims to promote contemporary classical repertoire across national borders and highlight the European diversity in music. Conducted by Thomas Goff the ensemble United Instruments of Lucilin will perform pieces from Roland Wiltgen (Luxembourg), Ziv Cojocaru (Israel/Austria), Krzysztof Ratajski (Poland), Jouni Hirvelä (Finland), Jan Martin Smørdal (Norway), Henrik Strindberg (Sweden).

Visit the website for more information.
To register, click here.

 

ECSA at the Reeperbahnfestival

On 16th September 2020 ECSA held a panel entitled “Let’s get political. Fair remuneration for audiovisual composers and songwriters” at the online conference of the Reeperbahnfestival. Moderated by ECSA’s EU Affairs and Programme Manager Alicja Swierczek, the panelists Micki Meuser and Tina Pepper from DEFKOM, John Groves from Composers Club and Alexander Freund and Michelle Leonard from VERSO discussed why they founded and joined their respective music authors association. The discussion ended by explaining current issues in their genres and how they address them through their associations. The panel is part of ECSA’s Creators Talks series and is supported by Creative Europe.

 

BAM! Popauteurs

BAM! and Popauteurs have merged to become the largest pop music association in the Netherlands. BAM! Popauteurs represents songwriters from all genres: from dance to hip hop and indie. Especially during this uncertain period, it is important that pop musicians interests are well and clearly defended, and to ensure that necessary measures are taken so that pop musicians can continue to work on a sustainable career in the future. Arriën Molema comments: “With the experience of Popauteurs.nl and the energy of BAM! we have a powerful combination. In the coming years, we’ll fight for a better position for songwriters and pop musicians including fair remuneration for online music use. Also, we are committed to make sure that the specific problems of this group of musicians, who are vulnerable to the many market parties and often have difficulties in receiving government support, get noticed and dealt with. During this period, characterised by COVID-19, the necessity of this has become extra clear”.

 

SoundTrack_Zürich 1st Edition!

SoundTrack_Zürich is a new Swiss and European film music conference taking place during the Zürich Film Festival. The conference is organised by SMECA (Swiss Media Composers Association), curated by Michael Aust (SoundTrack_Cologne) and organised in cooperation with FFM (Forum Filmmusik), ZHdK (Zurich University of Arts) and SoundTrack_Cologne. The primary goal of the event is to present the work of Swiss and European composers at eye level with their international colleagues. For all those who cannot take part in the physical event, the conference offers an online alternative. 

 

SoundTrack_Cologne 17

SoundTrack_Cologne is Europe’s leading congress for music and sound in film, games and media, and a source of inspiration for the growing landscape of festivals and congresses in Europe. In over 40 round tables, panels, workshops and networking events, SoundTrack_Cologne focuses on current developments in culture, law, marketing and technics of media music and offers business cases and networking events. It will take place for the 17th time in 2020. SoundTrack_Cologne is a film event – from the music perspective. The event addresses business professionals, music students and everyone interested in film and music. Due to the remaining restrictions, especially regarding travel, SoundTrack_Cologne 17 will move to October 14 – 17, 2020. Take a look at the programme here!

 

Conference “Looking ahead – New Opportunities & Visions within EU Funding for Culture after Covid-19”

The Creative Europe Desk KULTUR organises this online conference in the context of Germany’s Presidency of the Council of the European Union. The event will take place via zoom on October 8th 2020, 16:30-19:30 CET. The conference will focus on the support measures during and after Covid-19 but also on the new cycle of EU programmes. The access link will be available on the CED KULTUR website on the day of the event. No prior registration is necessary.

 

 

SAVE THE DATE!

6th October: ECCO Concert
6-7th October: ECSA Autumn Session
8th October: #LookingAheadEU2020 Conference

14-17th October: SoundTrack Cologne

MUSIC AUTHORS AND PERFORMERS STRONGLY DENOUNCE EPIDEMIC SOUND’S MALPRACTICES AND ITS PROFOUND DISRESPECT FOR THEIR RIGHTS

 

23rd September 2020

 

The Association of European Performers’ Organisations (AEPO-ARTIS), the European Composer and Songwriter Alliance (ECSA), and the International Federation of Musicians (FIM) collectively represent over 500 000 composers, songwriters and performers. We feel compelled to speak out against the harmful development of Epidemic Sound for the ability of these professionals to make a living from their creations.

Over the recent years, the Swedish company Epidemic Sound has grown extensively by selling “royalty-free music” to various commercial companies, like video-on-demand platforms and TV stations. It uses 100% buy-out contracts – whereby music authors and performers sell their rights for the full term of protection in exchange for a lump sum payment – depriving them from payment of royalties and equitable remuneration, which are essential to their livelihoods. It also often substitutes the name of music creators with the company’s name in their credits, showing a profound disrespect for our members’ moral rights to be properly credited for their works and performances.

While our organisations regularly receive complaints from music creators about these malpractices, the tech company Adobe has recently partnered with Epidemic Sound and Jamendo to launch a library of “royalty-free” music. This partnership further hinders the music creators’ ability to earn a living from the exploitation of their works and performances. In a context where our members’ activities are under existential threat because of the COVID-19 pandemic and its consequences, the development of buy-out contracts eludes the collective rights management system and prevents guaranteed payments based on remuneration rights. The expansion of Epidemic Sound represents yet another threat to the fair remuneration of authors and performers in the music sector and their ability to develop sustainable careers.

We therefore firmly condemn this partnership, which relies on the expropriation of music authors and performers from their rights and legitimate revenues. We call on any public or private company to refrain from collaborating with an entity that disrespects authors and performers and their basic economic and moral rights. Moreover, we urge all authors and performers in the music sector to carefully consider all the potential consequences of buy-out agreements, whereby all their exclusive rights are transferred in perpetuity against no future revenue. The development of such buy-out malpractices, which do not even give credit to authors and performers, have nothing modern nor innovative. They simply prevent music creators from being paid fairly for the use of their works, which should no longer occur in the 21st century.

 

AEPO-ARTIS is a non-profit making organisation that represents 36 European performers’ collective management organisations from 26 different countries. The number of performers represented by the 36-member organisations of AEPO-ARTIS can be estimated at between 400,000 and 500,000. www.aepo-artis.org

The European Composer and Songwriter Alliance (ECSA) represents over 30,000 professional composers and songwriters in 27 European countries. With over 60-member organizations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music.  composeralliance.org/

The International Federation of Musicians (FIM), founded in 1948, is the only body representing musicians’ unions globally, with members in about 65 countries covering all regions of the world. FIM is recognised as an NGO by diverse international authorities such as WIPO (World Intellectual Property Organisation), UNESCO (United Nations Educational, Scientific and Cultural Organisation), the ILO (International Labour Office), the European Commission, the European Parliament or the Council of Europe www.fim-musicians.org/

 

Click here for the pdf version of this statement.

COMPOSERS ANNOUNCED FOR ECCO, LUXEMBOURG 2020

The 15th edition of the ECCO concert will take place on October 6th at the Philharmonie in Luxembourg. Co-organized by ECSA and FLAC (Fédération Luxembourgoise des Auteurs Compositeurs), this year’s edition will feature the works of 6 amazing composers, performed by the ensemble United Instruments of Lucilin and conducted by Thomas Goff.

