CISAC
GLOBALCOLLECTIONSREPORT 2023
FOR 2022 DATA⊲CONTENT
2 I About CISAC
3 I Foreword Björn Ulvaeus
4 I Foreword Marcelo Castello Branco
5 I Foreword Gadi Oron
6 I 2022 GLOBAL COLLECTIONS
7 I CISAC Global Collections Report:
highlights at a glance
10 I 2022 Market Analysis
14 I Futuresource Analysis

16 I Collections by repertoire
17 I Music
19 I Audiovisual
21 I Visual Arts
23 I Drama
24 I Literature
25 I Collections by region
26 I EUROPE
28 I CANADA/USA
30 I ASIA-PACIFIC
32 I LATIN AMERICA & THE CARIBBEAN
34 I AFRICA

Tables of collections
36 I All repertoires
37 I Music
38 I Audiovisual – Visual Arts
39 I Drama – Literature
40 I Collections per capita
by country/territory
41 I Collections as % of GDP
by country/territory
42 I Membership by region
44 I About the report/deﬁnitions
46 I Methodology
47 I Credits

CISAC GLOBAL COLLECTIONS REPORT 2023 / 1⊳⊲

ABOUT CISAC

The International Confederation of Societies of Authors and Composers (CISAC) brings together 225 collective management organisationsin 116 countries/territories and five regions. These collective management organisations represent over five million creators active infive major repertoires: music, audiovisual, visual arts, literature and drama.

116 COUNTRIES/TERRITORIES

225 COLLECTIVE
MANAGEMENTORGANISATIONS+5M
CREATORSMUSIC

AUDIOVISUAL

DRAMA

LITERATURE

VISUAL ARTSEUROPE
47 countries
107 members

CANADA/USA
2 countries
11 members

ASIA-PACIFIC
17 countries/territories
31 members

AFRICALATIN AMERICA& THE CARIBBEAN
23 countries
46 members

2 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲27 countries
30 members

Foreword Björn Ulvaeus,
President of CISAC

WE MUST ADDRESS AI TO SUSTAIN
CREATORS’ COLLECTIONSIN THE FUTURE
I’m pleased once again to introduce the CISAC Global Collections Report. It gives a valuable hawk’s eye view of how
creators worldwide are earning a living from their work.

One big number stands out in this report: EUR4.2bn.
That is the total sum of creators’ global royalties thatcome from digital sources. It’s important because, forthe ﬁrst time ever, digital is the biggest source of royalty
income. In barely more than a decade, streaming has transformed life for CISAC members and the ﬁve million creators
it works for.
For all creators, digital is our business. Societies have impressively
grown their collections from streaming and subscription after thedisaster of COVID. The live business has also surged back. The
CISAC network is once again throbbing with concerts, exhibitions
and festivals, and the royalties they generate to help creators
make a livelihood.
This year’s results show that the collective management system,
despite all the enormous challenges it faces in adapting to digital,
is still robust and effective. CMOs have the backs of the creators
they serve and are now delivering more money to more creators
than ever before.
And that is good news – because, fresh from COVID and theeconomic squeeze, what we now face is another very serious,
existential challenge – that of Artiﬁcial Intelligence.
AI will radically change the world for creators and the creative
industry. It demands international leadership and a strong united
front from all parts of the creative industry.

As a creator myself and partly through the ABBA
Voyage project, I have been fortunate to have been
introduced to the use of AI. AI has the potential toempower human creativity in mind-blowing ways.
I think of it as having the power to extend the humanmind and potentially create wonderful art. But itbrings dangers too, and without hard rules protecting
human creators, it could also threaten their livelihoods
on a huge scale.
CISAC has already taken the initiative on AI. The issue
dominated discussions at our General Assembly inMay. This was followed by the CISAC-led Open Letterin July, backed by an alliance of groups, and whichspelled out seven principles as a key guide to policy
makers.
Here are some of the key priorities I propose:
Above all, machines can only be a tool for humancreativity, not a replacement of it; use of copyrighted
works must be authorised by the creator; copyrightmust not be weakened or undermined by inappropriate
exceptions; use of AI by developers must be transparent;
and fair remuneration to the human creator must be
fundamental.

AI is an incredibly important issue that needs urgent
action. It may not affect the graph lines of creators’
collections in 2023, but it will in years ahead. Right
now, creators must sit at the table with the tech ﬁrms
and policy makers at the highest level, starting with
the UN, and get their message over.
We must act now to help create great art, and toprotect the future of human creativity. ♦I THINK OF AI AS HAVING THE
POWER TO EXTEND THE HUMAN
MIND AND POTENTIALLY CREATEWONDERFUL ART. BUT IT BRINGSDANGERS TOO, AND WITHOUT
HARD RULES PROTECTING HUMAN
CREATORS IT COULD ALSOTHREATEN THEIR LIVELIHOODS
ON A HUGE SCALE.

CISAC GLOBAL COLLECTIONS REPORT 2023 / 3⊳ CONTENT ⊲Foreword Marcelo Castello Branco,
Chair of the CISAC Board

WE NEED AN AMBITIOUS
ROADMAP FOR THE FUTURE
The Report highlights some incredible positives: a signiﬁcant growth in collections across the CISAC network, strong
distributions from multiple societies, and a remarkable recovery after the unexpected three-year pandemic.
At ﬁrst glance, it may seem like our work as a community is almost complete, with only minor adjustments needed tomaintain stable growth. However, the reality is quite the opposite.

Instead of simply celebrating our achievements,
now is the time to double down and create an ambitious
roadmap for the future. The numbers in this Reportdemonstrate that our global collective management
community is experiencing an extraordinary wave of change.
While it's fantastic that collections have reached record levels,
we cannot ignore the growing inequalities and imbalances between
different regions, income streams, and large and small societies.
We must address these issues head-on, with CISAC leading
the way. This means improving systems, resolving data problems,
advocating for creators' rights, and maintaining the solidarity of
our community.
Although the conversation around AI is all-consuming, I will leavethat issue to the insight of Björn and Gadi in this foreword. We
are also faced with numerous other challenges that require ourattention. We must proactively address the structural changes
happening in all repertoires – music, visual arts, audiovisual,drama and literature – where CISAC plays a crucial role.

4 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲We must relentlessly work towards resolving thedata issues arising from the rapid growth of digital
distributions. CISAC remains at the forefront of thiswork, updating our tools and procedures to provide
greater value to our rightsholders. We are also striving
to improve our collection and distribution methods
while encouraging the adoption of best practices.
At the core of our collective management systemlies the voice and inﬂuence of creators. It is crucial
that their input is always heard and that they are
involved in the decision-making process regarding
their future. We must listen and learn from the newgeneration of creators and adapt to their increasingly
entrepreneurial spirit and independent ethos.
Our community is incredibly diverse, and although it
may sometimes be fragmented by differing viewpoints
and intense competition, we view diversity as ourstrength rather than a weakness. It enhances CISAC’s
authority as the global voice of creators.

As we gradually move away from the pandemic,
our determination to ensure that creators' rights
are respected, their works are fairly compensated,
and their creative endeavours receive proper credit
will remain unwavering. ♦AT THE CORE OF OUR COLLECTIVE
MANAGEMENT SYSTEM LIESTHE VOICE AND INFLUENCE OF
CREATORS. IT IS CRUCIAL THATTHEIR INPUT IS ALWAYS HEARD AND
THAT THEY ARE INVOLVED IN THE
DECISION-MAKING PROCESSREGARDING THEIR FUTURE.

Foreword Gadi Oron,
Director General

GROWTH THAT SHOWSTHE ENDURING STRENGTH
OF COLLECTIVE MANAGEMENT
Welcome to CISAC’s annual Global Collections Report.
This year’s publication shows a remarkable return to
growth as our whole sector fully recovers from thedisastrous three-year pandemic.
Collections in 2022 were up a record +26.7%. Digital income
for the ﬁrst time became creators’ largest income source –a real milestone for our sector. Live and public performance
income were almost back to pre-COVID levels. Total collections
are now, for the ﬁrst time, back above pre-pandemic levels by alarge margin of 19%.
It can be said without any complacency that these numbers area reﬂection of the business skills and resilience of our member
societies. They also show the enduring strength of the collective
management system, steadily and reliably growing the royalties
that sustain creators and the creative economy.
The traditional collective management model is – and has always
been – one which puts the creator at the epicentre of its work.
Its unique features – power in collective unity; non-proﬁt operations;full transparency; and creator control – are as relevant and asimportant today as they have ever been.

While all indications show that 2023 will show further
growth, there are enormous challenges ahead.
The optimism over the return of the live sector,
especially the big international tours, is temperedby signs that local events and smaller venues are
struggling due to the continuing cost of living crisis.

We are continuing to extend the use of the ISWC
music works identiﬁer throughout the value chain,and supporting members’ initiatives to bring together
the ISWC and its counterpart recording identiﬁer
ISRC, before the release of the song. Success inthese endeavours will be a big growth driver for futurecollections.

THE TRADITIONAL COLLECTIVE
MANAGEMENT MODEL IS – AND HAS
ALWAYS BEEN – ONE WHICH PUTS
THE CREATOR AT THE EPICENTRE
OF ITS WORK.

Looking beyond this year, one existential issue overshadows all others: Artiﬁcial Intelligence. AI may notaffect collections numbers today, but there is noquestion that the way we address it now will have ahuge bearing on collections in the future. Dealing withthe threats to the remuneration of human creativity,
posed by AI, as well as the amazing opportunities
AI tools present, is a top priority for CISAC. We arecommitted to playing a leading role in the creative
industries’ efforts to ensure that AI is used to enhance
human creativity, not diminish or replace it.

Digital income is still under-delivering for the vast
majority of creators. Despite the doubling of streaming
income in ﬁve years, the millions of creators represented by CISAC member societies are still missingout on royalty payments. CISAC societies’ collections
depend critically on good metadata in the streaming
market and our Confederation is at the heart ofindustry efforts to bring necessary improvements inthis area.

This Report shows a positive picture in collections
trends and of the state of the collective management
as it adapts to a deeply challenging and rapidlychanging landscape. I hope you will enjoy reading it. ♦CISAC GLOBAL COLLECTIONS REPORT 2023 / 5⊳ CONTENT ⊲2022
GLOBAL COLLECTIONS€+26.7%+33.5%

12.1

€

4.2

+11.0%€

4.04

bn

DIGITAL

BROADCAST(EUR billion)(EUR billion)bn+69.9%€GLOBAL COLLECTIONS(EUR billion)

2.68⊳ CONTENT ⊲

bn

LIVE
& BACKGROUND(EUR billion)

6 / CISAC GLOBAL COLLECTIONS REPORT 2023

bn

CISAC GLOBAL COLLECTIONS REPORTHIGHLIGHTS AT A GLANCEGLOBAL COLLECTIONS ROSE +26.7%
TO EUR12.1BN IN 2022

LIVE AND PUBLIC PERFORMANCEROYALTIES GROW BY TWO-THIRDSDIGITAL OVERTAKES BROADCAST
AS CREATORS’ TOP INCOME SOURCE

Global collections for creators saw record growth in 2022,
rising by more than one-quarter to reach EUR12.1bn.

Royalties from the live and public performance sector, including
concerts, background, exhibitions and theatres, increased +69.9%
in 2022 as festivals, music tours and businesses reopened.

For the ﬁrst time, digital became the largest source of revenue
for creators, driven by continued growth of subscription
streaming and renewed or new licensing deals by societies.

Global collections (EUR billion)
and annual growth

Live and background collections+26.7%(EUR billion)

12.07

+7.6%
-10.6%

10.07
9.37

9.00

+5.8%

2.64

2.74

2.76

4% 3% 3%

2.91

35%

2.68

22%

9.53
1.59

Global mix ofcreators’ income
streams in 2022
(EUR million)

1.58

33%
2018

2019

2020

2021

2022

The sharp increase was driven by a strong global recovery
in live and public performance after the pandemic, combinedwith continued robust growth in digital income. Global
collections are now at their highest level on record and in
2022 were +19.8% above their pre-pandemic level of 2019.

2016

2017

2018

2019

2020

2021

2022

Despite this, the sector’s return to health fell short of complete
recovery, remaining -7.9% below the pre-pandemic level of
2019. The majority of the growth was in Europe, where royalties
increased by more than three-quarters of a billion euros, whilecollections in Latin America more than tripled.

• Digital 4,167• Other 474• TV & Radio 4,040• Private Copying 368• Live & Background 2,680 • CD & Video 344
Digital income in 2022 accounted for 35% of all collections,double the share of ﬁve years earlier in 2018. Digital’s risecomes alongside the continued resilience of TV and radio
royalties, up +11% in 2022. Other income streams are led byprivate copying (EUR368m) and CD and video (EUR344m).
CISAC GLOBAL COLLECTIONS REPORT 2023 / 7⊳ CONTENT ⊲HIGHLIGHTS AT A GLANCECISAC GLOBAL COLLECTIONS REPORTDIGITAL INCOME EXCEEDS EUR4BN AFTERA DECADE OF DOUBLE-DIGIT GROWTH
Collections from the digital use of creators’ works increased
by +33.5% in 2022 to EUR4.2bn, boosted mainly by continued
growth in music streaming and subscription video on demand(SVOD).

Digital collections (EUR billion)
and annual growth+33.5%

4.17

GLOBAL MUSIC COLLECTIONSRISE +28.0%
Total collections for composers and songwriters increased by+28.0% in 2022 to exceed EUR10bn for the ﬁrst time. Strong
streaming subscription income helped digital collections riseby a record +33.5% to become the largest income stream formusic creators.
Music collections (EUR billion)
and annual growth+28.0%

10.83

+8.2%

+27.9%

3.12

8.93+16.5%

8.25

2.44+27.8%

Leading digital markets by shareand 3-year growth rate

+7.2%
-11.5%Country/
Territory

8.46

7.90

INDONESIAVIETNAMTHAILANDPHILIPPINESMEXICOTURKEYINDIAHONG KONG
TAIWAN, CHINESE TAIPEISWEDEN

2.09
1.64

2018

2019

2020

2021

2022

Digital collections were substantially boosted by the pandemic
and are now double the pre-pandemic level of 2019. However,in the context of wider creative industries’ revenues, digital isstill under-performing as an income source for creators. In themusic sector, digital comprises 35% of all collections, less thanhalf the corresponding share (71%) in the recording industry.

8 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲DIGITAL DRIVES GROWTH IN SMALLER
COLLECTING MARKETS
A growing number of territories are seeing a combination ofhigh market shares and continuing strong growth in digitalcollections, in particular in the Asia-Paciﬁc region. Smaller
territories with high digital market shares have seen exponential
growth during the three-year pandemic, as streaming
consumption and subscription rates rise and new licensing
deals are reached.

2018

2019

2020

2021

2022

Total music collections growth was also boosted by the
resurgence of live concerts: within the “live and background”
category, royalties from live concerts rose +185.7% in 2022,
according to a sample of more than 100 societies. Collections
from TV and radio rose +11.4%.

