CISAC
GLOBAL COLLECTIONSREPORT 2022
FOR 2021 DATACONTENT
2 I Foreword Björn Ulvaeus
3 I Foreword Marcelo Castello Branco
4 I Foreword Gadi Oron
5 I 2021 GLOBAL COLLECTIONS
6 I CISAC Global Collections Report:
highlights at a glance
9 I 2021 Market Analysis
12 I Futuresource Analysis
Societies case studies
15 I JASRAC
16 I ADAGP
17 I FILMAUTOR & MUSICAUTOR
18 I ATN
19 I IPRS
20 I CAPASSO
21 I KODA
22 I SOCAN

Repertoires
23 I Music
25 I Audiovisual
27 I Visual Arts
29 I Drama
30 I Literature
Regions
31 I EUROPE
33 I CANADA/USA
35 I ASIA-PACIFIC
37 I LATIN AMERICA & THE CARIBBEAN
39 I AFRICA

Tables of collections
40 I All repertoires
41 I Music
42 I Audiovisual - Visual Arts
43 I Drama - Literature
44 I Collections per capita by country/territory
45 I Collections as % of GDP by country/territory
46 I Membership by region
48 I About the report/deﬁnitions
50 I Methodology
51 I Credits

CISAC GLOBAL COLLECTIONS REPORT 2022 / 1

Foreword
Björn Ulvaeus,
President of CISACTWO THINGS CREATORS NEEDIN THE STREAMING WORLD:FAIR VALUE AND BETTER METADATA
Behind its dry veneer, CISAC’s Global Collections Reporttells a story I care a lot about. It’s a human story of songwriters,
painters, screen directors, writers, lyricists and othercreators, whose work inhabits the culture around us.
These are the people, across all repertoires, who makeup the “royalty economy”, and they are the lifeblood of
our creative industries.
These are tough times to be trying to make a living as acreator. Yes, digital royalties collected by CISAC societies
are growing impressively. And there are wonderful
opportunities provided by the streaming world. But thatsame world, where tens of thousands of creative works
are uploaded daily to streaming services, is still unﬁnishedbusiness when it comes to ensuring a fair environment
to earn a living.
Life was simpler and more predictable for me when welaunched Abba in the 1970s. But I am not, for one minute,nostalgic for the past—only impatient for a better future
for creators, and for good decisions by those who canmake that happen.
As President of CISAC, I’ve tried my very best to bringabout positive change. And in the last year I’m pleased
to see signs of progress. On the one hand, pressure is
2 / CISAC GLOBAL COLLECTIONS REPORT 2022

mounting for fair value and greater transparency on creators’
remuneration—something CISAC societies have long beencalling for. GEMA’s report on the music streaming sector
in Germany is the latest study to nourish this importantdebate.
On the other hand, I feel hopeful that something is now
happening to engineer the big leap forward that is neededon the issue of metadata. This is a massive priority, as
without good metadata, we cannot have a healthy creative
sector where creators get fairly paid.
Right now, too much of the data needed to identify andremunerate creators is incomplete or missing when works
are ingested on streaming services. The result is a lot ofmoney—hundreds of millions of dollars, I estimate—that
is left on the table when it should be going into creators’
pockets.
On the music side, CISAC has done a fantastic job
upgrading the music works identiﬁer ISWC and making
it available to societies. But despite this, wider adoptionof the newly-improved code is slow. It is essential that thedifferent parties involved—societies, publishers, labels,
DSPs, tech companies, managers and of course creatorsthemselves—now work in collaboration to ﬁx the problem.

Last year I helped announce a brilliant initiative, launchedby the Ivors Academy in the UK. “Credits Due” is a campaignthat has asked for industry organisations to make a pledge
to ensure that complete and accurate metadata is captured
on recordings at the point of creation. It now has 70
supporting organisations, including CISAC.

The streaming world is still unﬁnishedbusiness when it comes to ensuring a fairenvironment to earn a living.