Pieces were selected by chair Dušan Bavdek (Slovenia), Jana Andreevska (North Macedonia), Irina Hasnas (Romania) and Olli Virtaperko (Finland) and by a member of the ensemble United Instruments of Lucilin, Guy Frisch (Luxembourg).

Below the list of the composers and the respective pieces which will be performed:

The ensemble

This ECCO edition features the ensemble United Instruments of Lucilin. Founded in 1999 by a group of passionate and committed musicians, it is the only Luxembourgish chamber music ensemble specialised in contemporary music. Dedicated exclusively to promoting and commissioning works of the 20th and 21st century, United Instruments of Lucilin is now known for its outstanding programs around the world.

Credits : Léa Giordano

Ensemble United Instruments of Lucilin
André Pons-Valdès, Winnie Cheng, violins
Danielle Hennicot, viola
Jean-Philippe Martignoni, cello
Gonzalo Jimenez, double bass
Sophie Deshayes, flutes
Marcel Lallemang, Max Mausen, clarinets
Olivier Sliepen, saxophone
Adam Rixer, trumpet
Steve Boehm, horn
Pascal Meyer, piano
Guy Frisch, percussions

The conductor

Pieces will be conducted by Thomas Goff, a British musician living in The Hague, Netherlands. Having studied as a composer, cellist and jazz pianist, he is now quickly becoming recognised as a conductor who excels in a vast range of repertoire. In different contexts, he has conducted the Netherlands Philharmonic, BBC Philharmonic, BBC National Orchestra of Wales, Ulster Orchestra, Residentie Orkest, Cadaqués Orchestra, Orkest van het Oosten, and Philharmonie Zuidnederland.

Credits : Jan Hordijk

Time and location

ECCO concert
6 october 2020, 19:00
Philharmonie Luxembourg
1, place de l’Europe, L-1499 Luxembourg

Please reserve your tickets here.

For more please visit the website eccoconcert.eu or contact European Affairs and Programme Manager Alicja Swierczek alicja.swierczek@composeralliance.org

 

NEWS FROM ECSA – August edition

 

Berlin, Germany – April 25: Symbolic photo on the topic of upload filter. An youtube icon for blocked content can be seen on a screen on April 25, 2019 in Berlin, Germany. (Photo Illustration by Thomas Trutschel/Photothek via Getty Images)

Google threatens to remove all Danish music from YouTube

On 30 July, Google has threatened to take down all Danish music from YouTube in the middle of negotiations with the Nordic alliance of collecting societies, Polaris Nordic on the use of music on YouTube. The reason is that Koda refuses Google’s demand which asks for a 70% reduction in the payments provided to composers and songwriters for the interim extension of its existing agreement. . Koda’s media director, Kaare Struve, says in their press release: ‘Google has always taken an “our way or the highway” approach, but even for Google, this is a low point.’ ECSA stands with Denmark’s music creators in those negotiations and condemns Google’s attempts to leverage its market dominance over the music market. In that regard, ECSA calls once again for a swift and ambitious implementation of Article 17 of the Copyright Directive to clarify and strengthen the obligations of digital platforms regarding music authors’ rights. See here what we demand. 

 

ECCO Call for Works still ongoing

The next ECCO concert will take place as planned in Luxembourg on 6th October at the Philarmonie. While we’re tirelessly working with our member organisation from Luxembourg, FLAC to prepare to hold the concert with all the appropriate safety measures, we want to remind you that the call for works for the next ECCO concert is still ongoing.

 

Open call – Developing & promoting European music export

This call for tenders builds on the study on European music export under the 2018 Preparatory action “ Music Moves Europe: Boosting European music diversity and talent”. The general objective of this Call is to increase knowledge of and experiment with new approaches to European music export through the pilot implementation of certain elements of that proposed strategy. The results will inform possible future actions to implement the sectorial support for music and international dimension of the future Creative Europe Programme 2021-2027. The implementation of the activities of this tender is expected to take place in a post-Covid-19 environment and therefore take into consideration the feasible options and potential limitations related to it.

Call for proposal: Music Moves Europe

To implement the 2020 Preparatory action “Music Moves Europe: Boosting European music diversity and talent” (with a budget of €2.5 million), the Commission will select one consortium that will implement a support scheme that redistributes grants to recipients in the music sector, based on a needs assessment. The actions to be implemented should contribute to a green, digital, a just and resilient recovery of the European music ecosystem after COVID-19. Read more here. Deadline to apply is 30th September.

 

The International Composers’ Competition

Due to the epidemic in Poland and sanitary regime in cultural institutions, the final concert of the Mieczysław Karłowicz International Composers’ Competition cannot take place on the initially scheduled day. The organizers of the Competition, ZAiKS and the Philharmonic in Szczecin, decided to change the date of the final concert to 19th March, 2021. The time for submitting applications is extended until 31st October, 2020 (until 23h59 UTC+01:00). Results of the first stage will be announced by 15th December, 2020, and the new deadline for the submission of the orchestral parts is 1st February, 2021. Amendments remain in force in the Regulations.

 

The ECSA Gender Equality Charter is now available in Spanish!

The charter is a set of commitments aimed at improving the conditions and advancement of women composers and songwriters in the music industry and is meant to inspire ECSA member organisations and other stakeholders to take action and act to change the gender imbalance we experience in the music industry today. Please have look here to read the charter in English, French, German, Italian or Spanish, as well as to find out more on ECSA gender policies.

 

Webinars from the Center for Applied Music Research

The Center for Applied Music Research of the Danube University Krems deals with all forms of contemporary music creation in teaching and research. The Center also offers different online workshops for music professionals surveying key aspects of international music business developments. On 3rd September, there will be a one-day webinar on “ IP & Entertainment Law for Music Professionals” to examine important aspects of international intellectual property and entertainment law relevant to many areas and professional roles in the music industry. On the 18th September, instead, a webinar on “ Artist Management in 2020” will focus on highlighting the challenges artist managers have to face nowadays

 

NEWS FROM ECSA – July edition

 

ADVOCACY


OP-ED: A CALL TO INVEST IN OUR CREATIVE FUTURES

Before the mid-July MFF negotiations, ECSA, together with many other organisations from the CCS, coordinated an op-ed signed by a group of artists, among which are singer Bjork, film director Agnieszka Holland, award-winning bookseller Nina George, composers Jean Michel Jarre, Alberto Iglesias and Benny Andersson and many others. The letter addressed to the EU and national leaders urged them to invest in culture at the EU level after the disappointing budget proposal of only €1.5 billion for the Creative Europe programme brought forward by the Commission in May 2020. Recalling the impact the COVID-19 shutdown has had on the creative and cultural industries across the continent, the letter states that “European culture is in the midst of a crisis”, adding that: “How decision-makers choose to respond now will set the scene for the next decade of cultural and creative life in our union”. Read the letter here.