Market share2022

Growth
2019–2022

99.5%
92.1%
83.0%
79.3%
70.4%
67.6%
67.1%
65.9%
64.9%
56.2%

+297.7%+584.7%+269.2%+168.9%+155.9%+80.9%+532.7%+36.4%+188.2%+72.1%

HIGHLIGHTS AT A GLANCECISAC GLOBAL COLLECTIONS REPORTALL THE WORLD’S LARGEST MARKETSSEE GROWTH
All of the world’s ten largest collecting territories saw increased
growth in 2022 with the average growth rate exceeding+25%.

Drama was the fastest-growing repertoire in 2022, withroyalties increasing by +89.4% after being worst affected bylockdown restrictions.

Top 10 markets: 2022 and growth 2019–2022

Collections by repertoire, evolution in 2022

(EUR million)(EUR million)

9,181

GLOBAL TOTAL

12,074

RepertoireCollections

GrowthAudiovisual646+11.0%

Dramatic

169+89.4%

Literary

207

+5.3%

Music

10,832+28.0%

220+12.8%

12,074+26.7%

Visual Arts
GRAND TOTAL

Share and growth of collections by region(EUR million)
54.8%

6,617

Despite this, drama was the only repertoire to remain below its
2019 level. Every other sector saw growth. Music consolidated
on its earlier 2021 recovery to rise by more than one-quarter.

24.5%

2,962

+26.1%

15.0%

1,807

5.1%

612
LATIN
AMERICA

2,624+30.5%+33.3%
1,697+35.7%+25.3%
1,088+23.1%+32.4%
964+17.0%+11.0%
849 +3.7% (+10.1%)* -4.1% (+8.4%*)
568+38.1%-6.2%
426+24.1%+23.5%
338+25.7%+31.4%
293+22.0%+25.8%
274+37.4%+35.4%

TOP 10 TOTAL* in local currency

Growth
2019–2022

ASIA
PACIFICUNITED STATESFRANCEUNITED KINGDOMGERMANYJAPANITALY
AUSTRALASIACANADANETHERLANDS
SPAIN

Growth2022

Every region saw growth in 2022 with Europe remaining thelargest at more than half the global total. Strong growth inNorth America slightly narrowed the gap to second place
whilst revenues in Latin America increased by +66.1%, helpedby the trebling of live and background income. ■CANADA
USA

Collections

LATIN AMERICA LEADS GROWTH TABLE
AS ALL REGIONS EXPANDEUROPECountry/
Territory

GROWTH IN ALL REPERTOIRESAFRICA+29.9%+15.7%+66.1%+10.1%

0.6%

76

CISAC GLOBAL COLLECTIONS REPORT 2023 / 9⊳ CONTENT ⊲2022 MARKET ANALYSISGLOBAL COLLECTIONS UP +26.7%
AS CREATORS’ INCOME SOURCES CHANGE
Global collections in 2022 surged back with the biggest ever annual increase on record: up +26.7% to EUR12.1bn. The post-COVID recovery highlights big
changes in the breakdown of the main income streams of creators. Digital in 2022 became the largest royalty source, while live and public performanceremained -7.9% below its pre-COVID peak. Indications are that, after three years of disruption due to COVID, collections growth is returning to the sector’s
historical pattern of steady, incremental year-on-year progression.

Creators’ major collection sources,
2018–2022 (EUR million)

LIVE AND BACKGROUND BOUNCES BACK

344
368

Live and public performance collections rose by +69.9% in
2022 and remain -7.9% below 2019. The live sector was theﬁrst to collapse from COVID and has been the last to recover.
Virtually all societies in 2022 reported sharp increases in all
events generating live collections, from concerts and festivals
to theatre plays and exhibitions.

2,680

4,167

22% share

The rate of recovery in live and background has also varied
by geography. Collections in Latin America and the Caribbean
rebounded very strongly in 2022. This region has the highest
growth rate of +218.9% but remains -16% short of pre-pandemic
levels.
Public performance revenues continued to suffer in somecountries from the enduring damage caused by the pandemic.
For example, AEI-Guatemala reported that 48% of all bars
and restaurants have not reopened after the lifting of COVID
restrictions.
Growth of Live & background collections by region

TV & Radio

4,040

DigitalLive and Public
Performance
EUR2.68bn

Live & Background
Private Copying
CD & Video

2018

2019

2020

2021

2022

The ﬁve-year trend of creators’ major royalty streams shows thedramatic reversed fortunes of live and background and digital overthe last ﬁve years, with digital up +154.3% and live and backgrounddown -2.8% since 2018. Broadcast has remained largely ﬂat during
the pandemic and the resilience of TV and radio has played a key
part in the spectacular return to growth of the whole sector in 2022.

10 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲Live music royalties, slower to recover than public performance,
bounced back sharply in 2022. Data from a sample of 116
CISAC member societies shows that live music royalties rose
+185.7% in 2022, while background music was up only +34%.

Growth 2022

Growth 2019–2022

AFRICA
ASIA-PACIFICCANADA/USA
LATIN AMERICA
E. EUROPE
W. EUROPE+25.9%+31.1%+41.0%+218.9%+56.2%+80.6%-4.3%-15.4%-1.1%-16.0%-19.7%-6.0%

GRAND TOTAL+69.9%-7.9%

Region2022 MARKET ANALYSISGLOBAL COLLECTIONS UP +26.7%
AS CREATORS’ INCOME SOURCES CHANGE

3%

1%

5%
6%

42%

8%
Live and Backgroundmain income streams
in 202235%• Background Music• Live Music• Discotheques• Theatre

Some societies already reported higher collections for theﬁrst half of 2023. For example, in Korea, large performances
returned after social distancing measures were lifted in April
2022. In the ﬁrst half of 2023, KOMCA reported that royalties
from stage performance were already up +117% over 2022
ﬁgures and are projected to be up +227.5% by the end of2023.
Global events company Live Nation conﬁrmed in May 2023:“Global demand for live events continues to reach newheights — demand has been growing for a long time and isshowing no signs of letting up.”TV AND RADIO: ROYALTIES HOLD FIRM

• Karaoke• Cinema• Other

The royalties creators received from the live and backgroundsector can be broken down into a more diverse range offorms of use and entertainment. The graph, based on asubstantial sample of societies, shows the full range of uses
categorised as live and background. Background musicremains the largest income segment, followed by live music,
discotheques and others.

Broadcast collections rose by +11% in 2022 and stand at+4.6% above 2019. TV and radio income was overtaken forthe ﬁrst time by digital.

TV and radio have seen a declining trajectory overall but have,in general, been quite resilient, while traditional broadcasters
have increasingly expanded their offering in the digital space.
TV usage continues to gradually decline as streaming grows.
According to Nielsen, cable and TV audiences dropped
below 50% for the ﬁrst time in July 2023. Broadcast accounted
for 20% and cable for 29.6% of the audience. Streaming
services accounted for a record 38.7% of total US TV usage,
with YouTube, Netﬂix and Hulu attracting the largest audience.
Advertising revenues are a key driver of the trend in broadcast
income. These stayed relatively resilient in the pandemic years.
Society reports indicated that 2022 broadcast advertising
trends overall appeared broadly ﬂat.
In the longer term, advertising revenues are forecasted to
grow strongly, driven by the shift of ad spend to digital. PWC’s
Global Entertainment & Media Outlook projects global
advertising revenue at USD806bn in 2023, rising to USD953bn
in 2027.

33% share

TV & Radio
EUR4.04bn

TV USAGE IS RESILIENT
BUT CONTINUES TO GRADUALLYDECLINE AS STREAMING
GROWS

A strong outlook in 2023
In 2023, live entertainment has continued to rebound after
three years of pent-up demand. Live and background royalties
appear on course for further sharp growth, recovering wellbeyond pre-pandemic levels for the ﬁrst time.
However, there are still some concerns that this bubble
will burst after 2023 due to consumer spending cuts andconstraints on artists’ touring budgets.

Traditional non-interactive broadcast remains a key sector
in many markets, particularly in very large countries with low
rates of digital penetration and an enduring dependence on
linear broadcasting.
Over the past decade, shifts in consumption patterns haveresulted in a steady audience decline of TV and radio, as
people around the world embraced music streaming, SVOD
and other means of digital consumption.
CISAC GLOBAL COLLECTIONS REPORT 2023 / 11

⊳ CONTENT ⊲2022 MARKET ANALYSISGLOBAL COLLECTIONS UP +26.7%
AS CREATORS’ INCOME SOURCES CHANGE

Chasing fair value for creators around the world:
CISAC societies support creators by negotiating and re-negotiating multi-year licence agreements with powerful TV,
radio stations and digital service providers. CMOs use the collective strength of creators to ﬁght for fair value for theirmembers. Below are some selected examples:
AEI-Guatemala (Guatemala) achieved a licensing deal
with Netflix. The CMO filed a complaint with the Public
Ministry against several radio stations for violating
copyright. Other complaints are pending with the Public
Prosecutor’s Office against radio stations and the cable
company TIGO.
ACAM (Costa Rica) signed a licensing agreement withbroadcast media corporation Canartel.
AKKA-LAA (Latvia) came to agreements with several
large digital platforms.
COMPASS (Singapore) settled a decade-long caseagainst a local cable TV operator with the help of 24
CISAC members.
FILSCAP (Philippines) successfully secured public
performance licences for election campaign events for
major presidential candidates for the ﬁrst time.
ICSC (China) obtained signiﬁcant collections growth fromstatutory licences of textbooks.

12 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲LITA (Slovakia) closed a case in 2022, securing collections
paid by a cable operator for 2022 as well as back payments.
MACP (Malaysia) increased TV collections by securing
two years of licensing fees from subscription broadcaster
Astro TV. MACP increased digital collections by onboarding
Disney+ Hotstar and obtaining owed royalties from DSPs.
REDES (Colombia), which started distributions only in
2019, has negotiated agreements with a variety of broadcasters, cable operators and other content users. It has now
distributed royalties to authors and sister organisationsof more than USD1m in royalties over the last four years.
In 2022, REDES and DASC signed agreements withnational cable operator TIGO-UNE, one of the threelargest cable operators in Colombia. This followed anagreement between REDES and the San Andrés Islas
local cable operator Sol Cable Vision. These deals helped
audiovisual royalties in Colombia to grow +26.1%.

SABAM (Belgium) signed a new licensing agreementwith Disney+. A licensing agreement was reached with We
Are One World, which organises Tomorrowland, for missing
ticketing royalties and to use ﬁngerprinting technology
to monitor music played at the festival.
SACVEN (Venezuela) signed agreements with Simple TV(formerly DIRECTV).
SPA (Portugal) signed multi-territorial digital contracts
and renewed existing ones.
VCPMC (Vietnam) settled a lawsuit with major streaming
website Zing MP3, which accepted to pay past and futureroyalties. VCPMC is pursuing lawsuits against a large coffee
chain for unauthorised public performance use of VCPMC
repertoire as well as against several concert promoters
to obtain correct licensing royalties.

2022 MARKET ANALYSISGLOBAL COLLECTIONS UP +26.7%
AS CREATORS’ INCOME SOURCES CHANGE

DIGITAL:NOW CREATORS’ LARGEST INCOME SOURCE
In 2022, after years of strong double-digit growth, digital
became creators’ largest source of global royalty collections
for the ﬁrst time. Digital income rose +33.5% to EUR4.17bn
and now accounts for 35% of total collections, doubling
since 2019.

35% share

Digital
EUR4.17bn

This dramatic increase has been driven by societies’ licensing
activities and organic subscriber growth across all the major
streaming subscription services. Spotify reported 220 million
premium subscribers in the ﬁrst half of 2023, up +7% on thecorresponding period of 2022.
Digital growth trends have also been inﬂuenced by the costof living and subscription price increases (see analysis by
Futuresource, page 14). SVOD appears more vulnerable thanmusic services, with consumers reducing the use of multiple
services.

Music streaming is proving to be more robust and will see
continued growth in 2023, according to many societies.
Growth rates are seen to be generally maturing in developed
markets, with fewer new entrants to the market and potentiallyslower organic growth. New initiatives by platforms aim toboost revenue, such as the crackdown on family plans andaccount sharing.
Creators’ works undervalued despite
digital price rises
Price increases are expected to help drive music and video
streaming growth. Netﬂix, Deezer, Disney+, Apple Music, Apple
TV+, YouTube and Spotify have announced or implemented
price increases – for the ﬁrst time in over a decade for mostof them. For creators, this is one vital step towards unlocking
more value for their work and increasing royalties collectedby CMOs.

Music streaming also appears to favour international over
local creators in some markets. SOCAN said in its 2022
report that Canadian music creators are not receiving
the same visibility in digital when compared to traditional
platforms (e.g. radio). Domestic royalty distributions to Canadian
SOCAN creators decreased -9% over the past ﬁve years. ■DIGITAL INCOME FOR CREATORSOF ALL GENRES, AT 35% OF
TOTAL GLOBAL COLLECTIONS,STILL REPRESENTS LESS THAN
HALF THE EQUIVALENT DIGITALSHARE (71%) REPORTED FOR THE
GLOBAL RECORDING INDUSTRY

Despite this, creators remain grossly undercompensated bydigital services. The 2022 Music Streaming in Germany
study, commissioned by GEMA, revealed that authors typicallyreceive EUR0.81 from a standard EUR9.99 music subscriptionin Germany. Midia Research highlighted that recent DSP
price increases are “really only keeping pace with inﬂation
so in real terms, there has been no movement at all”.
Digital income for creators of all genres, at 35% of total global
collections, still represents less than half the equivalent
digital share (71%) reported for the global recording industry.
Several societies highlight that the total increase in digitalcollections is not translating into more income for many
creators.

CISAC GLOBAL COLLECTIONS REPORT 2023 / 13

⊳ CONTENT ⊲FROM COVID TO THE COST SQUEEZE –WHAT IS THE OUTLOOK FOR STREAMINGCOLLECTIONS?
James Duvall,
Principal Analyst,
Futuresource
Consulting

As if the COVID-19 pandemic hadn’t had enough impact, regional conflicts and rising inflation continue to apply pressure across the entire
entertainment industry. While shoots of recovery are beginning to emerge, global economic growth is still stalling. Subscription services
are adopting new strategies to boost margins and future-proof them against the slowdown. These have a direct bearing on future trends
in creators’ royalties collected by CISAC members.

THE POST-PANDEMIC RETURN TO NORMALITY
For streaming services, life has changed radically since the explosive growth
witnessed in 2020. Services are now feeling the squeeze from both inﬂationand the post-COVID recovery. The pre-pandemic lifestyle has gradually
become the norm once more, with audiences visiting the cinema more often
and attending live shows. Global spend for these activities is expected to surpass
US$30 billion in 2023 – more than 2020 and 2021 combined. As a result, spend
across subscription services will take a hit.

Global Consumer Streaming Spend(US$ billion)
142,3
130,9
119,2

107,3
95,4
78,5
57,2
41,2

SO, HOW HAS THIS IMPACTED VIDEO
AND MUSIC STREAMING?
Despite falling short of expectations, both subscription video on demand (SVoD)and music streaming saw double-digit growth in 2022. According to Futuresource,
SVoD grew 22% to US$95.4 billion while music streaming rose 15% year-onyear to US$31.9 billion. While this was partly caused by services hiking up prices,
growth in the number of subscriptions taken out continues to climb, with music
subscribers nearly doubling compared to pre-pandemic.