As part of its enquiry into the streaming market, the UK
government is now dedicating attention to the issue andexploring ways forward.
These are positive developments which, in combination,
signal to me that things are now moving in a serious
direction—as they must.
There is still a massive amount of work and willpower
needed to solve these issues of fair value and good
metadata. And I have no doubt at all that CISAC, with its
unique platform and its global reach, will have a crucialrole in making this happen. ■Foreword
Marcelo Castello Branco,
Chair of the CISAC Board

WE ARE BACK TO BUSINESS,BUT THERE ARE CHALLENGES AHEAD

We are back to business around the world. Our member
societies have driven a return to growth by showing theirﬁnest quality—the ability to adapt and change to keep pacewith the rapid shift to digital.
The COVID crisis of 2020 and 2021 has tested our ability
to serve creators and ensure their remuneration, improve
our service and handle the ever more complex network ofbusiness partners. And on all these fronts, we have met
the challenge. But more, and possibly greater, challenges
lie ahead.
This latest CISAC Global Collections Report shows that weare on our way to recovery, but that our world is not thesame as it was before. 2022 has seen cause for celebrationas collections, especially for live and public performance,
have come ﬂowing back. But the numbers here are nevergoing to tell the whole story. We need to see this year notjust as a return to normality, but as a bridge to the next
phase—with the new opportunities and challenges it brings.

In the near term, we face the prospect of economic
slowdown ahead and the risks that come with the unusual
combination of inﬂation and recession.
There are also signs of some vulnerability in the subscription
streaming world, especially in the audiovisual sector, as the
economic pressures make themselves felt. In the music
sector, subscription prices are already undervalued andneed to be raised, with prices having barely changed
since the early days of the streaming model. Fair value
and fair terms are essential so as not to compromise theremuneration of rightsholders.
Despite those uncertainties, streaming and subscription
have become massive markets for creators, with plenty ofroom for long-term growth. There are promising new revenue-sharing models, and streaming platforms are generally
ﬂourishing across all repertoires represented by CISAC.
One critical area to which we need to give more attention isdata management. Dealing with the trillions of transactionsof the streaming market requires unprecedented investment
by societies. To serve creators as we should, we must haverobust industry and multi-platform identiﬁers and a collective
system to manage them. CISAC is deeply engaged in thiseffort, leveraging its tools and its global network.

Subscription prices are already undervalued
and need to be raised, with prices having
barely changed since the early days of thestreaming model.
This isn’t just about education and improving the recognitionof creators online: it’s about fairness in the way creators
are treated in the streaming environment.
The exciting opportunity for societies today is to continue
to adapt and grow income in the digital world. We need to
seize this opportunity, staying relevant to creators and to
the extraordinary creative sector that we are privileged torepresent. ■CISAC GLOBAL COLLECTIONS REPORT 2022 / 3

Foreword
Gadi Oron,
Director General

WE NEED TO BRING GREATER VALUETO CREATIVE WORKS IN THE DIGITAL
MARKETIt gives me great pleasure to introduce our new Global
Collections Report. Once again our Report gives aunique overview of creators’ royalty collections for all
repertoires, based on exclusive data coming from CISAC’s
228 member societies across the world.
The good news is that royalties collected by CISAC
members are back to growth. Collections in 2021 rose
5.8% to EUR9.6bn, restoring our sector’s pre-COVID
upward year-by-year trend.
After the 10% fall experienced in 2020, our societies’
return to growth is an impressive achievement. It is a
result of quick adaptation to the new reality as manysocieties moved to focus and enhance their digital
licensing.
The recovery is only half done, however. Even after thegrowth of 2021, collections remain more than 5% below
their pre-pandemic level. Live and public performance
income dropped dramatically in 2020 and 2021 and are
only emerging now from an almost total collapse. Digitalincome might be powering ahead, but its share of overallcollections is still too small to compensate for the losses
in the live concerts and public performance sector.
4 / CISAC GLOBAL COLLECTIONS REPORT 2022

One thing is clear from the analysis of this Report: thegrowing importance of digital within all repertoires.
Creators saw digital royalties rise by a healthy 28% in
2021. There is, without a doubt, much more room for
growth. Digital still represents only 33% of all collections
which is, by comparison, less than half of the shareaccounted for by digital in the recording industry. The
message is clear: we need to bring more value tocreative works in the digital market, and we need afairer ecosystem.
Growing global digital collections is today CISAC’s toppriority. First, we are working to constantly improve thedata management that helps drive collections. That is
why we push forward with improvements and newservices around the music works identiﬁer ISWC, a key
part of the infrastructure of the streaming market. The
next phase is to make the ISWC work more accurately
and seamlessly across the value chain, including theparticipation of publishers and digital services.
Advocacy and education have a key role too: CISAC
is working with members to create a fair environment
in music, audiovisual, visual arts and other repertoires.