 

THE EU PACKAGE & CREATIVE EUROPE BUDGET

On 21st July, after long days of difficult negotiations at the European Council, EU leaders agreed on a comprehensive package of €1 824.3 billion which combines the €1 074.3 billion multi-annual financial framework (MFF) and an extraordinary €750 billion recovery effort, Next Generation EU (NGEU). The financial envelope for Creative Europe is brought back to €1,64 billion, as in the 2018 Commission’s proposal. While this is lower than the European Parliament position (€2,8 billion), this is higher than the latest 2020 Commission proposal (€1,5 billion) and represents a significant increase in comparison with the current 2014-2020 budget (€1,4 billion), considering that the UK is no longer contributing to the EU budget. The European Parliament will now have to give its consent to the EU budget. EU leaders also agreed on an extraordinary €750 billion recovery effort, Next Generation EU (NGEU) & ECSA will continue to advocate that a significant part of this fund should benefit creators and cultural stakeholders heavily impacted by the COVID 19 crisis.

 

THE EUROPEAN PARLIAMENT STRONGLY SUPPORTS CREATORS & THE CULTURAL AND CREATIVE SECTORS

In the run up to the European Council, the European Parliament has been very active to support and ambitious budget for the Creative Europe Programme as well as specific measures to support the cultural and creative sectors to overcome the COVID 19 crisis. This has been demonstrated by a European Parliament plenary debate on the Cultural recovery of Europe on 10th July as well as by the declaration of the Cultural Creators Friendship Group adopted on 16th July. ECSA thanks all MEPs who defended cultural creators and professionals in the new EU budget and recovery plan.

 

AUTHORS RIGHTS

AUTHORS GROUP RECOMMENDATIONS ON THE COPYRIGHT DIRECTIVE

ECSA, together with the European Writers Council (EWC), the Federation of European Film Directors (FERA) and the Federation of Screenwriters in Europe (FSE), have sent recommendations on the implementation of the Copyright Directive to competent  ministers of 15 countries that have not started the implementation yet. The recommendations set out concrete guidelines for the implementation of Articles 18 to 23 (“Fair remuneration in exploitation contracts of authors and performers”).

 

ADVOCATE GENERAL SAUGMANDSGAARD ØE’ S OPINION ON THE “YOUTUBE CASE”

On 16 July, Advocate General (AG) Saugmandsgaard Øe delivered his opinion on the major case regarding YouTube’s liability for copyright (joined Cases C‑682/18 and C‑683/18) before the Court of Justice of the EU (CJEU). In this case – where Article 17 of the 2019 Copyright Directive is not applicable –  the AG basically takes the view that “online platform operators, such as YouTube and Uploaded, are not directly liable for the illegal uploading of protected works by the users of those platforms” (see the Court’s press release here). The AG also appears to take a critical view at past CJEU judgments which have found primary copyright liability for certain services which enable users to share unauthorised works. While the Court is still due to deliver its final judgement on this case, this opinion tends to demonstrate that the Court can be very unpredictable on this matter and gives even better reasons to justify the specific regime established in Article 17 of the 2019 Copyright Directive and adopted by EU policy makers. You can read more information and analysis from Eleonora Rosati on this AG’s opinion on the IPKat blog here.

 

photo of European Commission in Brussels by Dimitris Vetsikas

TARGETED CONSULTATION ON ARTICLE 17 OF THE COPYRIGHT DIRECTIVE

On 27 July, the European Commission launched a targeted consultation on Article 17 of the Copyright Directive, opened until 10 September 2020. The Commission intends to gather the views of the participants to the stakeholder dialogue on a document which sets out the Commission’s initial ideas for the Article 17 Guidance. This consultation document includes questions on the different aspects that will be covered by the guidance the Commission is planning to adopt before the end of the year. ECSA will submit a response to the consultation.

 

IN MEMORIAM

 

IN MEMORIAM – MAESTRO ENNIO MORRICONE

Oscar-winning Maestro Ennio Morricone passed away in the night between 5th and 6th July 2020 at the age of 91 years old. ECSA wishes to express its deepest sorrow and convey its sincere thoughts and condolences to the Maestro’s family and friends. Earlier this year, ECSA had celebrated Maestro Ennio Morricone’s outstanding career with the Camille Award for his Lifetime Achievement. Although the Maestro left us and will be greatly missed, his legacy will continue living on through his music. Read more here.

 

CALL FOR WORKS & PROPOSALS

 

ECCO CALL FOR WORKS

The call for works for the next ECCO concert in Brussels 2021 is here. ECSA’s ECF committee members are kindly invited to participate in the call for works for the 16th ECCO concert that will feature the ensemble Slagwerk Den Haag on 2nd February 2021 in Brussels. Deadline for submission is Tuesday 3rd November 2020 – 12:00pm (CET). See here for the submission information.

 

CALL FOR PROPOSALS: MEASURING THE CCS IN THE EU

The European Commission released a call for proposal for measuring the cultural and creative sectors in the EU. Even though CCS are one of Europe’s most dynamic sectors, for many indicators and sectors, there are still data missing at EU level. The purpose of measuring the European CCS is to allow quantifying their full economic value. The deadline for the call for proposal is the 14th September 2020. For more information, see here.

 

CALL FOR PROPOSAL: MUSIC MOVES EUROPE PREPARATORY ACTION

To implement the 2020 Preparatory action “Music Moves Europe: Boosting European music diversity and talent” (with a budget of €2.5 million), the Commission will select one consortium that will implement a support scheme that redistributes grants to recipients in the music sector, based on a needs assessment. The actions to be implemented should contribute to a green, digital, a just and resilient recovery of the European music ecosystem after COVID-19. Read more here.

 

OTHER

ECSA @INFERNO MUSIC CONFERENCE

ECSA’s EU Affairs and Programme Manager Alicja Swierczek will feature at the online Inferno Music Conference with a presentation on the benefits of joining a songwriter society. The conference will stream some of the planned presentations and a videocast that was supposed to be at this year canceled event. The presentations will be available at the Inferno Music Conference YouTube channel. ECSA’s session at the conference is planned to take place on Thursday 13.8 19:00 PM CET.

 

THE IVORS ACADEMY ACTION PLAN ON EQUALITY, DIVERSITY AND INCLUSION

The Ivors Academy, British member of ECSA, has recently published a twelve-point action plan for 2020-2022 to champion equality, diversity and inclusion across their work. Through the ambitious goals set in this plan, the British organisation commits to achieve equal opportunities and a broad diversity representation within its governance bodies and staff, its panel events and its awards, as well as to partner with socially-engaged organisations for this purpose. More information is available here.

 

#ECSA4CopyrightDirective campaign opening visual

#ECSA4COPYRIGHTDIRECTIVE CAMPAIGN

The #ECSA4CopyrightDirective video campaign showcases the ECSA network coming together to recall the importance of the Copyright Directive and its implementation at the national level. The Copyright Directive must be implemented before 7th June 2021 in all EU and EEA Member States, which means there is less than a year left. Watch the Official Video featuring more than 20 ECSA delegates from all over Europe and have a look at the accompanying statement “ECSA’s  10 steps on how to implement the Copyright Directive for a more sustainable music ecosystem“. Share the video, it is time to finally be fair to creators!

 

A call to invest in all our creative futures

14th July 2020

European culture is in the midst of a crisis. How decision-makers choose to respond now will set the scene for the next decade of cultural and creative life in our union.