14 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲

2019

2020

2021

2022 2023 2024 2025 2026

17,9

21,9

2019

2020

Video

27,8

2021

31,9

36,8

40,9

45,1

49,0

2022 2023 2024 2025 2026

Music

SVOD AND MUSIC STREAMING: LOOKING AHEAD
The slowdown in growth for both video streaming and music subscriptions is expected to continue
across 2023 and 2024. Global consumer spend on SVoD is estimated to grow by 12% in 2023 and 11%
the following year.
For music subscription, growth during the outlook period will drop for the ﬁrst time to single digits. In the
short term, 2023 will see an estimated growth of 15%, and 2024 will see growth of 11%.

FROM COVID TO THE COST SQUEEZE –WHAT IS THE OUTLOOK FOR STREAMING COLLECTIONS?

CHURN AND AVOD/FAST INFLUENCING VIEWING HABITS
The factors affecting these trends vary across the video and music sectors. For video, one of the key causes of the growth slowdown is consumer churn. Given the economic pressures,consumers are seeking to rebalance their uptake of core services versus those they dip in and out of across the year. We found that one in every ﬁve subscribers has cancelled at least one
service in the past year, with as many as 40% of these subscribers since re-subscribing.
More developed markets will bear the brunt of this trend, with circa 33% of users in the
USA and UK expected to cancel or restart a membership.

THE IMPROVED USER EXPERIENCE

Another important factor contributing to this slowdown is the emergence of free adsupported content by video-on-demand services. This wider content choice has driven a
steady increase in audience numbers at the expense of SVoD services.

The user journey is another area receiving a sharper focus from subscription services.
Netﬂix has introduced password-sharing guidelines, which produced a mixed bag ofresults initially. Now, research has shown that 28% of Netﬂix account holders have
paid for additional members outside of the household to have access to their account.

AD-SUPPORTED VIDEO GROWTH

The rise of short-form video has also breached the shores of subscription services.
Spotify introduced “discovery” feeds in 2023, while the Samsung TV+ mobile app
launched a vertical video experience where the viewer can scroll through short clipsof their favourite content.

Over 50% of US survey respondents reported using at least one free ad-supported video-ondemand service in the past month vs. ~40% two years ago. While engagement outside of theStates has been slower to get off the ground (in some of the top markets it peaks at around
1/3rd of respondents), this hasn’t stopped Roku, Pluto TV and Rakuten TV seeking out partnerships and ramping up the development of original content.
Smart TVs are increasing in footprint, which is bringing ad-supported video content on demand(AVoD) and free ad-supported scheduled content (FAST) channels to a multitude of devices.
For example, since 2016 Samsung has pre-loaded AVoD/FAST services on all Samsung TVs
and on smartphones operating Android 8.0 or higher. These services are increasing their offeringsof both new and library content, resulting in more outlets where creators’ content can engage
with consumers.

ORIGINAL CONTENT DEMONSTRATES VALUEFor CMOs considering future streaming royalty trends, there is one big factor to bearin mind: with proﬁt margins closing in on platforms, it is original creative content thatis proving to be one of subscription services’ most valuable assets. In a key ﬁnding
from Futuresource’s Living with Digital survey, 38% of respondents identiﬁed originalcontent as the top reason that draws them to subscribe.
In a time when subscription services are ﬁghting to retain consumers, providing originalcontent could make all the difference.

THE RESPONSE? ADAPT TO SURVIVE
Given the challenging economic conditions and subscription slowdown, streaming services
are focusing on driving revenues higher. Since 2022, monthly subscription fees have been
increasing across the board, one of several strategies in place to reassure shareholders andoffset the increasing costs of producing original content.
In the SVoD sector, Netﬂix and Disney domestically introduced ad-tiers at the end of 2022,
simultaneously welcoming a new revenue stream through brand partnerships and offering
consumers wider choice. Netﬂix rolled out its own ad-tiers to a further eleven markets, andDisney’s international roll-out is expected at the end of 2023.

CORE TAKEAWAYS FOR CREATORS AND CMOS
Given the economic circumstances, the picture could be far bleaker for the sector.
Growth has slowed, but the strategies being adopted by streaming services should
help boost proﬁt margins and future-proof the industry. The outlook is strong and by
the end of 2026 streaming subscriptions will have surpassed $140 billion, as services
seek to expand and diversify their original content. Alongside the ad-supported services,widening royalty sources will provide creators and CMOs with new opportunities. ■CISAC GLOBAL COLLECTIONS REPORT 2023 / 15

⊳ CONTENT ⊲16 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲LITERATURE +5.3%

DRAMA +89.4%

VISUAL ARTS +12.8%

AUDIOVISUAL +11.0%

MUSIC +28.0%

COLLECTIONS BY REPERTOIREMUSIC 10.8€

REPERTOIRE

bn+28.0%

MUSIC COLLECTIONS HIT RECORD GROWTH IN 2022

Royalties for songwriters and composers rose +28.0% to a record EUR10.8bn in 2022.
This is the largest rise on record and the ﬁrst time that music income has exceeded ten billion
euros. Collections ended the year +21.4% above 2019, indicating an overall market “reset”
after three years of massive disruption by the pandemic. Digital for the ﬁrst time is the largest
music income segment.
Top 10 collecting countries (EUR million)
Country/Territory

Collections

GrowthUNITED STATESFRANCEUNITED KINGDOMGERMANYJAPANITALY
AUSTRALASIACANADASPAIN
KOREA, REPUBLIC OF

2,616
1,325
1,011
903
848
448
345
337
274
247

+30.5%+39.3%+24.3%+17.9%+3.6%+45.6%+30.6%+25.6%+37.4%+22.9%

GRAND TOTAL

8,355

The growth in live and background and digital added more than EUR1bn for each segmentto the 2022 total. TV and radio income remain resilient, rising by +11.4%.

DIGITAL IS NOW THE TOP MUSIC ROYALTIES SOURCEMusic collections from digital grew by +33.5% in 2022 to reach EUR4.1bn. For the ﬁrst time, digital has overtaken broadcast
to become the largest global income stream, taking a 37.7% share of total collections. The trend tracks steady user growth onmusic streaming platforms and some new and improved licensing deals with services such as Spotify, Netﬂix and Twitch.
The largest contributor to digital music growth was the USA, with collections up +44.7%. Elsewhere within the top ten collecting
countries, France grew by more than +40% while the UK and Germany increased by one-quarter.
Subscription video on demand (SVOD) growth continues, but, by contrast with pure music streaming, is reported to be ﬂattening
as some consumers reduce subscriptions under cost of living pressures. PRS for Music in the UK still reported SVOD revenues
up +16% to GBP40m, helped by new deals with Amazon and Disney +.
DIGITAL IS NOT REWARDING MUSIC CREATORSMusic collections by region (EUR billion)
RegionThe 2022 result came from sustained growth in digital revenues, a post-COVID resurgenceof live and public performance income and a resilient broadcast sector.

Collections

GrowthShare

EUROPECANADA/USA
ASIA-PACIFIC
LATIN AMERICAAFRICA

5.54
2.95
1.72
0.55
0.073

+28.3%+29.9%+16.5%+64.9%+10.4%

51.1%
27.3%
15.8%
5.1%
0.7%

GRAND TOTAL

10.83+28.0%

100.0%

Despite this trend, digital music royalties to creators continue
to substantially underperform in the wider context. Even at arecord 37.7%, digital’s share of the total market is well below thecorresponding share (71%) for the recording industry. GEMA’s
report on streaming royalties in 2022, for example, conﬁrmed that
only 8% of the subscription income typically goes to music creators.

Digital collection champions (EUR million)
Country/Territory

Digitalcollections

MEXICOINDIA
AUSTRALASIASWEDENCANADA
UNITED KINGDOMKOREA, REPUBLIC OFGRAND TOTAL

Total
collections

Digital
share

111
45
223
103
180
492
117

157
67
345
167
337
1,011
247

70.4%
67.1%
64.5%
61.9%
53.4%
48.7%
47.4%

1,271

2,331

CISAC GLOBAL COLLECTIONS REPORT 2023 / 17

⊳ CONTENT ⊲REPERTOIRE

MUSIC
CONCERTS DRIVE LIVE AND BACKGROUNDRECOVERY

Income from live and background sources increased by +68.2%
in 2022 but remains -7.7% below the pre-pandemic total. Almost
every country saw sharp growth, with France, Italy, UK and Germany
each growing collections by over EUR100m. A mass pent-up
demand drove a rush of big stadium and international touringacts. In Brazil, for example, a new major festival was launched in São
Paulo to run in parallel with the landmark Rock in Rio Festival.
Live music has recovered markedly stronger than public performance.
A sample of more than 100 music societies shows live royalties
up +185.7% in 2022, compared to a +34% rise in backgroundmusic.
The sector’s recovery has been more limited in smaller countries
that lack larger festival revenues. While nearly all twenty-ﬁve
top collecting countries for live and background saw this sector
grow by more than +60% year on year, the bottom twenty-fivecollecting societies experienced modest deviations.
STRONG GROWTH IN BROADCAST

Royalties from TV and radio maintained the resilience seen
during the pandemic, growing +11.4% in 2022. The sector ended
the year +4.5% above the 2019 level. TV advertising trends varyin different countries, with some markets seeing declines as aresult of weaker economies.
A rise of +20.1% in the USA and +18.9% in France generated
more than two-thirds of the increase. India saw outstanding
growth (up ﬁve-fold) following IPRS’s new licensing deal with thebroadcaster Zee Entertainment in 2022. In Spain, signiﬁcantback payments from earlier years supported a +20.8% rise incollections.

18 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲Share of collections by type of use(EUR million)

Private copying remains a signiﬁcant music income source
for creators, totalling EUR248m, despite a decline of -8.7% in
2022.

2.3%
3.2%

0.8%

LATIN AMERICA COLLECTIONS UP +64.9%

Latin America and the Caribbean was the region with the
sharpest collections growth, up +64.9% after three years of
COVID-driven decline. New subscription video negotiations andplatform growth helped digital income to rise by +63%. The threelargest collecting countries – Brazil, Mexico, and Argentina –saw increases of +57.6%, +71.2% and +85.4% respectively. ■

37.7%
23.2%

Breakdown of music collections by type of use (EUR million)
Use category

Collections

Digital
TV & RadioLive & BackgroundCD & Video
Private Copying
Other
Synchronisation
Rental/Public Lending
Publication
Reprography
GRAND TOTAL

4,082
3,555
2,509
344
248
43
33
9
5
4
10,832Growth2022

Growth
2019–2022+33.5%+11.4%+68.2%
-4.1%
-8.7%
-6.3%
+17.2%-10.0%-20.8%+9.4%+97.8%+4.5%-7.7%-17.8%+13.2%-18.0%+8.9%-39.4%-26.3%-

32.8%• Digital 4,082• TV & Radio 3,555• Live & Background 2,509• CD & Video 344• Private Copying 248• Other 94

AUDIOVISUAL 646
REPERTOIRE€m+11.0%

AUDIOVISUAL COLLECTIONS REACH ALL-TIME HIGH

Global collections for audiovisual authors increased by +11.0% to reach an all-time high of
EUR646m in 2022. Broadcast is substantially the largest source of income, comprising over
two-thirds of collections and growing by +8.3% during the year.

DIGITAL SUPPORTS GROWTH IN FRANCE

Top 10 collecting countries (EUR million)
Country
FRANCE
SWITZERLAND
ITALY
SPAIN
POLAND
ARGENTINAGERMANY
UNITED KINGDOMNETHERLANDSAUSTRIA
GRAND TOTAL

Global income from digital sources also grew strongly, rising by +51.8% to reach more than
2.5 times their pre-pandemic level. Despite this increase, the digital sector remains small
and accounts for just 10.4% of the total. Live and background uses make up only 3.0% ofaudiovisual revenue but returned to growth for the second consecutive year.

Collections

Growth

265
62
49
45
33
32
20
19.2
18.7
15
557

+14.1%+15.4%-5.0%+20.8%+8.1%+39.6%+14.5%+19.6%-17.2%+6.5%

France remains substantially the largest collecting country for the repertoire, generating more than 40% of the total.
Collections here grew by +14.1% to exceed a quarter of a billion euros for the ﬁrst time. The increase was helped by strong
growth in digital revenues, which rose by +69.6% during 2022. Broadcast income grew by +7.1% due to strong performanceby terrestrial TV channels, with the total exceeding the pre-pandemic level.
French society SACD highlights growth in non-linear and new media services as well as traditional broadcast, plus new
negotiated licensing agreements with M6, Prime Video and META.
Switzerland, the second largest collector in the sector, saw income rise by +15.4% to reach EUR62m. Income from private
copying added almost EUR5m to this total while broadcast and live revenues also increased steadily. Collections in Spainrose by one-ﬁfth, driven by the strong return of cinema attendance, and helped by a back payment from broadcast operators.
Collections in Slovakia increased by +75.8% to exceed EUR4m for the ﬁrst time. Back payments from cable TV operators
and a doubling in private copying revenue were the primary drivers.

RIGHTS OF REMUNERATION ARE KEY TO COLLECTIONSRemuneration for audiovisual creators depends on the rights granted in national legislations and in this regard, countries in Europe and Latin America have led the way. Colombia, Chile,
Uruguay and Panama have all recently updated their legal frameworks to introduce an unwaivable remuneration right and allow societies to collect for their members. This helps to ensurethat screenwriters and directors are fairly rewarded for their work. In 2022, Slovenia became the latest country to introduce the unwaivable remuneration right for audiovisual creators.
At the global level, inadequate legal regimes in many countries remain a major barrier for the audiovisual sector. Because of this, royalties account for only 5.4% of total collections by
CISAC members.
CISAC GLOBAL COLLECTIONS REPORT 2023 / 19

⊳ CONTENT ⊲REPERTOIREAUDIOVISUALNEW CONTRACTS BOOST LATIN AMERICANCOLLECTIONS

Share of collections by type of use(EUR million)

After Europe, Latin America is the most significant region foraudiovisual collections. Growth of +39.2% helped to reverse thedecline seen in the previous three years.

Breakdown of audiovisual collections
by type of use (EUR million)

The regional total reached EUR43m in 2022 but remained 8.4%
below the 2019 ﬁgure. The majority of income was generated inArgentina where collections grew by +39.6% despite inﬂation andcurrency ﬂuctuations. New agreements with cable operators increased
broadcast revenue by +29.7% and digital collections registered a+290% increase, while cinemas’ recovery from pandemic restrictions
drove a ﬁve-fold rise in live and background income.
Smaller collecting countries are showing the beneﬁts of a strong
legislative landscape. In Colombia, new agreements with public
and regional TV channels and with one of the continent’s largest
airlines helped to drive growth of +52.1%. This is the latest landmark
in the success story of Colombia's audiovisual societies, REDES andDASC, which started distributing royalties to members in 2018/19.
Payments have steadily increased since then, with REDES reportingin 2022 a +92% increase in welfare payments, a ten-fold risein international collections and a +119% increase in payments tointernational sister organisations. In four years, the society has
given its authors and sister societies more than USD1m.
In Chile, where legal challenges to the country’s “Ricardo Larraín”
audiovisual remuneration law were successfully defeated, collections
grew four-fold. In October 2022, Chilean society ATN struck aneight-year royalty rate agreement with free-to-air broadcasters.