Since the start of the COVID-19 pandemic, theatres, cinemas, music halls, museums and other venues of cultural expression have remained closed. Many of those venues will simply not reopen.

The result has been to squeeze the life out of the cultural and creative sectors, exacerbating the desperately perilous situation in which culture, the arts and the creative sectors at large find themselves.

Cultural and creative sectors are Europe’s third largest employer. Meaning the economic consequences of a stagnant sector have reached far beyond the realm of culture.

But, despite such a diminished cultural landscape, it is to culture that we have all turned during this time of great personal and societal adversity.

It is music that has brought us together on balconies, films and TV series that have entertained us, documentaries, books, performances, pieces of art that have all truly comforted us in our solitude and helped us to escape intellectually and creatively.

Europe’s most treasured asset is our culture. It is a culture united in its diversity, a culture that draws in millions of people from all over the world every single month.

Cultural expression in all its diversity is at the heart of what is meant to be European.

Despite strong messages from leaders of the European Union that our sectors would be firmly supported, the current proposals for a recovery plan and a European budget strangely fail to consider the needs of the cultural and creative sectors.

As creators and professionals from the sector, we call on the EU leaders to be bold and to invest in culture and the arts, to invest in all our creative futures.

We need a plan that revives our cultural ecosystem and inspires the next generation of Europeans.

This means providing the financial resources at a level which will allow art, culture, cultural and creative enterprises, creators and creative workers to continue their work, to survive and thrive into the future.

This is an opportunity for the EU to amply demonstrate that it can honour its values. The time is now for Europe to be ambitious and invest in its creative future.

Culture is the fertile soil out of which Europe’s next generation will unite and flourish. Let’s show Europe’s next generations what kind of future we want to offer them!

 

List of signatories

  1. Aga Zaryan, jazz vocalist (PL)
  2. Agnieszka Holland, filmmaker (PL)
  3. Agustín Almodóvar, producer (ES)
  4. Alberto Guijarro, director of Primavera Sound and Sala Apolo (ES)
  5. Alberto Iglesias, film music composer (ES)
  6. Anne Teresa De Keersmaeker, contemporary dance choreographer (BE)
  7. Benny Andersson, musician, composer (SE)
  8. Bernie Sherlock, conductor (IE)
  9. Björk, singer-songwriter (IS)
  10. Charles Sturridge, filmmaker (UK)
  11. Dame Evelyn Glennie, percussionist and composer (UK)
  12. Daniel Buren, conceptual visual artist (FR)
  13. Isabel Coixet, filmmaker (ES)
  14. István Szabó, filmmaker (HU)
  15. Ivo van Hove, theatre director (NL/BE)
  16. Jaco Van Dormael, filmmaker (BE)
  17. Jean-Michel Jarre, electronic music pioneer, musician (FR)
  18. Jean-Pierre and Luc Dardenne, filmmakers (BE)
  19. Jean-Xavier de Lestrade, filmmaker (FR)
  20. Joan Fontcuberta, conceptual artist and photographer (ES)
  21. Lisa Kaindé Diaz Zayas and Naomi Diaz Zayas – IBEYI,  singers, songwriters, and music composers (FR)
  22. Marian Urban, Scriptwriter and Film Producer (SK)
  23. Marina Abramović, performance artist (US/SRB)
  24. Martin Šulík, Film Director and Film Producer (SK)
  25. Maryla Rodowicz, singer (PL)
  26. Michał Urbaniak, musician and composer (PL)
  27. Milo Rau, theatre director (BE/CH)
  28. Mirga Grazinyte, conductor (LT/UK)
  29. MØ, singer, songwriter, and record producer (DK)
  30. Moritz Eggert, composer (DE)
  31. Nele Neuhaus, writer (DE)
  32. Nicola Campogrande, composer (IT)
  33. Nina Bouraoui, writer (FR)
  34. Nina George, writer (DE)
  35. Olga Neuwirth, composer (AT)
  36. Olivier Guez, writer (FR)
  37. Paul Dujardin, CEO & artistic director of BOZAR (BE)
  38. Phil Manzanera, composer, guitarist (UK)
  39. Salvador Sobral, musician (PT)
  40. Sebastian Fitzek, writer (DE)
  41. Stijn Coninx, film director (BE)
  42. Thomas Anargyros, producer (FR)
  43. Tiago Rodrigues, writer, director, artistic director Teatro Nacional D. Maria II (PT)
  44. Tim Etchells, artistic director, artist, writer (UK)
  45. Yuval Weinberg, conductor (IL/DE)

 

Click here for the pdf version.

In Memoriam – Maestro Ennio Morricone


 

In the night between 5th and 6th July 2020, Oscar-winning Maestro Ennio Morricone sadly passed away at the age of 91 years old. 

The great musician and composer was author of some of the most beautiful soundtracks of Italian and World cinema like A Fistful of dollars, The good, the bad and the ugly, Mission or Once upon a time in America. 

ECSA wishes to express its deepest sorrow and convey its sincere thoughts and condolences to the Maestro’s family and friends.

His long artistic career includes a wide range of composition genres, from absolute concert music to applied music, working as orchestrator, conductor and composer for theatre, radio and cinema.

Earlier this year, ECSA had celebrated Maestro Ennio Morricone’s outstanding career with the Camille Award for his Lifetime Achievement. As he was accepting the award, the Maestro thanked ECSA’s community of creators and reminded everyone how “composing film music is difficult because it can be right in so many different ways”. 

The Maestro’s remarkable output and influence across a wide range of musical genres together with his unstinting efforts in defending and promoting authors’ rights will remain a shining light for countless generations of composers across Europe and the world.

We will always remember him with gratitude, thankful for his integrity and solidarity towards the work of thousands of European composers. We commemorate his incredible talent, gentle heart and unwavering support for the cause of music creators.

Although the Maestro left us and will be greatly missed, his legacy will continue living on through his music. 

Our thoughts go to his wife Maria Travia and their children Marco, Alessandra, Andrea, and Giovanni.

Addio Maestro. Grazie per aver incantato il mondo intero.

June Newsletter cover image

NEWS FROM ECSA – June edition

 

 

 

JOINT LETTER: INVESTING IN EUROPE’S NEXT GENERATION BY INVESTING IN CULTURE

 

ECSA has worked on a joint letter, signed by 97 other organisations from the cultural and creative sectors to call on EU Member States and the European Parliament to increase the Creative Europe budget to €2.8billion and to guarantee that the sectors can benefit from the recovery plan’s various instruments. The letter also expresses the disappointment of the sectors on the EU budget measures and the recovery plan announced by the Commission on 27th May, which does not reflect the impact of COVID-19 on the cultural and creative sectors. Read the entire letter here.