20 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲

3.0%
4.2%

Collections

GrowthTV & Radio
Private Copying
DigitalOther
Live & Background
Educational Use
Mechanical Reproduction
Rental/Public Lending

445
82
67
24.5
20
6
1
0.5

+8.3%
-0.2%
+51.8%+15.1%+33.9%+0.2%-61.2%-46.0%

GRAND TOTAL

646

Use category

10.4%

0.9%

68.9%

12.6%

• TV & Radio 445• Private Copying 82• Digital 67• Other 26• Live & Background 20• Educational Use 6

VISUAL ARTSREPERTOIRE€

220+12.8%m

VISUAL ARTS COLLECTIONS REACH NEW HIGH

Creators’ royalties from the use of visual and graphic arts grew by +12.8% to reach a record
EUR220m in 2022. This total is +33.5% above the pre-pandemic level.

Reprography remains the largest royalty income source for visual artists with income obtained
from the sale of photocopiers and printers. Revenues from private copying were up +39.2%.

Annual collections in this repertoire can be heavily affected by one-off payments. This caused thetotal income from reprography in 2022 to grow +14.8% following a -29.9% drop the previous year.

Top 10 collecting countries (EUR million)
Country

Collections

Growth

FRANCEGERMANY
UNITED KINGDOMSWEDENNETHERLANDSAUSTRIAITALY
DENMARKUNITED STATESBELGIUM

50
41
23
17
15
12
11
8.0
7.8
7.7

+14.3%+0.8%+4.8%+28.6%+6.4%+153.8%+13.4%+12.4%+17.5%

GRAND TOTAL

192

Collections from the artists resale right increased +7.2% during the year, accounting for EUR50m. This small and crucial
royalty is adopted in more than 80 countries and is the second biggest visual arts income source. It is paid to the artist when
their work is resold at auctions. It has recovered quickly from lockdown restrictions due to a prompt shift to online auctions. The
most signiﬁcant growth was in the UK and Italy with rises of +7.3% and +25.3% respectively. A study published by UK visual artssociety DACS in 2023 found that over two- thirds of resale right payments were less than EUR600 and 75% of artists reinvested
the sum in studio costs, material purchases and professional development.
The UK remains the largest collecting country and this right has paid around EUR140m to UK artists and their heirs since its
introduction. In May 2023, the UK government conﬁrmed its commitment to the resale right, retaining the right in UK law andexcluding it from laws being repealed following the UK’s leaving the EU. Mexico introduced a new resale right law in early 2023,
making way for payments to visual artist after a 20-year battle by local society SOMAAP.
DIGITAL VISUAL ARTS COLLECTIONS GROW DURING PANDEMIC

Visual arts collections by region (EUR million)
RegionRESALE RIGHT CONTINUES TO GROW

Collections

GrowthEUROPECANADA/USA
ASIA-PACIFIC
LATIN AMERICAAFRICA

204
8
7
0.5
0.12

+12.8%+15.0%+8.8%+34.0%+786.1%

GRAND TOTAL

220

Collections from the use of visual artists’ work in eBooks, websites or mobile apps have grown more than two and half times
since the pre-pandemic level, but still substantially underperform.
Digital collections declined by -2.2% in 2022, mainly due to the large back payment received in Germany the previous year. Correcting
for this, the combined total of other countries saw a +27% increase in 2022. Behind Germany, France was the second largest
contributor in this group, delivering more than EUR5m in digital collections following an increase of +17.3%.
CISAC GLOBAL COLLECTIONS REPORT 2023 / 21

⊳ CONTENT ⊲REPERTOIREVISUAL ARTSFrance sees strong growth
Collections in France grew +14.3% to EUR50m, thanks to thewidespread recovery in the cultural sector after the pandemic.
ADAGP highlights the increasingly effective application of the rightof exhibition which now covers venues supported or ﬁnanced by
the Ministry of Culture. ADAGP doubled collections to more than
EUR300k from 130 venues and for more than 170 exhibitions.
REPROGRAPHY INCOME DOUBLES IN SWEDEN

Reprography collections in Sweden near doubled in 2022, driven
by revisions to the licensing framework while broadcast income
rose by +58.8% albeit from a relatively low base. This combinedwith strong resale right performance to help total collections rise
more than three-quarters above the pre-pandemic level. Reprography
also grew notably in China where a statutory license on textbooks
allowed local society ICSC to collect more than one million euros
for the ﬁrst time.
DISPUTE RESOLUTION BOOSTS PRIVATE COPYING IN
AUSTRIA

Thirteen countries collected revenues from private copying in
2022 with this small levy from the sale of electronic devices growing+39.2% to reach EUR30m. France remained the largest market,
but the vast majority of growth was in Austria. Collections had been
restricted by a dispute following changes to the 2016 Austrian
copyright law, but with this issue resolved, a ﬁve-year back payment
added more than eight million euros to the 2022 total. ■22 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲Breakdown of visual arts collections
by type of use (EUR million)

Share of collections by type of use(EUR million)

Collections

GrowthReprography
Resale Right
Private Copying
Reproduction
TV & Radio
Digital
Educational Use
Live & Background
Rental/Public Lending
Other

57
50
30
28
18
15
8
7
5
1

+14.8%+7.2%+39.2%+10.7%+21.9%
-2.2%
-7.4%
+2.1%
+18.8%-5.1%

GRAND TOTAL

220

Use category

Resale Right: top 10 collecting countries (EUR million)
Country

Collections

GrowthUNITED KINGDOMFRANCEITALYGERMANYSWEDENBELGIUMCZECH REPUBLIC
AUSTRIANETHERLANDS
DENMARK

15
13
8
4
2.0
1.6
1.2
1.0
0.9
0.8

+7.3%
+6.0%
+25.3%-23.1%+12.4%+4.4%+44.8%-9.4%+29.1%-

GRAND TOTAL

47

3.8%

3.2% 2.3% 0.5%

26.1%

6.7%
8.2%

12.6%
13.6%

22.9%

• Reprography 57• Resale Right 50• Private Copying 30• Reproduction 28• TV & Radio 18• Digital 15• Educational Use 8• Live & Background 7• Rental/Public Lending 5• Other 1

DRAMA 169
REPERTOIRE€+89.4%m

DRAMA IS THE FASTEST GROWING REPERTOIRERoyalties from the use of dramatic works grew faster than any other repertoire in 2022,
rising +89.4% to reach EUR169m. With the majority of income derived from public performance,
the sector had been decimated by the effects of pandemic lockdowns. The return of theatre
audiences rejuvenated the market, with growth in live and background revenues more thandoubling during the year.

France is the largest collecting country, with collections up +144.6% in 2022, accounting for
one-third of the total. Italy grew by two-ﬁfths, while Argentina increased substantially, evenaccounting for high inﬂation.

PRE-COVID INCOME NOT YET REACHED

Despite these increases, the sector total remains almost -10% below the 2019 level. Dramatic revenues in Belgium morethan doubled in 2022 following two extremely challenging years. Income is still one-third down on the pre-pandemic level
however, with local society SABAM noting 14% fewer recorded events than in 2019. Spain grew at +40.7% and still remained-12.4% below a full recovery. In Latin America, most countries saw exceptional growth as live performance returned. Brazil’s andChile's income from the dramatic repertoire trebled while Colombia’s grew eight-fold. Despite this, only Uruguay and Argentina
managed to achieve signiﬁcant increases over their pre-pandemic totals.

Top 5 collecting countries (EUR million)
Collections

Growth

FRANCEITALY
ARGENTINASWITZERLAND
SPAIN

57
51
17
12
10

+144.6%+40.1%+409.8%+74.2%+40.7%

GRAND TOTAL

147

Country

BROADCAST INCOME FLATTENS AS LIVE PERFORMANCE RETURNS

Revenues from TV and radio made up 11.1% of dramatic income in 2022. This was down slightly on the previous year as thereopening of stages reversed the increase in TV and radio consumption, especially in smaller collecting countries such as
Poland, Latvia and Lithuania. Three-quarters of dramatic broadcast revenue is generated in Italy where the total fell by -5.2%.
PRIVATE COPYING SUPPORTS GROWTH IN SWITZERLAND

A three-fold rise in live collections as stages reopened drove a +74.2% increase in Switzerland, lifting the total +18.6% above thepre-pandemic ﬁgure. Broadcast revenues also grew, driven by a +6.8% increase in cable TV. For private copying, authors received
a two-year back payment which more than doubled these collections and added EUR2.8m to the country total. ■Breakdown of drama collections by type of use(EUR million)
Use category

Collections

GrowthLive & BackgroundTV & Radio
Private Copying
Other
Rental/Public Lending
DigitalMechanical Reproduction

143
19
5
1.0
0.3
0.2
0.1

+124.8%-3.7%+15.4%+5.8%+67.8%-30.7%+13.5%

GRAND TOTAL

169+89.4%CISAC GLOBAL COLLECTIONS REPORT 2023 / 23

⊳ CONTENT ⊲€

LITERATURE 207
REPERTOIRE

m

+5.3%

COLLECTIONS RETURN TO GROWTH

Creators’ royalties from literature grew by +5.3% in 2022 to reach EUR207m. This reversed
a similar size decrease the previous year and left the total +7% above the pre-pandemic level.
Australia remains the largest collecting country but, despite growing by +2.3%, the total remains
REPROGRAPHY INCOME STABILISES

10.7

More than three-quarters of royalties for literature are derived from reprography, the printing of books and magazines. This
revenue source is often subject to one-off payments and in the previous two years, the total had swung from a +6.5% rise to a
-5.3% drop. In 2022, reprography stabilised to a modest global increase of +2.5%. Growth of +8.9% in Switzerland and +10.6% in
the Netherlands following a back payment were offset by a -7.0% drop in Finland, a three-quarter decrease in Italy and an absenceof revenue in South Africa.
PUBLIC LENDING REVENUE RISES BY ONE-THIRD

Library lending has seen a big boost following the pandemic. After two relatively ﬂat years, public lending grew by +34.1% in
2022 to make up 13.0% of the literary total. The largest increase was in Italy where a new allocation from the Italian Ministry of
Culture drove a ﬁve-fold increase in this sector to achieve a record high of EUR5.9m. In the Netherlands, growth of +57.8% led tothe highest sector total since 2012. The largest collecting country for literary lending was Finland and despite the total remaining
largely ﬂat in 2022, it still made up 44.4% of the market.
E-LENDING FALLS FOLLOWING EXCEPTIONAL GROWTH DURING PANDEMIC

Digital revenues from e-lending fell by -13.1% following a more than three-fold increase during the pandemic years. This revenue
is collected in three countries only and increases of +14.7% and +7.4% in the Czech Republic and Latvia were not able to offset
a -21.0% decrease in the Netherlands. Private copying revenues also fell by -13.8% with decreases in every country except Latvia
and Slovenia. There was growth in the educational use of literature however, with a +7.1% rise driven by strong performance in
Korea, by far the largest collecting country for this sector. Live and background use of literature also grew, rising +29.3% as
events and businesses reopened. ■24 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲6.6
1

more than -10% lower than in 2019. The UK, the next largest collector of literary income, saw
an increase of +5.7%. Finland, the Netherlands and Switzerland are the other top ﬁve countries,
with all but Finland registering growth during the year.

Top 5 collecting countries (EUR million)
Country

Collections

AUSTRALIA
UNITED KINGDOMNETHERLANDSFINLANDSWITZERLAND

78
34
20
20
18

GRAND TOTAL

170

Growth+2.3%+5.7%+15.7%-3.0%+7.9%

Breakdown of literary collections by type of use(EUR million)
Use category

Collections

GrowthReprography
Rental/Public Lending
Educational Use
Private Copying
TV & Radio
DigitalMechanical Reproduction
Live & Background
Other

161
27
5
4
3.3
2.9
1.5
1.4
1.3

+2.5%
+34.1%+7.1%-13.8%+0.9%-13.1%+9.4%+29.3%-5.6%

GRAND TOTAL

207

+5.3%

COLLECTIONS BY REGION
116 COUNTRIES/TERRITORIES – 225 MEMBERS

EUROPE+26.1%CANADA/USA+29.9%LATIN AMERICA &THE CARIBBEAN+66.1%

ASIA-PACIFIC+15.7%AFRICA+10.1%CISAC GLOBAL COLLECTIONS REPORT 2023 / 25

⊳ CONTENT ⊲EUROPE 6.6€

bn+26.1%

RECORD GROWTH AS EUROPE RECOVERS

Collections in Europe saw a record +26.1% growth to reach EUR6.6bn in 2022. The region
ended the year +16.2% above the pre-pandemic 2019 level. Europe’s royalties total remains
above half the world’s total at 54.8%.
Growth was mostly generated by a +28.3% rise in music collections. Audiovisual and literary saw
single digit increases, while visual arts registered a growth of +12.8%. The dramatic repertoire
bounced back dramatically (up +76.5%) after three years under siege from the pandemic.

+24.0%

Three-quarters of the region’s growth was generated in the six largest collecting countries.
France, Europe’s largest market, saw growth of +35.7%, attributed to better deals and rates
with broadcast and online users. A group of “middle-sized” markets – Austria, Belgium, theNetherlands, Poland, Portugal and Sweden – grew by more than +20%.

Collections by repertoire, Europe (EUR million)

LIVE AND PUBLIC PERFORMANCE STILL BELOW 2019

RepertoireCollections

GrowthMusic
Audiovisual
Visual Arts
Dramatic
Literary

5,539
601
204
150
123

+28.3%+9.4%+12.8%+76.5%+7.2%

GRAND TOTAL

6,617+26.1%The resurgence of the live and background sector is the biggest
driver of Europe’s recovery, growing +78.5% and adding
over three-quarters of a billion euros to the regional total. The
recovery was incomplete, however, with income in 2022 still-7.3% below the 2019 ﬁgure.

RepertoireCollections

GrowthThe live concerts and exhibitions sector differed markedly
from background/public performance. Based on a comparative
sample of more than 30 music societies, live concerts saw anincrease of +200.5% while public performance grew just +33.7%.

Music
Audiovisual
Dramatic
Literary
Visual Arts

361
62
14
7
4

+20.1%+8.0%+72.6%-1.3%+8.8%

The recovery was most dramatic in France and Italy, where live
and public performance income doubled over 2021. Several
countries report that, while large events have returned in force,smaller grassroots live performances have proved slower to

GRAND TOTAL

449+18.9%

Collections by repertoire,
Central and Eastern Europe (EUR million)

26 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲recover. German society GEMA reported 606 large-scale summer
concerts (versus 539 in 2019) but more than 380,000 fewer
licensed events in total.
Live and background collections in the UK grew by +67.8% toexceed the pre-pandemic level. More than 128,000 live music
events were reported to PRS for Music during the year (withcollections up +689%) and public performance collections roseby two-thirds. Of the top ten European markets, only Belgium,
the Netherlands and Switzerland were able to achieve thissame feat and surpass 2019 ﬁgures.

EUROPE
DIGITAL MAINTAINS STRONG GROWTH

Digital collections in Europe rose +29.4% driven mostly by
subscription streaming. Digital income has increased +96.9%
since 2019, while its share of the overall collections is now
28%, compared to 16.5% in 2019.