 

Bundestag roof with German flag

GERMAN DRAFT LAW ON THE IMPLEMENTATION OF THE COPYRIGHT DIRECTIVE AND SAT-CAB DIRECTIVE

 

On 24th June 2020, the German Federal Ministry of Justice and Consumer Protection published a discussion draft on the Copyright Directive. The draft includes changes to the contractual provisions for authors and performers within the German copyright legislation as well as a new separate law regulating the responsibilities of online platforms in regard to copyright named the ‘Act on the copyright liability of service providers for sharing online content’. On the Sat-Cab Directive, the German draft law aims at facilitating the acquiring of rights for the transmission of content throughout Europe via collecting societies as a one-stop-shop of the necessary rights in this regard. Comments to these draft regulations can be submitted until the end of July 2020 to the ministry. (PC: Noel)

 

 

photo of European Commission in Brussels by Dimitris Vetsikas

 

EUROPEAN COMMISSION EXECUTIVE VICE PRESIDENT MARGRETHE VESTAGER AND VICE PRESIDENT MARGARITIS SCHINAS REPLY TO ECSA AND THE CULTURAL AND CREATIVE SECTORS

 

European Commission Executive Vice President Margrethe Vestager and Vice President Margaritis Schinas have formally replied on behalf of the European Commission to ECSA’s joint statement “Europe’s Cultural and Creative Sectors Call for Ambitious EU Budgetary Measures to get through the COVID-19 Crisis” (read the statement here). They affirm that the Commission is “fully aware of the depth of this unprecedented crisis for Europe’s cultural and creative sectors” and that they “share the ambition to strengthen cultural and creative industries”. The letter further states the various measures taken to support the cultural and creative sectors, but also refers to the new Creative Europe budget proposal as an “adequate budget for cultural and creative sectors”, an opinion ECSA disagrees with. (PC: Dimitris Vetsikas)

 

 

#ECSA4CopyrightDirective campaign opening visual

 

#ECSA4COPYRIGHTDIRECTIVE CAMPAIGN

 

The #ECSA4CopyrightDirective video campaign showcases the ECSA network coming together to recall the importance of the Copyright Directive and its implementation at the national level. The Copyright Directive must be implemented before 7th June 2021 in all EU and EEA Member States, which means there is less than a year left. Watch the Official Video featuring more than 20 ECSA delegates from all over Europe and have a look at the accompanying statement “ECSA’s  10 steps on how to implement the Copyright Directive for a more sustainable music ecosystem“. Share the video, it is time to finally be fair to creators!

 

 

picture of European Parliament by Dan Johnston

 

EXCHANGE ON THE IMPACT OF THE COVID-19 CRISIS AND ON THE FUTURE CREATIVE EUROPE PROGRAMME WITH THE EUROPEAN PARLIAMENT

 

On 5th June, ECSA Secretary General participated in an online meeting with Members of the European Parliament sitting in the EP Culture committee and other stakeholders from the cultural and creative sector to discuss the impact of the current COVID-19 crisis, the recent budgetary proposals proposed by the European Commission, and the future Creative Europe Programme. ECSA Secretary General underlined the very severe and long-lasting impact of the crisis on composers and songwriters and the lack of appropriate budgetary support from the European Commission at this stage. He also stressed the need to engage in an ambitious and timely implementation of the Copyright Directive in all EU Member States and advocated for a stronger focus on the music sector in the future Creative Europe Programme. (PC: Dan Johnston)

 

 

 

ECSA AUTUMN SESSION GOES DIGITAL

 

The ECSA Board has decided that the ECSA Autumn Session, which was planned to take place in Luxembourg, will be held online on 6th and 7th October due to the uncertainty and risks related to the COVID-19 pandemic. Although we cherish and value our annual exchanges with our members, we believe for the time being, the safest choice is the right choice.

 

 

cover image of ECSA at JMI

 

ECSA AT JMI’S WORLD MUSIC DAY POP-UP FESTIVAL

 

ECSA took part in JM International’s World Music Day Pop-up Festival with the Training Session “Know your rights as a music creator!” on Sunday 21st June. The training session featured composer and producer Anna Lidell from Denmark and Arrien Molema, songwriter and producer from The Netherlands and was moderated by ECSA’s European Affairs & Programme Manager Alicja Swierczek. The session informed about the rights of songwriters/performers and how to guard one’s authors rights. To watch the recorded training session, click here.

 

 

Prix UCMF 2020 trophy

 

PRIX UCMF DE LA MUSIQUE À L’IMAGE 2020

 

On 17th June, the 5th edition of the Prix UCMF awarded exceptional audio-visual composers in eight different categories ranging from Cinema to Animated Short Film as well as for the special prizes “Prix Tandem Réalisateur/Compositeur”, “Prix Hommage” and “Coup de Coeur UCMF 2020”. The ceremony happened virtually on UCMF’s Facebook channel. You can re-watch the ceremony or check out all the winners here.

 

Ivors Academy Composer Awards visual

 

CALL FOR SUBMISSIONS: THE IVORS COMPOSER AWARDS

 

Entries for the Ivors Composer Awards are open until 9th July 2020. You can submit works for ten categories ranging from classical to jazz and sound arts. To be eligible, composers must be UK born or be ordinarily resident in the United Kingdom. The work must have received its UK premiere performance, either live or broadcast during the 12 months prior to 31st March 2020. For more information or to enter works, please see here.

 

 

International Review of Composers visual

 

CALL FOR SCORES: 30TH INTERNATIONAL REVIEW OF COMPOSERS

 

The Composers’ Association of Serbia is awaiting your submissions for the International Review of Composers 2021 edition that will take place from 2nd to 6th October 2021. Applications are to be sent by email to tribina_kompozitora@composers.rs until 31st October 2020. To find out more, see here.

 

 

INES#talent visual for open call

 

INES#TALENT: APPLICATIONS OPEN FOR YOUNG TALENTS

 

The Innovation Network of European Showcases (INES) has opened applications for its young artist pool INES#talent. Until 31st July 2020 musicians of all genres, solo or in bands can apply. Over 70 talents will be selected to perform at festivals in Europe over the next two year. Read more here.

 

 

depiction of performance arts

 

CALL FOR TENDERS OF €2.5 MILLION FOR PERFORMING ARTS

 

The European Commission has published a call for tenders of €2.5 million to support the cross-border circulation and digital distribution of performing arts works and help the sector recover from the covid-19 crisis. The support scheme also addresses the reduction of the sector’s carbon footprint and the innovative use of digital tools. Read more here.

 

 

mind the gap written on floor

 

ECSA DATABASE FOR GENDER EQUALITY AND DIVERSITY – INVITATION TO CONTRIBUTE

 

To support its members and partners in achieving a better gender balance in panel and event programming, ECSA is creating a contact database for gender equality and diversity. For this, we are looking for contact details of female and non-binary music industry experts. To reflect our society and industry sector at its most inclusive, we encourage a diverse range of experts to be part of the database. Please share and fill in this form if you want to be part of the database by 17th July 2020. (PC: Andrew Martin)

 

 

intern visual

 

INTERNSHIP AT ECSA

 

The ECSA office is currently looking for a new Project and Communication Intern for at least 4 months starting in September. The intern will work under the direction of both the European Affairs and Programme Manager and the Project & Communication Officer and carry out a range of tasks related to communications, social media management; cultural management, advocacy and administrative responsibilities. Deadline of application is 15th July. Find out more here.

 

Investing in Europe’s next generation by investing in culture

 

As the EU has started discussing the proposed recovery plan, 99 organisations from across Europe’s cultural and creative sectors are uniting their voices to alert EU leaders : our sector needs strong and systemic support measures to recover from this crisis.