Digital collections by country (EUR million)
Country

Collections

Share

Growth

570
492
303
103
65

33.6%
45.3%
31.4%
56.2%
11.5%

+45.4%+23.2%+24.7%+32.5%+14.0%FRANCEUNITED KINGDOMGERMANYSWEDENITALY

More than two-ﬁfths of the digital growth in Europe was generated
in France, which increased collections by +45.4%. Digital grew
GRAND TOTAL
1,533
by +23.2% in the UK, helped by new agreements with Apple+
and with Amazon for its Freevee service. In Germany, an increase of +24.7% was helped by improved deals with certain platforms.
Smaller collecting countries such as Latvia, Poland and Bulgaria also saw high percentage growth.

Share of collections by type of use(EUR million)

2.6%

1.8%
2.1%
5.4%
32.2%

TV AND RADIO REMAIN LARGEST SOURCE

Broadcast royalties remain robust in Europe, rising by +6.8%
to comprise one-third of the total. In France, the sector grewby +14.6% to reach EUR558m.
In the other top ﬁve countries, Germany remained ﬂat, and the
UK contracted by -1.6%, but this was offset by more than +20%
growth in both Italy and Spain. Spanish society SGAE reported
growth in all broadcast sectors, with the largest being a +78.6%
increase from pay TV.
AUDIOVISUAL REPERTOIRE UP +9.4%

The European audiovisual sector was the second slowest
growing repertoire in 2022 despite strong growth in France,
Spain and Switzerland. Collections from digital video in France
grew by +69.6%.
RECOVERY IN EASTERN EUROPE

Central and Easter Europe grew by +18.9% and collections
now exceed pre-pandemic levels by +2.6%. All of the larger
markets saw growth, with Poland, the largest, rising by morethan a quarter. ■Private copying, Europe’s fourth largest revenue stream,
is a signiﬁcant income source for creators in the region. Revenues
declined by -3.9% in 2022.
Breakdown of collections by type of use(EUR million)
Collections

GrowthTV & Radio
DigitalLive & Background
Private Copying
Reprography
CD & Video
Resale Right
Other
Rental/Public Lending
Reproduction
Synchronisation
Educational Use
Mechanical Reproduction
Publication

2,131
1,850
1,843
357
139
119
49
42
38
17.3
16.7
12
2
0.02

+6.8%
+29.4%+78.5%
-3.9%
+6.5%
-7.7%
+6.4%
+7.0%
+25.4%+13.1%+27.0%+0.9%-26.0%-47.0%

GRAND TOTAL

6,617

Use category

27.9%

28.0%

• TV & Radio 2,131• Digital 1,850• Live & Background 1,843• Private Copying 357• Reprography 139• CD & Video 119• Other 177

CISAC GLOBAL COLLECTIONS REPORT 2023 / 27

⊳ CONTENT ⊲CANADA/USA 2.96€

bn

+29.9%DIGITAL POWERS COLLECTIONS TO ONE-THIRD ABOVE PRE-COVID LEVELThe North American region – incorporating the United States and Canada – has been a major
driver of global growth in 2022, with collections overtaking their 2019 total and marking asigniﬁcant return to normal. All major income channels increased, with digital sustaining the
sharp growth rates of the earlier pandemic years.
Total collections in the region were up +29.9% to EUR2.96bn in 2022, which is nearly onethird (33.1%) above the 2019 ﬁgures. Digital income is the main driver, with collections of
EUR1.2bn, up +41.6% year-on-year, and more than double (up +111.2%) the pre-COVID level of2019.

+24.0%Music royalty collections increased by +29.9%, substantially the largest growth rate onrecord. Music accounts for 99% of the region's collections, with visual arts making up forthe rest. Audiovisual collections reported to CISAC are insigniﬁcant since the managementof residuals in the US goes through the directors’ and writers’ respective guilds, such as the
DGA and WGA.
Visual arts collections reached EUR8.5m, up +15% year-on-year and +17.7% over 2019.
The main source of revenue remains reproduction, followed by resale right royalties.

Collections by repertoire (EUR million)
RepertoireCollections

Growth2,953+29.9%

Visual Arts

8.5

+15.0%

Audiovisual

0.04+52.6%

GRAND TOTAL

2,962+29.9%Music

DIGITAL GROWTH ACCELERATES

Digital music consumption in North America surged during the pandemic, and the trend has continued after theend of the lockdowns. The growth is also due to a proactive strategy from collective management organisationsin the region to maximise revenues from digital through the licensing of repertoire to a large variety of platforms,
from music and video streaming services to SVOD, gaming and livestreaming outlets.
The bulk of collections comes from the three largest PROs in the region reporting to CISAC, which are ASCAP
and BMI in the US and SOCAN in Canada (the ﬁgures in the report exclude ﬁnancial data from The MLC
and GMR). These societies had record years in both collections and distributions, with only the live sector,
synchronisation and physical format failing to return to pre-pandemic levels.

28 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲CANADA/USA
Music collections remain led by TV and radio broadcast (44.0% of the total), but digital income is now a close second(41.6%). Live and background collections recovered sharply with the post-COVID revival of concerts and live
entertainment. The income segment is the third largest revenue source and has almost recovered from its 2019 levels,with a +41.0% surge in revenue to EUR378m.
Societies in the region all announced very strong results. In 2022, ASCAP reported that it grew every major categoryof licensing, in particular general licensing (+40%), radio (+32%), audio streaming (+16%) and audiovisual (+7%). At BMI, whichswitched to become a for-proﬁt company in December 2022, digital represented the main source of revenue and grew by+35% year-on-year (BMI's ﬁscal year ends 30 June).

Share of collections by type of use(EUR million)

1.3%

12.8%

0.3%

44.0%

Meanwhile, at SOCAN, the growth engine was digital collections, up +24% year-over-year, nearly surpassing traditional
broadcast revenue, while collections from concerts exceeded pre-pandemic levels.
Overall, CISAC members in the region have also beneﬁted from a strong economy in the two countries surveyed, which
helped bring live and background as well as radio and TV to pre-pandemic levels while digital revenues continued their
upward trajectory both in the US and in Canada. With digital music collections up +41.6% in 2022, digital is on course to
becoming the largest source of music revenue in the near future in the region. ■Breakdown of collections by type of use (EUR million)
Collections

GrowthTV & Radio

1,302+18.9%

Digital

1,233+41.6%

Live & Background378+41.0%

CD & Video

38

+7.4%

Reproduction

8

+7.9%

Synchronisation1-50.2%

Other

1+18.7%

Use category

Resale Right

0.5-

Reprography

0.1+54.3%

GRAND TOTAL

2,962+29.9%

41.6%• TV & Radio 1,302• Digital 1,233• Live & Background 378• CD & Video 38• Reproduction 8

CISAC GLOBAL COLLECTIONS REPORT 2023 / 29

⊳ CONTENT ⊲ASIA-PACIFIC 1.8€

bn+15.7%+24.0%DIGITAL GROWTH HELPS POST-COVID RECOVERY

Collections in the Asia-Paciﬁc region grew by +15.7% in 2022 to reach EUR1.8bn. The region’s
post-COVID recovery has been less dramatic than elsewhere in the world, reﬂecting the strong
digital growth that most local societies achieved during the pandemic period. Collections in 2022
returned to +15.2% above the 2019 level and once again, digital was the primary driver. This sector
increased by +25.9% to make up 46.4% of the total.
Top 3 countries/territories (EUR million)
Country/Territory
JAPAN
AUSTRALASIA
KOREA, REPUBLIC OFGRAND TOTALJAPAN SEES RECORD COLLECTIONS

Collections

Growth

849
426
255

+3.7% (+10.1% JPY)
+24.1%+22.3%

1,530

Collections by repertoire (EUR million)
RepertoireCollections

GrowthMusic
Literary
Visual Arts
Audiovisual

1,716
84
7
0.3

+16.5%+2.6%+8.8%+78.6%

GRAND TOTAL

1,807+15.7%

30 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲Live and background income recovered slower than in other regions, growing by +31.1%
and remaining -15.4% below the pre-pandemic total. The comeback for TV and radio income,a sector where societies face pressure from powerful broadcasters, was also less marked
with a +4.9% increase. Asia-Paciﬁc remains comfortably the world’s largest region for physicalmusic revenues despite registering a -4.4% decrease in royalties from CD and video.

Collections in Japan increased by +3.7% (+10.1% in JPY) to reacha record high of EUR849m. The main driver was a dramatic risein live concerts as COVID restrictions abated and venues returned
to full capacity. Revenues in this sector were -13.7% (-2.5% in
JPY) below the pre-pandemic ﬁgure. Background collections
also rose, reaching four-ﬁfths of the 2019 total. Radio and TV

performed well with advertising revenue increases from theTokyo 2020 Olympics extending into calendar year 2022.
Digital income also grew with +18.3% and +22.7% increases inmusic and video streaming on the back of subscriber growthand improved licensing deals with platforms.

AUSTRALASIA BOOSTED BY RETURN OF LARGE MUSIC TOURING
Australasia illustrates the variable trends in the main income Digital collections in the region grew +45.6%, helped by continued
streams, partly related to different post-COVID recovery cycles. increases in music subscription but slowed by a ﬂattening growth
In Australasia, the biggest driver has been the resurgence of in SVOD brought on by cost-of-living pressures. TV and radio
live and background, with live tours from Ed Sheeran, Elton broadcasting remain resilient, staying broadly ﬂat and helped
John and others helping generate record live and concert by continued strength in commercial TV advertising.
royalties in 2022.

ASIA-PACIFIC

KOREA SEES STRONG GROWTH IN ALL KEY SECTORS

Collections in Korea ended 2022 more than +50% above the pre-pandemic level following a single year increase of +22.3%.
The largest recovery came in live and background where a +59.3% rise was driven by the lifting of social distancing restrictionsin the ﬁrst quarter of the year.
Digital collections rose +15.5% primarily due to streaming growth on international platforms. Broadcast incomes also returned tohealthy growth with a +22.6% rise after remaining ﬂat the previous year.

4.6%

DIGITAL DRIVES INDIAN COLLECTIONS TO DOUBLE

Collections in India near doubled in 2022, concluding a twelvefold increase in the last ﬁve years. A dramatic recovery in TV andradio income was driven by new negotiations with domestic
broadcaster Zee Entertainment and provided almost one-thirdof the country’s growth. 2022 was also the ﬁrst full year since
the pandemic without lockdown restrictions, which allowed live
and background revenues to treble.
More than half of the growth and two-thirds of all income camefrom digital sources. YouTube and Spotify lead the market but local
streaming services such as Gaana and JioSaavn – both popularsources of domestic ﬁlm music – also grew.
SMALLER TERRITORIES SEE SHARP GROWTH

Asia-Paciﬁc continues to have an exceptionally strong digitalshare of total collections. In 2022, the Philippines, Indonesia
and Singapore, all countries with strong digital growth, increased
by +70.9%, +42.6% and +36.3% respectively. Vietnam led theﬁeld, with collections growing nearly four-fold as a result of a
sharp recovery in live and background income and a sizeableback payment from YouTube. However, high digital shares also
reﬂect the weakness of other income streams in many Asianmarkets.
Collections in China rose only by +2.0% in 2022 as strict pandemic
policies persisted. Many public-facing businesses performed
poorly or ceased trading, while traditional broadcasters began to
shut channels leading to a -16.4% fall in TV and radio collections.
Digital revenues also fell as the challenges of negotiating
licenses with the country’s huge distributors continued. Digitalrevenues also fell due to challenges of licensing large distributors
such as Tencent and NetEase. ■Share of collections by type of use(EUR million)

2.9%

Digital collections by country/territory (EUR million)
Country/Territory

Digitalcollections

Total
collections

Digital
share
38.2%
52.3%
45.9%
67.1%
65.9%
43.1%
92.1%
64.9%
99.5%
83.0%

JAPAN
AUSTRALASIA
KOREA, REPUBLIC OF
INDIA
HONG KONG
CHINA
VIETNAMTAIWAN, CHINESE TAIPEIINDONESIATHAILAND

324
223
117
45
28
24
19.2
18.5
11
9

849
426
255
67
43
55
21
29
11
11

GRAND TOTAL

818.7

1,767

46.4%

10.2%

15.4%

20.5%

Breakdown of collections by type of use (EUR million)
Collections

GrowthDigital
TV & RadioLive & BackgroundCD & Video
Reprography
Other
Educational Use
Publication
Synchronisation
Rental/Public Lending
Reproduction
Resale Right
Private Copying

839
370
278
185
83
29
8
5
5
3
2
1
0.02

+25.9%+4.9%+31.1%
-4.4%
+3.8%
-8.2%
+8.0%
-20.7%-1.7%-28.7%+1.3%-8.4%-41.4%

GRAND TOTAL

1,807+15.7%

Use category• Digital 839• TV & Radio 370• Live & Background 278• CD & Video 185• Reprography 83• Other 53

CISAC GLOBAL COLLECTIONS REPORT 2023 / 31

⊳ CONTENT ⊲LATIN AMERICA &THE CARIBBEAN
DIGITAL OVERTAKES TV AND RADIO AS LARGEST INCOME SOURCE

Collections in Latin America rose by +66.1% in 2022 to reach EUR612m, making the region
substantially the fastest growing for collections. Growth was more than double that of
Canada/USA or Europe, driven by strong increases in the three largest collecting countries.
This has reversed a four-year decline caused mainly by the collapse of the live sector due to thepandemic and the higher dependence of Latin America region on live music by comparison
with other regions.
Top 3 countries (EUR million)
Collections

GrowthBRAZILMEXICO
ARGENTINA

182
163
143

+57.6%+67.3%+85.6%

GRAND TOTAL

488

Country

Collections by repertoire (EUR million)
RepertoireCollections

GrowthMusic
Audiovisual
Dramatic
Visual Arts

550
43
18
0.5

+64.9%+39.2%+382.7%+34.0%

GRAND TOTAL

612+66.1%

32 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲€

612+66.1%

m+24.0%

Royalties from live and background uses more than trebled (up +218.9%) in 2022. This
provided half the regional growth but remains -16% below the pre-pandemic level. TV andradio income increased by +22.3%.
As in previous years, digital collections rose sharply, up by +64.4% to reach EUR232m.
This represents a near three-fold increase since 2019 and resulted in digital overtaking broadcast
as the region’s largest source of income.

RETURN OF LARGE CONCERTS DOUBLES BRAZILIAN LIVE REVENUE
Brazil remains the largest collecting country, growing by +57.6% The return of large concert tours and festivals was a big boost
in 2022. The largest sector is TV and radio where a recovery for Brazil, as a regional hub attracting many international touring
in broadcast advertising led to a +34.8% rise. Digital rose sharply acts. Live collections nearly trebled in 2022 as both attendanceby +84.3%. While Spotify and YouTube continue to dominate numbers and ticket prices grew. Live festivals are growing, with themusic streaming, SVOD has seen newer entrants such as Disney+, organisers of the biennial Rock in Rio event now scheduling a
HBO and Amazon joining Netﬂix in expanding the country’s second parallel festival in São Paulo. The reopening of businesses
drove a +58.8% rise in general music licensing and allowed the live
subscriber base.
and background sector to double during the year.
ARGENTINA GROWTH DEFIES ECONOMIC CHALLENGES
Argentina also saw strong growth, even accounting for a remains -7.1% below the 2019 level, illustrating the impact of the
20-year high in inﬂation which skews the numbers for all income pandemic.
streams. Total collections were up +126.2% in local currency, Broadcast revenues returned to growth in 2022, partly helped
estimated at real growth of roughly +40% after inﬂation. Strong by back payments. Digital income doubled during the year toroyalty rates for live concerts by comparison with other countries conclude a five-fold rise since 2019. Local music society
in the region helped grow collections from live and background, SADAIC saw a combination of new and improved licensing
which rose more than ﬁve-fold during the year. This total still deals with digital services.