As it is now well understood, the cultural and creative world is one of the first and hardest hit by the crisis. According to the Commission’s own estimates, some parts of our sector – which accounts for €509bn in value added to GDP and over 12 million full-time jobs – are expected to lose up to 80% of their turnover in the 2nd quarter of 2020.

We have a higher than average percentage of self-employed workers, freelancers, micro-businesses and youth employment, which makes us particularly vulnerable in times of crisis.

As the European economy is slowly restarting, it is far from business as usual. Cultural actors are gradually resuming their activities, but all have to implement strict safety rules which means they won’t be operating at full capacity for the foreseeable future and are therefore facing challenging economic decisions. From individual creators and creative workers all the way to big production and media companies, the whole value chain is impacted.

And yet the recovery package announced by the Commission on 27 May does not reflect the reality of the cultural and creative sector, despite the encouraging messages by the Commission and the strong position taken by the European Parliament. The proposal on the table falls way short of our sector’s expectations:

  • Despite being identified as one of 14 of the hardest hit ecosystems, there is neither a sector specific instrument for culture, nor a clear indication on whether or how we can benefit from different instruments. The section on REACT-EU in the Commission’s Communication (*1) refers to culture, but there is no guarantee that we will receive appropriate support.

As for Creative Europe, the EU’s only programme specifically dedicated to the cultural and creative sector, the Commission’s announcement is a missed opportunity and a real disappointment. Along with the budget dedicated to education and youth, the budget dedicated to culture is the only one to decrease compared to the Commission’s own 2018 proposal, and it is a far cry from the European parliament’ position (*2). Quite ironic for a recovery plan named “Next Generation EU”.

To bring the EU’s support for our sector to a level that is commensurate with its contribution to the EU’s economy and its citizens’ wellbeing, we call on Member States and the European Parliament:

• To push for a substantial increase of the Creative Europe budget. We fully support the European Parliament’s proposal for a budget of €2.8bn.

• To guarantee that the entire sector can benefit appropriately from the recovery plan’s various instruments.

Let’s invest in culture to show the EU’s #NextGeneration that we really care about their future!

 

1. https://ec.europa.eu/info/sites/info/files/communication-europe-moment-repair-prepare-next-generation.pdf
2. The European Commission is proposing €1.5bn for Creative Europe (€1.7 in 2018 prices) while it proposed 1.85bn in 2018 (€1.6bn in today’s prices ).

 
Please find here the pdf version of this statement.

#ECSA4CopyrightDirective opening visual

The European Composer and Songwriter Alliance’s 10 steps on how to implement the Copyright Directive for a more sustainable music ecosystem

 

For more than 20 years, the music sector has gone through multiple revolutions and has now fully embraced the digital world. Today, European citizens can access music everywhere as they never did before. Many digital platforms have become richer and more popular, but music creators did not reap the benefits of this digital shift. According to a recent survey with ECSA Members, 74% of music authors cannot live from the income from their artistic profession. This situation is intolerable and must urgently change.

The Copyright Directive1, which must be implemented before 7th June 2021 in all EU and EEA Member States2, can improve this situation and contribute to a more sustainable music ecosystem for composers and songwriters. It can also rebalance the systemic weak bargaining power of authors when they sign contracts and allow them to get a fair share of their creative successes.

These goals can only be reached if Articles 17 to 23 of the Directive are properly implemented. Here are our recommendations for an ambitious and faithful implementation which can deliver concrete improvements for music authors:

 

Article 17

1) Close the value gap now!

Article 17 provides that certain user uploaded content platforms, must get a license as other competing services do. In most cases, licences will be available in the music sector. As a result, licensing will be encouraged and blocking of content would be marginal for most musical works.

Today, according to recent UK figures, YouTube has an average pay out of £0.0012 per stream, meaning 833 streams are needed to earn a pound, and 7,267 to make an hour’s UK minimum wage. And this is when you own all the rights, in the best-case scenario. This is clearly not sustainable.

With Article 17 in place, European citizens can enjoy and share music freely as before, but creators will get a fair share of the value created. That is why Member States must implement Article 17 as soon as possible to improve the remuneration of creators.

2) Create a level playing field for all platforms

In order to deliver its benefits and promises, Article 17 must apply to all significant platforms which are giving access to copyright works. Definitions of the entities who do not have to seek licences should be kept as narrow as possible. There should be no escape from fairness!

The “SMEs” exception (paragraph 6) should be narrowly crafted and not abused. SME/start-ups who will invoke this exception should be fully transparent regarding their turn-over and their average number of monthly unique visitors.

The notions of “best efforts” and “high industry standards of professional diligence” should establish a high threshold to demonstrate that the platforms do their utmost, in good faith.

 

3) Exceptions to authors’ rights should not become the rule

The copyright exceptions provided in Article 17 already exist in most EU Member States. As a result, there is no need to put in place new exceptions.

Moral rights should be fully respected in the implementation process, both in the context of Article 17 and for the new mandatory exceptions created by the Directive (Articles 3 to 7).

Chapter 3 – Articles 18 to 23 – “Fair remuneration in exploitation contracts of authors and performers”

4) Be fair to creators – who have very little bargaining power.

Member States should recognise that contractual freedom is most often not a realistic option for authors and therefore they should acknowledge the authors’ systemic weak bargaining power in negotiating their contracts. In that spirit, Member States should ensure that all those provisions (including Articles 18 and 22) are mandatory and cannot be overridden through contracts.

 

5) No buyouts but fair and proportionate remuneration in all contracts

The principle of “appropriate and proportionate remuneration” enshrined in Article 18 enables authors to get a share of the income generated by the exploitation of their works. This provision should be mandatory for all copyright contracts, whether national/European or international, in order to prevent the unfair practice of buy-outs and allow creators to get a fair share of the revenues.

 

6) Authors must be fully and regularly informed on the exploitation of their works…

Without full transparency, authors are not able to assess the value of their works. Transparency on the exploitation of authors’ works and revenues generated enshrined in Article 19 is a pre-requisite for the valuation of the rights transferred/licensed and the basis for Article 20, 21 and 22 to function effectively.

Authors’ contractual counterparts should have the responsibility to notify authors when exploitation of the work has ceased. In such cases, authors should be able to revoke their rights under Article 22.

 

7) … without any sneaky exceptions for sub-licensees, non-disclosure agreements, or certain categories of works and companies.

To be meaningful, the transparency obligation should fully apply, without exceptions for sub-licensees, or non-disclosure agreements. Article 19 neither provides the possibility to exclude a category of works (e.g. smaller budget) or a category of companies (e.g. based on size) from the transparency obligation.

 

8) Give authors an adequate share of their successes

Article 20 (contract adjustment mechanism) allows authors to get “additional, appropriate and fair remuneration” in case the initial remuneration is “disproportionately low” compared to all the revenues made from the exploitation of their works. To function effectively and in a fair manner, the term “disproportionately low” should be understood as “not proportional” and not in a more restrictive manner.

 

9) Allow authors to take back their rights in case their works are not properly exploited…

The right of revocation enshrined in Article 22 will benefit music creators as well as European citizens who would have access to many unpublished works – currently unexploited. Member States should provide that a continuous lack of regular reporting (non-compliance with Article 19) proves as a lack of exploitation in practice. Otherwise, authors would not be able to demonstrate a lack of exploitation.