LATIN AMERICA &THE CARIBBEAN

DIGITAL EXTENDS MARKET SHARE LEAD IN MEXICO

Digital has been Mexico’s largest income source since 2018 with the sector’s resilience helping to maintain creator revenues
throughout the pandemic period. In 2022, digital collections grew again, rising +75.9% due to subscription growth at YouTube,
Netﬂix and Spotify, and the settling of a back payment during the year. This further improved digital’s market share, which now
exceeds 68%.
Broadcast income fell by -4.5% following a signiﬁcant payment the previous year. Live and background royalties grew more than
three-fold as theatres reopened and live events returned. Unlike many other countries in the region, Mexico’s relatively smaller
reliance on this sector allowed revenues to recover more quickly and the total is now +43.1% above the 2019 ﬁgure.

NEW AGREEMENTS DRIVE SUCCESS IN SMALLER
COUNTRIES

Breakdown of collections by type of use (EUR million)

A number of smaller collecting countries also saw growth
as a result of successful negotiations in 2022. In Uruguay, newlicensing agreements helped to deliver a doubling of income
while in Venezuela, contracts with Simple TV and Intercable
more than doubled broadcast revenues and drove a +140.9%
growth in total collections. Improved tariffs for bars and restaurants
increased creator revenues in El Salvador by +55.9%. In Costa
Rica, a new agreement with Netﬂix, combined with the return oflive and background nearly trebled the country’s revenue. ■Collections

GrowthDigital
TV & RadioLive & Background
Synchronisation
Private Copying
CD & Video
Reproduction
Educational Use
Other
Resale Right
Publication
Reprography

232
203
163
10
2
1
0.2
0.2
0.1
0.04
0.01
0.001

+64.4%+22.3%+218.9%+36.6%+24.1%+12.6%+42.5%+27.2%+43.3%+10.8%-35.0%-3.5%

GRAND TOTAL

612+66.1%

Use category

Share of collections by type of use(EUR million)

1.7%

0.3%
0.1%
38.0%

26.7%

33.2%

• Digital 232• TV & Radio 203• Live & Background 163• Synchronisation 10• Private Copying 2• Other 2

CISAC GLOBAL COLLECTIONS REPORT 2023 / 33

⊳ CONTENT ⊲AFRICA 76€m+10.1%BROADCAST COLLECTIONS RALLY TO DRIVEDOUBLE DIGIT GROWTH IN AFRICA

Creators’ collections in Africa grew by +10.1% in 2022, recovering to their pre-pandemic level of
EUR76m. TV and radio collections remained the largest sector with 43.8% of the total and were helped
by increased income in South Africa from radio advertising revenues and commercial TV.
Broadcast royalty income in the region grew +11.5% to EUR33m, two-thirds of which comes from South
Africa. An eight-fold increase in Zimbabwe added almost EUR2.5m to the total. Broadcast revenue in
Cameroon also grew, rising almost four-fold due to back payments by users.
LIVE AND BACKGROUND REVENUESGROW DESPITE LOCAL CHALLENGES

Income from live events and the use of music by businesses makes up 22.6% of Africancollections and grew by more than one-quarter in 2022. The largest contributors to this rise wereAngola where revenues leaped ﬁve-fold as collections restarted, and Côte d'Ivoire where a +23.2%
rise in the live and background sector drove national growth of +2.7%.

Top 3 countries (EUR million)
Collections

GrowthSOUTH AFRICA
CÔTE D'IVOIRE
MOROCCO

40
7
6

+6.6%
+2.7%
-8.0%

GRAND TOTAL

53

Country

Collections by repertoire (EUR million)
RepertoireCollections

GrowthMusic
Audiovisual
Literary
Dramatic
Visual Arts

73
1.8
1
0.3
0.1

+10.4%
-1.7%
-5.6%
+2.1%
+786.1%

GRAND TOTAL

76+10.1%

Despite this annual growth, the regional total for live and background remains -4.3% below the pre-pandemic level. In South Africa, income grew by +5.5% in 2022
but remained nearly one-ﬁfth down on 2019 with many businesses struggling to recover post-lockdown. Whilst background music grew, local society SAMRO reported
cinema and live event revenues falling by -94% and -67% respectively during the year.

34 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲AFRICADIGITAL GROWTH SLOWS

Digital income makes up 17.0% of the regional collections
total but grew by just +2.4% in 2022. In South Africa, where
72.4% of these collections are made, a large ﬁve-year video on
demand (VOD) back payment received the previous year slowed
growth in 2022 to +2.1%. Elsewhere, Algeria and Côte d’Ivoire
saw real declines in these revenues. The Africa region again has
the lowest digital market share of any region.
Private copying was the fourth largest income sector but fell by-11.4% across the eight countries in which it is collected. This was
driven by a -17.7% drop in Morocco where more than half of theserevenues are collected, and by a three-quarter decrease in
Algeria. Burkina Faso however, saw growth with private copying
more than doubling and driving a +50.9% increase in the country
total.
Breakdown of collections by type of use (EUR million)
GrowthTV & Radio33+11.5%

Live & Background17+25.9%

Digital13+2.4%

Private Copying

9-11.4%

CD & Video2+52.2%

1+16.9%

Reprography

0.14+21.6%

Rental/Public Lending

0.026+24.2%

Synchronisation

0.001-27.3%

GRAND TOTAL

76+10.1%

Other

1.2%
3.0%

12.4%

43.8%

PRIVATE COPYING:
WEST AFRICAN GOVERNMENTS BACK NEW DIRECTIVE
Private copying levies in the Africa region currently total EUR9m buthave a far greater potential. This income source has now received
a boost in with the adoption of a new Regional Directive harmonisingrules on private copying and promising increased revenues to creatorsand the creative industries. CISAC has played a key role advising on
this legislation.
A regional directive was unanimously adopted by the eight UEMOA
member states on 22nd September 2023.

17.0%

The International Organisation of La Francophonie (OIF) is also a key
partner. CISAC is also engaged on a similar project at Africa regional
level with ARIPO.
22.6%

Collections

Use category

Share of collections by type of use(EUR million)• TV & Radio 33• Live & Background 17• Digital 13• Private Copying 9• CD & Video 2• Other 1

At present, Burkina Faso and Côte d’Ivoire are the only countries
within UEMOA with a functioning private copying remuneration scheme.
Private copying collections declared in Burkina Faso by local society
BBDA amounted to EUR2.2m and in Côte d’Ivoire, EUR70k.
Once properly implemented, the Directive is expected to have asigniﬁcant impact. Based on population and GDP per capita, revenue
potential by 2025 from private copying remuneration in the countries
concerned would range between EUR800k and EUR4m. ■CISAC GLOBAL COLLECTIONS REPORT 2023 / 35

⊳ CONTENT ⊲TABLES OF COLLECTIONSALL REPERTOIRESCOLLECTIONS FOR ALL REPERTOIRES IN EUR MILLIONRANKCOUNTRY/TERRITORY

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25

UNITED STATESFRANCEUNITED KINGDOMGERMANYJAPANITALY
AUSTRALASIACANADASPAIN
NETHERLANDSKOREA, REPUBLIC OFSWITZERLAND
SWEDENBRAZILMEXICODENMARKBELGIUM
ARGENTINA
AUSTRIAPOLANDFINLANDNORWAYINDIA
PORTUGALISRAELCOLLECTIONSGROWTHGLOBAL SHARERANKCOUNTRY/TERRITORY

2,624
1,697
1,088
964
849
568
426
338
334
293
255
240
183
182
163
155
145
143
126
121
115
77
68
63
58.5

+30.5%+35.7%+23.1%+17.0%+3.7%+38.1%+24.1%+25.7%+34.4%+22.0%+22.3%+22.1%+25.8%+57.6%+67.3%+6.4%+25.1%+85.6%+36.8%+25.2%+4.5%+5.6%+92.5%+39.0%+32.8%

21.7%
14.1%
9.0%
8.0%
7.0%
4.7%
3.5%
2.8%
2.8%
2.4%
2.1%
2.0%
1.5%
1.5%
1.3%
1.3%
1.2%
1.2%
1.0%
1.0%
0.9%
0.6%
0.6%
0.5%
0.5%

26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50

CZECH REPUBLIC
CHINA
RUSSIAN FEDERATIONHONG KONG
HUNGARY
SOUTH AFRICA
ROMANIA
COLOMBIACHILEGREECETAIWAN, CHINESE TAIPEITURKEYCROATIAPERU
VIETNAMSLOVENIAIRELANDSLOVAKIA
MALAYSIASERBIAURUGUAYTHAILANDSINGAPORE
INDONESIAPHILIPPINES

36 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲COLLECTIONS

58.5
55
49
43
42
40
35
34
32
31
29
23
22
20.9
20.8
19.1
18.6
17.1
15.7
14.2
12.3
11.3
11.0
10.8
9.6

GROWTHGLOBAL SHARE+12.4%+2.0%+19.6%+29.7%+7.6%+6.6%+13.9%+56.1%+29.7%+87.8%+134.2%+7.5%+25.6%+71.9%+262.9%+18.0%+28.8%+20.6%+4.7%+111.9%-10.3%+36.3%+42.6%+70.9%

0.5%
0.5%
0.4%
0.4%
0.3%
0.3%
0.3%
0.3%
0.3%
0.3%
0.2%
0.2%
0.2%
0.2%
0.2%
0.2%
0.2%
0.1%
0.1%
0.1%
0.1%
0.1%
0.1%
0.1%
0.1%

TABLES OF COLLECTIONSMUSIC
COLLECTIONS IN EUR MILLIONRANKCOUNTRY/TERRITORY

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25

UNITED STATESFRANCEUNITED KINGDOMGERMANYJAPANITALY
AUSTRALASIACANADASPAIN
KOREA, REPUBLIC OFNETHERLANDSBRAZIL
SWEDENMEXICODENMARKSWITZERLANDBELGIUM
ARGENTINA
AUSTRIAPOLANDFINLANDNORWAYINDIA
CHINA
PORTUGALCOLLECTIONSGROWTHGLOBAL SHARERANKCOUNTRY/TERRITORY

2,616
1,325
1,011
903
848
448
345
337
274
247
240
181
167
157
147.0
146.9
120
94
89
85
76
75
68
54.2
53.5

+30.5%+39.3%+24.3%+17.9%+3.6%+45.6%+30.6%+25.6%+37.4%+22.9%+28.4%+57.6%+25.5%+71.2%+6.7%+23.9%+30.0%+85.4%+40.8%+30.5%+9.2%+5.2%+92.5%+1.3%+44.0%

24.2%
12.2%
9.3%
8.3%
7.8%
4.1%
3.2%
3.1%
2.5%
2.3%
2.2%
1.7%
1.5%
1.5%
1.4%
1.4%
1.1%
0.9%
0.8%
0.8%
0.7%
0.7%
0.6%
0.5%
0.5%

26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50

ISRAELCZECH REPUBLICHONG KONG
RUSSIAN FEDERATION
SOUTH AFRICAHUNGARY
COLOMBIA
CHILE
ROMANIA
TAIWAN, CHINESE TAIPEIGREECE
TURKEYPERU
VIETNAMCROATIA
IRELAND
MALAYSIASERBIASLOVENIATHAILANDSLOVAKIASINGAPORE
INDONESIAURUGUAY
PHILIPPINESCOLLECTIONS

50
46.5
43
41
40
38
32
29.4
28.8
28.5
24.3
23.3
20.9
20.8
20.1
18.5
15.7
13.9
13.1
11.3
11.3
11.0
10.8
10.7
9.6

GROWTHGLOBAL SHARE+40.5%+14.2%+29.7%+15.9%+6.6%+10.3%+56.4%+21.7%+16.9%+134.2%+152.8%+7.5%+72.0%+262.9%+27.8%+20.6%+5.3%+26.0%-10.3%+20.1%+36.3%+42.6%+107.3%+70.9%

0.5%
0.4%
0.4%
0.4%
0.4%
0.4%
0.3%
0.3%
0.3%
0.3%
0.2%
0.2%
0.2%
0.2%
0.2%
0.2%
0.1%
0.1%
0.1%
0.1%
0.1%
0.1%
0.1%
0.1%
0.1%

CISAC GLOBAL COLLECTIONS REPORT 2023 / 37

⊳ CONTENT ⊲TABLES OF COLLECTIONSTABLES OF COLLECTIONSAUDIOVISUAL
COLLECTIONS IN EUR MILLION

VISUAL ARTSCOLLECTIONS IN EUR MILLIONRANKCOUNTRY/TERRITORY

COLLECTIONSGROWTHGLOBAL SHARERANKCOUNTRY/TERRITORY

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20

FRANCE
SWITZERLAND
ITALY
SPAIN
POLAND
ARGENTINAGERMANY
UNITED KINGDOMNETHERLANDSAUSTRIAFINLANDBELGIUM
ISRAELCZECH REPUBLICGREECE
ROMANIASLOVENIAMEXICOSLOVAKIAPORTUGAL

265
62
49
45
33
32
20
19
18.7
14.7
13.7
12.3
8.1
7.3
7.1
6.0
5.4
5.3
4.0
3.8

+14.1%+15.4%-5.0%+20.8%+8.1%+39.6%+14.5%+19.6%-17.2%+6.5%-2.5%-13.7%
+6.2%
+1.5%
+3.4%
+1.0%
+75.8%+20.9%

40.9%
9.6%
7.6%
6.9%
5.0%
4.9%
3.1%
3.0%
2.9%
2.3%
2.1%
1.9%
1.3%
1.1%
1.1%
0.9%
0.8%
0.8%
0.6%
0.6%

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20

FRANCEGERMANY
UNITED KINGDOMSWEDENNETHERLANDSAUSTRIAITALY
DENMARKUNITED STATESBELGIUM
SPAIN
FINLAND
KOREA, REPUBLIC OF
AUSTRALIANORWAYCZECH REPUBLICSWITZERLAND
CHINA
JAPAN
PORTUGAL

38 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲COLLECTIONSGROWTHGLOBAL SHARE

50
41
23
17
15
12
11
8.0
7.8
7.7
6.0
5.5
3.1
2
1.9
1.6
1.3
1.2
0.8
0.8

+14.3%+0.8%+4.8%+28.6%+6.4%+153.8%+13.4%+12.4%+17.5%
+9.9%
-8.0%
+3.0%
-1.5%
+22.8%+19.2%+47.9%+53.0%+18.6%
-6.0%

22.7%
18.6%
10.6%
7.8%
6.6%
5.4%
4.9%
3.6%
3.6%
3.5%
2.7%
2.5%
1.4%
1.0%
0.9%
0.7%
0.6%
0.5%
0.4%
0.4%

TABLES OF COLLECTIONSTABLES OF COLLECTIONSDRAMALITERATURE

COLLECTIONS IN EUR MILLIONRANKCOUNTRY/TERRITORY

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20

FRANCEITALY
ARGENTINASWITZERLAND
SPAIN
RUSSIAN FEDERATIONPOLANDBELGIUM
PORTUGALURUGUAY
LITHUANIALUXEMBOURG
LATVIA
BELARUSSLOVAKIAARMENIAKAZAKHSTANCHILEBRAZILESTONIA

COLLECTIONS IN EUR MILLIONCOLLECTIONSGROWTHGLOBAL SHARERANKCOUNTRY/TERRITORY

57
51
17
12
10
8
3.9
3.7
1.6
1.3
.6
.6
.4
.4
.3
.2
.2
.2
0.1
0.1

+144.6%+40.1%+409.8%+74.2%+40.7%+44.4%+127.9%+134.2%+61.7%+234.7%+100.7%+6.2%+272.9%+70.3%+174.1%+79.6%+214.6%+234.1%+193.4%+42.5%

33.8%
30.2%
10.0%
7.2%
5.9%
4.5%
2.3%
2.2%
1.0%
0.8%
0.4%
0.3%
0.3%
0.2%
0.2%
0.1%
0.1%
0.1%
0.1%
0.1%

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20

AUSTRALIA
UNITED KINGDOMNETHERLANDSFINLANDSWITZERLAND
AUSTRIAITALY
KOREA, REPUBLIC OFPORTUGALCZECH REPUBLICBELGIUMSLOVAKIAHUNGARY
LITHUANIALATVIASLOVENIAISRAEL
ALGERIA
BURKINA FASO
MOROCCOCOLLECTIONSGROWTHGLOBAL SHARE

78
34
19.9
19.9
18.2
9.9
8.8
5.2
3.5
3.1
1.6
1.1
1.0
0.7
0.7
0.6
0.4
0.3
0.1
0.1

+2.3%
+5.7%
+15.7%
-3.0%
+7.9%
-1.1%
+50.2%
+8.1%
+5.4%
+0.3%
+7.5%
-1.8%
-3.3%
-20.8%+13.4%+7.5%+5.9%-13.6%+4.0%+72.5%

37.8%
16.2%
9.6%
9.6%
8.8%
4.8%
4.3%
2.5%
1.7%
1.5%
0.8%
0.5%
0.5%
0.3%
0.3%
0.3%
0.2%
0.1%
0.1%
0.04%

CISAC GLOBAL COLLECTIONS REPORT 2023 / 39

⊳ CONTENT ⊲TABLES OF COLLECTIONSCOLLECTIONS PER CAPITA BY COUNTRY/TERRITORY (EUR)

WORLD AVERAGE: 1.52
RANK

COUNTRY/TERRITORY

COLLECTIONSPER CAPITAREGIONRANKCOUNTRY/TERRITORY

COLLECTIONSPER CAPITAREGION1

SWITZERLAND

27.40

EUROPE

26

ANDORRA

5.73

EUROPE

2

DENMARK

26.27

EUROPE

27

CROATIA

5.68

EUROPE

3

FRANCE

24.97

EUROPE28

CZECH REPUBLIC

5.55

EUROPE

4

FINLAND

20.62

EUROPE

29

KOREA, REPUBLIC OF

4.94

ASIA-PACIFIC

5

SWEDEN

17.54

EUROPE30

LATVIA

4.43

EUROPE

6

NETHERLANDS

16.57

EUROPE31

HUNGARY

4.35

EUROPE

7

AUSTRALIA

16.41

ASIA-PACIFIC32

IRELAND

3.66

EUROPE

8

UNITED KINGDOM

16.24

EUROPE33

URUGUAY

3.59

LATIN AMERICA AND THE CARIBBEAN

9ICELAND

14.25

EUROPE

34

LITHUANIA

3.29

EUROPE

10NORWAY

14.05

EUROPE35

POLAND

3.22

EUROPE

11

AUSTRIA

13.91

EUROPE36

SLOVAKIA

3.15

EUROPE

12

BELGIUM

12.45

EUROPE37

ARGENTINA

3.09

LATIN AMERICA AND THE CARIBBEAN

13

GERMANY

11.46

EUROPE38

GREECE

2.99

EUROPE

14

ITALY

9.65

EUROPE

39

SAINT LUCIA

2.62

LATIN AMERICA AND THE CARIBBEAN

15

LUXEMBOURG

9.17

EUROPE40

MONTENEGRO

2.41

EUROPE

16

SLOVENIA

9.04

EUROPE41

SERBIA

2.11

EUROPE

17

CANADA

8.68

CANADA/USA

42

SINGAPORE

1.95

ASIA-PACIFIC

18

UNITED STATES

7.87

CANADA/USA

43

ROMANIA

1.84

EUROPE19

ESTONIA

7.07

EUROPE

44

CHILE

1.65

LATIN AMERICA AND THE CARIBBEAN

20

SPAIN

7.02

EUROPE45

BARBADOS

1.46

LATIN AMERICA AND THE CARIBBEAN

21

NEW CALEDONIA (FRANCE)

6.93

ASIA-PACIFIC

46

MEXICO

1.28

LATIN AMERICA AND THE CARIBBEAN

22

JAPAN

6.78

ASIA-PACIFIC

47

BOSNIA AND HERZEGOVINA

1.11

EUROPE

23

ISRAEL

6.12

EUROPE48

BULGARIA

1.08

EUROPE24

PORTUGAL

6.10

EUROPE49

NORTH MACEDONIA

1.00

EUROPE

25

HONG KONG

5.84

ASIA-PACIFIC

50

BRAZIL

0.84

LATIN AMERICA AND THE CARIBBEAN

40 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲TABLES OF COLLECTIONSCOLLECTIONS AS % OF GDP BY COUNTRY/TERRITORY

WORLD AVERAGE: 0.011%
RANK

COUNTRY/TERRITORY

COLLECTIONS
AS % OF GDP

REGIONRANKCOUNTRY/TERRITORY

COLLECTIONS
AS % OF GDP

REGION

1

FRANCE

0.064%EUROPE26

ICELAND

0.021%EUROPE

2

FINLAND

0.043%EUROPE

27

POLAND

0.018%EUROPE

3

DENMARK

0.041%EUROPE28

URUGUAY

0.018%LATIN AMERICA AND THE CARIBBEAN

4UNITED KINGDOM

0.037%EUROPE

29

BURKINA FASO

0.017%AFRICA

5

SWEDEN

0.033%EUROPE

30

CANADA

0.017%CANADA/USA

6

CROATIA0.032%EUROPE

31

KOREA, REPUBLIC OF

0.016%

ASIA-PACIFIC7

SLOVENIA

0.032%EUROPE32

NORTH MACEDONIA

0.016%EUROPE

8

SWITZERLAND

0.031%EUROPE33

SLOVAKIA

0.016%EUROPE

9NETHERLANDS

0.031%EUROPE34

BOSNIA AND HERZEGOVINA

0.015%EUROPE

10

ITALY0.030%EUROPE

35

GREECE

0.015%EUROPE

11

AUSTRIA

0.028%EUROPE36

ANDORRA0.014%EUROPE

12

AUSTRALIA

0.028%

ASIA-PACIFIC

37

LITHUANIA

0.014%EUROPE13

PORTUGAL

0.026%EUROPE38

NORWAY

0.014%EUROPE

14

BELGIUM

0.026%EUROPE

39

MALAWI

0.013%AFRICA

15

ESTONIA

0.026%EUROPE40

HONG KONG

0.013%

ASIA-PACIFIC

16

MONTENEGRO

0.026%EUROPE41

MEXICO

0.012%LATIN AMERICA AND THE CARIBBEAN

17

SPAIN

0.025%EUROPE42

ISRAEL

0.012%EUROPE

18

GERMANY

0.025%EUROPE

43

CHILE

0.011%LATIN AMERICA AND THE CARIBBEAN19

HUNGARY

0.025%EUROPE

44

UNITED STATES

0.011%CANADA/USA

20

SAINT LUCIA

0.024%LATIN AMERICA AND THE CARIBBEAN

45

ZIMBABWE

0.011%AFRICA

21

ARGENTINA

0.024%LATIN AMERICA AND THE CARIBBEAN

46

ROMANIA0.010%EUROPE

22

SERBIA

0.024%EUROPE47

COLOMBIA

0.010%LATIN AMERICA AND THE CARIBBEAN

23

LATVIA

0.021%EUROPE48

SOUTH AFRICA

0.010%AFRICA

24

CZECH REPUBLIC

0.021%EUROPE

49

COTE D'IVOIRE

0.010%AFRICA

25

JAPAN

0.021%

ASIA-PACIFIC

50

BRAZIL0.010%LATIN AMERICA AND THE CARIBBEANCISAC GLOBAL COLLECTIONS REPORT 2023 / 41

⊳ CONTENT ⊲MEMBERSHIP BY REGION
116 COUNTRIES/TERRITORIES - 225 MEMBERS
SOCIETYEUROPE
47 countries
107 members

STATUSREPERTOIRECOUNTRY/TERRITORY

SOCIETY

P
M
M
M
P
M
M
P
M
M
P
M
M
P
M
P
P
M
M
M
M
P
A
P
M
M
M
M
M
M
P
P
A
M
M
M

M, AV, D, AGP
AGP
M, L
AGP
AV
M, AV, D, L, AGP
M
M, AV
AV, L, AGP
M
M
D, M
M, L
AV
M
AV
AV
AGP
AGP
AGP
M
AV
NR
AV
AGP
AV
AV
AV, L
AV
M, AV, D, AGP
M
M
AGP
AV
AV
M, D , L

AZERBAIJAN
UNITED KINGDOMISRAELFRANCESLOVENIALATVIA
AUSTRIAALBANIA
UNITED KINGDOMBOSNIA AND HERZEGOVINAMOLDOVA, REPUBLIC OFARMENIAHUNGARYGREECEGREECEFRANCEAZERBAIJAN
AUSTRIASWEDENNORWAYNETHERLANDSSWEDENRUSSIAN FEDERATIONROMANIA
UNITED KINGDOMSPAINCROATIACZECH REPUBLIC
UNITED KINGDOMESTONIAGREECESPAIN
BELGIUM
BULGARIAHUNGARYGEORGIAGEMAGESACGESTOR
HDS-ZAMPHUNGARTIMPF
IMRO
ISOCRATIS
IVARO
KAZAK
KODA
KOPIOSTOKUVASTO
LATGA
LIRA
LITA
LITERAR-MECHANA
MESAM
MSG
MUSICAUTORMYNDSTEF
NCB
NCIP
NGO-UACRR
OAZA
OFA
OOA-S
OSA
PAM CGPICTORIGHTPROLITTERISPRS FOR MUSIC
RAO
SAA
SABAM
SACD

STATUSREPERTOIRECOUNTRY/TERRITORY

SOCIETY

M
M
M
P
M
M

M
AGP
M
AGP
AGP
AV

UNITED STATESUNITED STATESUNITED STATESUNITED STATESCANADACANADADGADRCC
SARTEC
SOCAN
SPACQ

AAS
ACS
ACUM
ADAGP
AIPA
AKKA-LAAAKM
ALBAUTOR
ALCS
AMUS
ANCO
ARMAUTHOR NGO
ARTISJUSATHINA-SADA
AUTODIAAVTE
AZDG
BILDRECHT
BILDUPPHOVSRÄTT
BONO
BUMA
COPYSWEDECRSEA
DACIN SARA
DACS
DAMA
DHFR
DILIA
DIRECTORS UK
EAU
EDEM
EKKI
EVA
FILMAUTORFILMJUSGCA

Note on categories of membership: CISAC full membersclassify as Collective Management Organisations and are
required to meet CISAC’s professional rules and resolutions.
Provisional members are on a two-year probationary periodprior to full membership. In addition, CISAC accepts Clients,
which are entities that are not members but manage rights
on behalf of rightsholders.

STATUSREPERTOIRECOUNTRY/TERRITORY

SOCIETY

M
A
M
M
M
A
M
P
P
P
M
M
M
M
M
M
M
M
M
M
P
M
P
P
M
P
M
M
M
M
M
M
M
P
A
M

M
NR
AGP
M
AGP
M
M
AV
AGP
M, D , L
M
AV, L, AGP
AGP
M, AV, D, L, AGP
L, AV
AV, D, L, AGP
L, AV
M
M
M
AGP
M
M, D
M, D
AV
AGP
AV, AGP
M
M
AGP
L, AGP
M
M, D, AGPAV
M, AV, D, L, AGP
AV, D

GERMANYBELGIUMCZECH REPUBLICCROATIAHUNGARYBELGIUM
IRELANDGREECEIRELANDKAZAKHSTAN
DENMARKFINLANDFINLAND
LITHUANIANETHERLANDSSLOVAKIA
AUSTRIA
TURKEY
TURKEYBULGARIAICELAND
DENMARKBELARUSUKRAINECZECH REPUBLICSERBIACZECH REPUBLICCZECH REPUBLIC
MONTENEGRONETHERLANDSSWITZERLAND
UNITED KINGDOMRUSSIAN FEDERATIONBELGIUM
BELGIUM
FRANCESACEM
SACEMLUXEMBOURGSAIF
SANASTO
SAZAS
SCAM
SDADV
SEDA
SGAE
SIAE
SIIP
SOFAM
SOKOJ
SOZA
SPA
SSA
STEF
STEMRASTIM
SUISA
SUISSIMAGETALITEOSTOTONO
UCMR-ADAUFFICIO GIURIDICO
VDFS
VEGAP
VEVAM
VG BILD-KUNST
VISDA
ZAIKS
ZAMP MACEDONIAZAMP SLOVENIAZAPASTATUSSTATUSREPERTOIRECOUNTRY/TERRITORY

A
M
A
M
A

AV
AV
AV
M, AGP
M

M
M
M
M
M
M
P
P
M
M
P
M
M
M
M
M
M
M
M
M
M
M
M
M
M
A
M
M
M
M
M
M
M
M
M

REPERTOIRECOUNTRY/TERRITORY

M
M
AGP
L
M
AV, L
AV, M
M
M, AV, D
M, AV, D, L, AGP
M, AV, D, L, AGP
AGP
MM
M, AV, D, L, AGP
AV, D
M
M
M
M
AV
AV
M
M
M
NR
AV
AGP
AV
AGP, AV
AGP
M, D
M
L
AV

FRANCELUXEMBOURG
FRANCEFINLANDSLOVENIAFRANCEANDORRA
SPAIN
SPAIN
ITALY
UZBEKISTANBELGIUM
SERBIASLOVAKIAPORTUGALSWITZERLANDICELANDNETHERLANDSSWEDENSWITZERLANDSWITZERLAND
ISRAELFINLANDNORWAYROMANIAVATICAN CITY STATE
AUSTRIASPAIN
NETHERLANDSGERMANY
DENMARKPOLANDNORTH MACEDONIASLOVENIAPOLAND

Provisionals upgraded to Members
SOCIETYCANADA/USA
2 countries
11 members

AMRA
ARS
ASCAP
ASCRL
CARCC
CSCS

UNITED STATESCANADACANADACANADACANADA

JASPAR (Japan), KOLAA (Korea, Republic Of), SCM Cooperativa (Cabo Verde)