 

10)… with no exception for most creative works.

Member States should not exclude works from the right of revocation which “usually contain contributions of a plurality of authors or performers”. Excluding those works would result in an empty and ineffective promise, since a wide majority of creative works are in fact works of joint authorship.

 


For the pdf version, please click here.

May Newsletter cover image

NEWS FROM ECSA – May edition

 

We hope you are staying safe and sound throughout these hard times. Although composers and other music professionals are being heavily impacted by this crisis, communities around the world have turned to music, letting their creativity flourish and making us even more aware of the power of music.

Scroll through this newsletter for ECSA’s advocacy updates and inspiring new opportunities for our members. 

Enjoy your read!

 

logos of organisations that signed the letter

 

EUROPE’S CULTURAL AND CREATIVE SECTOR CALL FOR BUDGETARY MEASURES DURING THE COVID-19 CRISIS

 

ECSA, together with many other organisations from the cultural and creative sector, called the European Union to put words into action in a joint letter. The undersigned organisations urge among others for an ambitious budget for the future Creative Europe Programme and the inclusion of the cultural and creative sectors as priority sectors in the EU’s planned Recovery Fund. To read the whole letter, click here.

 

photo of European Commission in Brussels by Dimitris Vetsikas

 

NEW EU BUDGET AND RECOVERY PLAN

 

On 27 May, the European Commission presented the new budget proposal “EU budget powering the recovery plan for Europe”. The package, which still has to be approved by Member States and the European Parliament, is made up of two strands which consist of:

  1. An updated multiannual financial framework (MFF) for 2021-2027, with €1.1 trillion for 2021 to 2027. In the new MFF, €1,5 billion are allocated to the Creative Europe Programme, which is lower than in the first MFF proposal published in May 2018 with 1.6 billion. It is also much lower than the European Parliament’s position, which asked for a doubling of the current budget, which currently stands at 1,4 billion. The EP Culture and Education committee has published a harsh reaction (see here) to the proposal, saying that the proposal sends “a terrible message for the cultural, creative and media sectors”.
  2. The Commission’s €750 billion plan — dubbed “Next Generation EU” — that would provide €500 billion in grants to countries hit hardest by the pandemic and make another €250 billion available as loans. It is unclear at this stage whether those funds would really benefit the cultural and creative sectors.

Despite those disappointing announcements, ECSA will continue to advocate for an ambitious budget for the future Creative Programme and to enable creators to benefit adequately from EU resources.

 

 

Creatives Unite logo - covid-19 resource platform

 

CREATIVES UNITE – COVID-19 RESOURCE PLATFORM

 

To learn more about initiatives related to the cultural and creative sectors in response to the COVID-19 crisis in Europe, you can go to https://creativesunite.eu. ECSA’s overview of Covid-19 responses from the music sector is also featured on the platform.

 

 

 

DIGITAL LOUNGE FOR ECSA MEMBERS

 

On 27th May, ECSA members got together during an informal ECSA lounge videoconference to exchange about the impact of the COVID-19 crisis on creators. We want to thank all the participants and hope to see you soon for real again!

 

 

NOPA elected Ole Henrik Antonsen as new chair

 

NOPA HAS A NEW CHAIR: OLE HENRIK ANTONSEN

 

Antonsen was elected the new chair of NOPA at the general assembly the 25th of May. Ingrid Kindem had been the chair for the past six years, whereas the newly elected chair had been the deputy of NOPA the past year and has three years of experience form the board of NOPA. Antonsen is a producer and songwriter, and has written for artists such as Shayne Ward, Jamie Scott, Mel C and Teddy Geiger. He is also the editor of the Norwegian music magazine Musikkpraksis and makes a podcast (“Bak spakene”) where he interviews producers about their work and methods.

 

 

IMC 5 Music Rights More than ever webinar banner

 

IMC RESILIART: 5 MUSIC RIGHTS DISCUSSION

 

Alfons Karabuda, President of ECSA and IMC (International Music Council), moderated the online debate “5 Music Rights – More than Ever!” between music rights champions and the UNESCO Assistant Director General for Culture, Ernesto Ottone Ramirez organised by IMC in the framework of the UNESCO ResiliArt movement on 27th May. The debate focused on the impact of the COVID-19 crisis on the five music rights worldwide and how to come out of the crisis stronger than before. Watch it here!

 

 

cover image of ECSA Talk about mental health awareness

 

Mental Health Awareness Week initiative

For this year’s #MentalHealthAwarenessWeek, ECSA organised a talk with delegate John Groves to raise awareness on the importance of mental health for music creators. John Groves, composer and psychoacoustics specialist, shared his thoughts on mental health and his professional experience with Sonic Tonic: an auditory e-Health App that provides quick and effective help for those having problems with sleep, stress, depression, anxiety, and pain. Let’s continue doing our part to raise awareness on mental health for music creators while fostering the exchange of best practices and information. Have a listen to our conversation here!

 

 

Camille Awards logo

 

THE SELECTION PROCESS FOR THE CAMILLE AWARDS HAS STARTED!

 

ECSA is currently awaiting the submissions of outstanding works nominated by ECSA member organisations that are part of the Film and Audio-visual Music (FFACE) Committee until 30th June. Each FFACE member organisation can nominate one piece for each of the following three categories: “Best Orchestral Score”, “Best Electro-Acoustic Score” and “Best Original Music for a Series”. For more information about the Camille Awards, please visit camilleawards.eu.

 

 

buma music in motion visual

 

BUMA MUSIC IN MOTION AWARDS & CONFERENCE MOVE ONLINE

 

Buma Music in Motion transformed the tenth anniversary edition of BMIM 2020 into a virtual edition and awarded the most outstanding Dutch composers online. On 19th May, the winners were announced in short presentations on BMIM’s Facebook page. You can check out the winners as well as the nominees and the jury on their website.  The BMIM online edition continues with online panels in June. More here.

 

 

ZAiKS Songwriting Camp visual

 

ZAIKS SONGWRITING CAMP

 

From 11th to 18th October 2020, ZAiKS Songwriting Camp will give composers, songwriters, instrumentalists, vocalists and producers the opportunity to create music with composers and producers from all over Europe, share creative experiences and establish musical friendships in Zakopane, Poland. It offers among others professional recording studios, experienced sound engineers, lectures on copyright and discussion panels. You can apply here until 30th June.

 

 

Musique est une femme logo

 

“MUSIQUE EST UNE FEMME” VIDEO COMPETITION

 

As part of the European project “Musique est une femme”, the Polish foundation TAK together with its European partners has launched a short video competition about the stereotypes around the creative capabilities of women. You can submit your thought on the topic in the form of a short video or a meme until 31st August and get the chance to win monetary prizes. Find out more about the competition here or check out the Facebook page.

 

 

ASAWCA logo

 

INTERNATIONAL COMPOSITION COMPETITION FOR FEMALE COMPOSERS

 

The choir Allmänna Sången and Anders Wall together with Gehrmans Musikförlag AB have launched a new edition of the “Allmänna Sången & Anders Wall Composition Award”. Female composers can submit their pieces from 1st June to 31st December 2020. The prize sum is SEK 50,000 and the winning piece will be premiered by Allmänna Sången and published by Gehrmans Musikförlag AB. Find out more here.

Europe’s cultural and creative sectors call for ambitious EU budgetary measures to get through the COVID-19 crisis

 

Time to put words into action!

Europe’s cultural and creative sectors were among the first and hardest hit by the unprecedented COVID-19 crisis. They will also be among the last. Across Europe, almost all cultural activities have been cancelled or postponed indefinitely, while venues and retailers have closed with disastrous consequences for all creators’ and cultural and creative professionals’ livelihoods, as well as the ecosystem as a whole. Millions of jobs are on the line.

In its Resolution on how to combat the COVID-19 crisis and its consequences1 , the European Parliament rightly underlines that the cultural and creative sectors “have been hit especially hard by the fallout from the COVID-19” and “calls for the EU and the Member States to provide support to the cultural and creative sectors as they play an important role for our economy and our social life and are severely affected by the current crisis”. Commissioners, Ministers and MEPs are also regularly stressing the vital importance of protecting and supporting the cultural ecosystem and creators all over Europe, to ensure that they can continue to create and invest – for the enjoyment of all Europeans, both during and after the crisis.

So far, the EU has provided much-needed financial support to Member States to protect jobs, workers and businesses affected by the coronavirus pandemic, but has failed to adequately address the specific needs of our sectors. The Cultural and Creative Sectors, which stand at €509bn in value added to GDP and over 12 million full-time jobs (7.5 % of the EU’s work force), must be considered as priority sectors and benefit from ambitious budgetary measures. Only a limited number of countries have introduced broad furlough compensation schemes while the majority of professionals working in the cultural and creative sectors were put on unpaid leave as very few employers have the means to continue paying salaries or compensation without state support. In addition, our sectors have a much higher than average percentage of self-employed workers with little to no access to social benefits who find themselves in extremely precarious situations as they are left without resources.

As the European Commission is due to propose a new long-term EU budget and recovery plan, it is now time to put words into action. The undersigned organisations from across Europe’s cultural and creative sectors are calling on the EU:

  • To propose an ambitious budget for the future Creative Europe Programme 2021-2027 – the only EU framework Programme specifically dedicated to the cultural and creative sectors – which represents today a mere 0.15% of the overall EU Budget. The European Parliament’s proposal for a budget of €2.8bn should be considered the absolute minimum for a Programme commensurate with the sector’s contribution to the EU economy and wellbeing, and with its needs and challenges in these times of crisis.
  • To ensure that the cultural and creative sectors, are included as priority sectors in the EU’s planned Recovery Fund, with sector specific funding. Our sectors are among the hardest hit, and our interconnected value-chains are fragile – if they are to get through the crisis, especially SMEs, urgent support is needed, including liquidity/cash flow measures leading into 2021.
  • Boosting the EU’s loan guarantee facility for the cultural and creative sectors under the future Invest EU programme, with increased budget, guarantees and flexibility. Loan guarantee instruments have a demonstrated trigger effect on investment, which is urgently needed in these difficult economic times.
  • To secure a strong budget for Horizon Europe’s new cluster “culture, creativity and inclusive society”. In light of their innovation-driven and risk-taking nature, Europe’s cultural and creative sectors should benefit from a strong budget under Horizon Europe.
  • To ensure that EU funds, notably structural funds, reach the cultural and creative sectors swiftly and effectively.
  • To ensure that a meaningful part of the EU funding is also deployed to support the livelihood of creators, creative workers and freelancers throughout this unprecedented crisis.

In these hard times, as the contribution of Europe’s cultural and creative sectors to the social, economic and artistic development of Europe couldn’t be more tangible, yet our sectors find themselves in danger of partial collapse, it is more important than ever to preserve and support Europe’s arts, culture and heritage and the values they promote.

Investing in our culture is investing in our future.
Now is the time to turn words into concrete measures.
 

Signatories
ACT – Association of Commercial Television in Europe
AEC – Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen
AEPO-ARTIS – Association of European Performers’ Organisations
ANIMATION EUROPE
CAE – Culture Action Europe
CEATL – The Council of European Literary Translator Associations
CEPI – European Audiovisual Production
CEPIC – Centre of the Picture Industry
CICAE – International Confederation of Arthouse Cinemas
CIRCOSTRADA – European Network for Circus & Street Arts
ECA – European Choral Association – Europa Cantat
ECCD – The European Coalitions for Cultural Diversity
ECSA – European Composer and Songwriter Alliance
EDN – European Dancehouse Network
EFA – European Festivals Association
EFFORTS – European federation of fortified sites
EFJ – The European Federation of Journalists
EFNYO – On behalf of the European Federation of National Youth Orchestras
EFP – European Film Promotion
EHTTA – European Historic Thermal Towns Association
EI – Europa International
EIBF – European and International Booksellers
EJN – Europe Jazz Network
ELIA – globally connected European network of higher arts education
EMC – European Music Council
EMCY – European Union of Music Competitions for Youth
EMEE – European Music Exporters Exchange
EMU – European Music School Union
ENCATC – The European network on cultural management and policy
ENCC – European Network of Cultural Centres
EOFed – European Orchestra Federation
ERIH – The European Route of Industrial Heritage
ESNS – Eurosonic Noorderslag
EuroCinema
Europa Cinémas
Europa Distribution – The European Network of Independent Film Publishers and Distributors
Europavox
Eurozine – European network of cultural journals
EVA – European Visual Artists
FEDEC – European Federation for Professional Circus Schools
FEP – Federation of European Publishers
FERA – Federation of European Film Directors
FIA – International Federation of Actors
FIAD – The International Federation of Film Distributors’ Associations
FIAPF – International Federation of Film Producers Associations
FIM – International Federation of Musicians
FSE – Federation of Screenwriters in Europe
GESAC – European Grouping of Societies of Authors and Composers
IAMIC – International Association of Music Information Centres
IAO – International Artist Organisation of Music
ICMP – The Global Voice of Music Publishing
IETM – International network for contemporary performing arts
IFPI – International Federation of the Phonographic Industry
IFRRO – International Federation of Reproduction Rights Organisations
IGCAT – International Institute of Gastronomy, Culture, Arts and Tourism
IMMF – International Music Managers Forum
IMPALA – Independent music companies association
IMPF – Independent Music Publishers International Forum
IMZ – International Music + Media Centre
IN SITU – European platform for artistic creation in public space
ISFE – The Interactive Software Federation of Europe
IVF – International Video Federation
JM International
KEA European Affairs
Live DMA – European network for music venues, clubs and festivals
Liveurope – the platform for new European talent
MCA – Michael Culture Association: European Trans-Domain Network for Promotion & Valorization of Digital Cultural Content
NEMO – The Network of European Museum Organisations On the Move
REMA – the European Early Music Network
Res Artis – Worldwide Network of Arts Residencies
SAA – Society of Audiovisual Authors
SHAPE – Sound, Heterogeneous Art and Performance in Europe
Sistema Europe – The Sistema Europe Association
Trans Europe Halles
UNI MEI – UNI global union – media, entertainment & arts
UNIC – International Union of Cinemas
Yourope – The European Festival Association
 

Please download the PDF version here.