Members reclassiﬁed to Provisionals
BBDA (Burkina Faso), COSOMA (Malawi), NCIP (Belarus),
SACIM (El Salvador)

Former CISAC members now CISAC Client RMEs:
BMI (United States)

STATUS WITHIN CISAC
M = Member
A = Associate
P = Provisional
42 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲REPERTOIRE
M = Music

AV = Audiovisual

AGP = Visual Arts

L = Literature

D = Drama

NR = No Repertoire

MEMBERSHIP BY REGION
116 COUNTRIES/TERRITORIES - 225 MEMBERS
SOCIETY

ASIA-PACIFIC
17 countries/territories
31 members

SOCIETY

LATIN AMERICA& THE CARIBBEAN
23 countries
46 members

AFRICA
27 countries
30 members

STATUS WITHIN
CISAC
M = Member
A = Associate
P = Provisional

STATUSREPERTOIRE

M
A
M
M
M
M
M
M
A
A

M
AGP
M
AV
AV
M
M
L, AGPM
AV

STATUS
M
M
M
A
M
M
M
M
M
M
M
P
M
P
M
M

AMCOS
APG- JAPANAPRA
ASDACSAWGACS
CASH
COMPASSCOPYRIGHT AGENCY
CPSN
DEGNZ

AACIMHABRAMUS
ACAM
ACCS
ACDAM
ADDAF
AEI- GUATEMALA
AGADUAMAR SOMBRÁSAPA
APDAYCAPSAVARGENTORESARTEGESTION
ASSIM
ATN

COUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRE

AUSTRALASIAJAPANAUSTRALASIAAUSTRALIA
AUSTRALIA
HONG KONG
SINGAPORE
AUSTRALIANEPALNEW ZEALAND

DGJ
DGK
FILSCAPICSCIPRSJASPARJASRAC
KOLAA
KOMCA
KOSCAP

A
P
M
P
M
M
M
M
M
P

AV
AV
M
AGP
M
AGP
M
L, AGP
M
M

REPERTOIRECOUNTRY/TERRITORY

SOCIETYSTATUS

M
M, D
M
M
M
M
M
M, AV, D, AGP
M
M
M, D
AGP
AV, D
AGP
M
AV, D

HONDURASBRAZILCOSTA RICA
TRINIDAD AND TOBAGOCUBA
BRAZIL
GUATEMALAURUGUAY
BRAZILPARAGUAYPERU
PERU
ARGENTINAECUADORBRAZILCHILE

AUTVISBSCAPCOSCAP
COTT
CREAIMAGEN
DAC
DASC
DBCA
DIRECTORES
ECCO
GEDAR
JACAP
REDES
SACIM, EGC
SACM
SACVEN

M
P
M
M
P
M
M
P
M
P
P
M
M
P
M
P

STATUS

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORY

SOCIETY

BBDA
BCDA
BGDA
BMDA
BUBEDRA
BUMDA
BURIDA
BUTODRACAPASSO
COSBOTS

P
P
P
M
P
P
M
P
M
P

M, AV, D, L, AGP
M, AV, D, L
M, AV, D, L, AGP
M, D, L
M, AV, D, L, AGP
M, AV, D, L, AGP
M, AV, D, L, AGP
M, AV, D, L, AGP
M
M, AV, D, L

BURKINA FASOCONGOGUINEA
MOROCCOBENIN
MALI
CÔTE D’IVOIRE
TOGO
SOUTH AFRICA
BOTSWANACOSOMACOSOTACOSOZA
GHAMROMASA
MALI MALIKI INSTITUTEMCSKNASCAMOMDAONDA

New CISAC members as of June 2023:
SOCIETYSTATUSAVTE
DGJ
MALI MALIKI INSTITUTE
SEDA
SIIP

A
A
A
P
P

REPERTOIRECOUNTRY/TERRITORYREGION

AV
AV
M, AV, D, L, AGP
M
M, AV, D, L, AGP

FRANCE
JAPAN
GHANA
SPAIN
UZBEKISTANEUROPEASIA PACIFIC
AFRICAEUROPEEUROPE

P
P
P
P
P
A
P
M
P
M

COUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORYJAPANKOREA, REPUBLIC OF
PHILIPPINES
CHINA
INDIA
JAPAN
JAPAN
KOREA, REPUBLIC OF
KOREA, REPUBLIC OF
KOREA, REPUBLIC OF

MACA
MACP
MCSC
MCT
MOSCAP
MRCSN
MÜSTSACENC
SACK
VCPMC
WAMI

M
M
M
M
P
P
M
M
M
M
M

M
M
M
M
M, AV
M
M
M
AGP
M
M

MACAU
MALAYSIACHINA
THAILANDMONGOLIANEPAL
TAIWAN, CHINESE TAIPEINEW CALEDONIA (FRANCE)KOREA, REPUBLIC OFVIETNAMINDONESIAREPERTOIRECOUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRE

AGP
M
M
M
AGP
AV
AV
AV
AV
M
AV
M
AV
M
M
M, D

BRAZILBELIZEBARBADOS
TRINIDAD AND TOBAGO
CHILE
ARGENTINA
COLOMBIA
BRAZILMEXICOSAINT LUCIABRAZIL
JAMAICACOLOMBIA
EL SALVADORMEXICOVENEZUELASADAIC
SAVA
SAYCE
SAYCO
SBACEM
SCD
SGACEDOM
SICAM
SOBODAYCOM
SOCINPROSOGEM
SOMAAP
SPAC
UBC

M
P
M
M
M
M
M
M
M
M
P
M
M
M

M
AGP
M
M, D
M
M
M
M
M
M
AV, D, L
AGP
M
M

REPERTOIRECOUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORY

M, L
M
M
M
M
M, AV, D, L, AGP
M
M
M, AV, D, L
M, AV, D, L

MALAWITANZANIA, UNITED REPUBLIC OFTANZANIA, UNITED REPUBLIC OFGHANA
MAURITIUS
GHANA
KENYA
NAMIBIA
MADAGASCARALGERIAOTDAV
RSAUSACERAUSAMRO
SCM-COOPERATIVASODAV
UNAC-SAUPRSZAMCOPSZIMURA

P
P
P
M
M
P
P
P
P
M

M, D, L
M
M, AV
M
M
M, AV, D, L, AGP
M
M
M
M

TUNISIARWANDA
EGYPTSOUTH AFRICA
CABO VERDESENEGALANGOLAUGANDAZAMBIA
ZIMBABWE

Societies no longer CISAC members as ofJune 2023:
ABYROY (Kazakhstan, M), AUPO CINEMA (Ukraine, AV),
CMC (Cameroon, M), SACS (Seychelles, M),
SASUR (Suriname, M), SOCILADRA (Cameroon, D, L)

COUNTRY/TERRITORYARGENTINA
ARGENTINAECUADORCOLOMBIA
BRAZILCHILE
DOMINICAN REPUBLICBRAZIL
BOLIVIA
BRAZILMEXICOMEXICOPANAMABRAZILCISAC Client RMEs:
ALLTrack (United States, M), BMI (United States, M), CMRRA (Canada, M),
DALRO (South Africa, L, D, AGP), ESMAA (United Arab Emirates, M),
Hexacorp Ltd (United States, M), MCPS (United Kingdom, M), NexTone(Japan, M), ORFIUM (Greece, M), SESAC (United States, M), Soundreef(United Kingdom, M), UNISON (Spain, M).

CISAC GLOBAL COLLECTIONS REPORT 2023 / 43

⊳ CONTENT ⊲ABOUT THE REPORTDEFINITIONSThe International Confederation of Societies of Authors and Composers (CISAC) is the world’s leading network of authors’ societies. Every year, royalty income
data is compiled from its 225 collective management organisation (CMO) members in 116 countries to generate this comprehensive global collection report.
This 2023 report features ﬁgures based on the gross domestic collections of CISAC members in their respective countries. To avoid double-counting, only ﬁnal
royalties collected for the use of creative works are compiled. International exchanges among CMOs, which are based on reciprocal agreements, are excluded.
Collections are presented globally, on a regional basis with focused data as well as split into the ﬁve CISAC repertoires that member societies represent: music,
audiovisual, drama, literature and visual arts.
TYPES OF RIGHTSTYPES OF USE

CISAC member societies manage two main types ofrights on behalf of their affiliated authors and publishers

Collection data is split by types of use. These include
the following:

Performing Rights

TV and Radio

Performing rights let creators be remunerated when theirworks are performed in public, either through live
performance or when a recording is played. These rights
also apply when works are communicated to the public
by radio, TV broadcast or by digital platforms (e.g., streaming
services).
Reproduction Rights
Reproduction rights allow creators to be remunerated
every time a copy of their creative work is made in any
format, including physical copies (e.g., CDs) or a digital
download. “Mechanical rights” is the term used to describe
the right obtained by record producers to make a soundrecording of a musical work. The term “reprography” pertains
to copying literature and printed works.

44 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲Consumers are allowed to copy works from one device
to another through a “private copying exception” toreproduction right, which exists in the laws of certain
countries. Creators can be compensated for this exemption
through a “private copying remuneration” in the form ofa tax on blank digital media and electronic products withability to store data.

Collections from the use of creative works whentransmitted to the public by TV or radio broadcasters andfrom satellite or cable operators, and certain broadcastrelated online services (e.g., catch-up TV). This use may
involve exploitation of both performing and reproduction
rights because a copy of the work is often made by thebroadcaster before actual transmission occurs.

Other Rights

Live and BackgroundIn this report, references to “other rights” include all that do
not fall under “performing rights” or “reproduction rights”.
These include royalties collected from private copying levy
schemes, rental or public lending, educational use,synchronisation, exhibition as well as collections fromauction houses and galleries for visual artists’ resale right.

Collections for the performance of creative works in frontof a live audience (e.g., playing, reciting or singing inpublic). This also includes collections from the use ofworks performed by other sources (e.g., recorded media, TVor radio broadcasts) played in public places. Backgroundin hotel lobbies or restaurants, or as the main focus of alive audience at discotheques, clubs or karaoke bars fallunder this category.

ABOUT THE REPORTDEFINITIONS

Digital and Multimedia

Reprography

Rental and Public Lending

Collections from licensing digital services (e.g., download
and streaming platforms) as well as the use of creative
works on digital recordable devices such as photographic
images on USB keys. The exploitation of creative works
covered under digital and multimedia may involve both
performing and reproduction rights.

Collections from reproduction of graphic works throughmechanical or electrical means (e.g., photocopiers andprinters). These are typically collected from manufacturers,
importers or operators of devices that allow works to be
reproduced.

Collections from rental or lending an original or copy ofa creative work to the public.

Compact Discs (CDs)Collections from manufacturers or distributors of blankmedia (e.g., recordable CDs or electronic devices) thathave data storage capabilities such as audio and video
recorders, smartphones and personal computers. Private
copying levies compensate rightsholders for acts of copying carried out by individuals for their own personal use.

Collections from licensing mechanical reproduction ofmusical works primarily on compact discs as well as othertypes of sound carriers (e.g., vinyl records or cassettes).
Video
Collections from licensing musical works within audiovisual
productions that are reproduced on DVDs or Blu-Ray.
Mechanical Reproduction
Collections from mechanical reproduction of works suchas books, newspapers and brochures in drama, literature,and visual arts repertoires. In this report, the category
excludes the reproduction of music on CDs or by othermeans since these have their own individual categories.

Private Copying

Resale Right
A small percentage of the sale price payment made tovisual artists when their works are re-sold by an auction
house or gallery. This right applies to paintings, sculptures,
drawings, photographs and other visual works.

Synchronisation Right
Collections from incorporating a musical work within asoundtrack that is timed to accompany visual images.
The work can be used either in full or in part. The righttypically refers to audiovisual works (e.g., ﬁlms, commercials
and video games).
Exposition Right
Collections from the exhibition or showing of a work ofart to a public, such as in museums.
Educational
Collections from educational establishments for the useof creative works in teaching. This may include theperformance or display of a work by instructors as partof a course in a classroom.

CISAC GLOBAL COLLECTIONS REPORT 2023 / 45

⊳ CONTENT ⊲CISAC GLOBAL COLLECTIONS REPORT:METHODOLOGYThe CISAC Global Collections Report is based on domestic collections reported to CISAC by its member societies.
These are revenues collected by each society for the use of the repertoires it represents within its own country, or ona multi-territorial basis in certain cases (e.g., digital licensing in Europe).
The ﬁgures in this report exclude revenues received from sister societies to avoid duplication. Collections are grosscollections before deductions for administrative, cultural or social purposes.
The Euro is the currency chosen for the report for consistency and comparison with previous years. 38% of collections
declared to CISAC come from the Eurozone while 19% are expressed in US dollar, 8% in pound sterling and 9% in yen.
Three-quarters of the global remuneration of creators for the use of their works are expressed in these four currencies.
For the current year, collections are expressed or converted in Euro at an average rate for 2022. Previous year ﬁgures
are converted into Euro using the average rate of the corresponding year. Year-by-year comparisons are impacted bycurrency variations. These play a role when dealing with global or aggregated data in Euros. They have no effect onregional or national comparison expressed in the same local currency.
Collection ﬁgures have been rounded up to the nearest million or thousands, except for ranking purposes. In thesecases, one decimal has been added. Percentages are calculated using the actual unrounded ﬁgures. In this 2023 report,
country data from previous years may occasionally be corrected or re-stated in order to establish accurate like-for-likecomparisons or to deal with the impact caused by changes in the number of CISAC members. When societies join CISAC
and declare their income, this automatically increases revenues in their country. When societies stop being CISAC members,collections from their country appear to decrease compared to previous reports.
US digital rights income is excluded from this report as it was transferred in 2021 to the Music Licensing Collective (MLC)
which is not a CISAC member. ■46 / CISAC GLOBAL COLLECTIONS REPORT 2023

⊳ CONTENT ⊲CREDITCISAC wishes to thank the following:
Front cover: © 2013 Lebedev_S/Shutterstock - © 015 Billion Photos/Shutterstock - © 016 Vadim Ponomarenko/Shutterstock ©2016 Roman Motizov/Shutterstock- © 019 Alvaro Hernandez Sanchez/Shutterstock © 2021 Kozlik/Shutterstock.
Photos credits:
Inside pages: Björn Ulvaeus ©Kristian Pohl for Zap PR (p.3) - Marcelo Castello Branco ©Miguel Sá (p.4) - Gadi Oron ©Gilles Dacquin (p.5)- James Duvall ©Andrew Fosker / PinPep (p.14) - © 2013 Lebedev_S/Shutterstock - © 015 Billion Photos/Shutterstock - ©2016
Roman Motizov/Shutterstock - © 019 Alvaro Hernandez Sanchez/Shutterstock © 2021 Kozlik/Shutterstock (p16)
Contributors: Marco Foley/652South
Business Analyst Consultant: Matthew Pacheco
Proofreader: Wee Wong
Translation: Hélène Caruyer, Paz Juan Gutiérrez.
Published by the Communications Department of CISAC – October 2023.
Graphic design: Olivier Noël, ON.

CISAC GLOBAL COLLECTIONS REPORT 2023 / 47

⊳ CONTENT ⊲CISAC Global Collections Report 2023 For 2022 Data - All rights reserved - 10/2023

CISAC

International Confederation of Societies of Authors and Composers
www.cisac.org⊳ CONTENT