Through lobbying, negotiation and, where needed,
litigation, our societies help improve rights, ﬁx laws,
and secure better licencing terms for creators’ works.
The case studies in this report, from eight countries- Japan, Bulgaria, India, South Africa, Chile, France,
Denmark and Canada - highlight those efforts.

Creators saw digital royalties rise bya healthy 28% in 2021. There is,without a doubt, much more roomfor growth.
Looking ahead, we can expect further growth in 2022,
helped by the return of live concerts, theatres andexhibitions. But there is uncertainty too, with the ongoingcost of living crisis. Whatever the impact this will eventually
have on royalties, I am conﬁdent that CISAC’s global
network will continue to lead in the ﬁght for fair value
for creators’ works. ■2021 GLOBAL COLLECTIONS
+5.8%

€

9.6

+27.9%bn

GLOBAL COLLECTIONS(EUR billion)

TOTAL VS 2019 PRE-COVID

-5.3%

€

3.6bn

€

1.6bn

BROADCAST

LIVE/PUBLIC PERFORMANCE(EUR billion)(EUR billion)

-1.5%

-0.7%

€

3.1bn
DIGITAL(EUR billion)

CISAC GLOBAL COLLECTIONS REPORT 2022 / 5

CISAC GLOBAL COLLECTIONS REPORTHIGHLIGHTS AT A GLANCEGLOBAL COLLECTIONS ROSE +5.8% TO
EUR9.58BN IN 2021

LIVE AND PUBLIC PERFORMANCE ROYALTIESDOWN -0.7% TO EUR1.58BN IN 2021

BROADCAST REMAINS THE TOP INCOME
SOURCE AT EUR3.64BN

Global collections returned to growth in 2021, increasing
by +5.8% to reach EUR9.58bn. This reversed the previous
year’s near -10% fall, but the global total in 2021 remained-5.3% down on pre-pandemic levels as the continued
slump in live and public performance limited the impact ofgrowing digital royalties. Europe was the fastest growing
region for creators’ royalties, rising +7.5%.

Collections in the live and background sector collapsed for asecond consecutive year due to lockdown restrictions on
concerts, exhibitions and live entertainment. Collections in this
sector fell -0.7%, remaining -45.8% below the pre-pandemic levelsof 2019. Illustrating the scale of the losses caused by COVID-19
over the two-year period, live and background collections in
2021 were almost one-third below their 2012 total.

TV and radio royalties, down -1.5%, remained the largest
revenue source in 2021, accounting for 38% of global
collections despite a continuous slight decline over thelast ﬁve years. The balance between creators’ top threeincome streams has dramatically shifted with the global
shift to digital consumption. Digital royalties’ share hasgrown from 13.6% to 32.6% of total collections since 2017,
while live and background’s share fell from 29.5% to 16.5%
over the same period.

Global collections and annual
growth1 (EUR billion)

Live and background collections

Global mix of creators’ income streams
in 2021 (EUR million)(EUR billion)⊲ +7.6%⊲ +1.1%

9.30

10.11

9.40

⊲ -10.5%

9.05⊲ +5.8%

2.91

9.58

2.61
2.34

2.37

2.65

2.74

2.76

2.41

1.59 1.58

2017

2018

2019

2020

2021

1) CISAC 2021 data excludes US digital mechanical rights income.
Past years are therefore re-stated to show like-for-like comparison.

6 / CISAC GLOBAL COLLECTIONS REPORT 2022

2012 2013 2014 2015 2016 2017 2018 2019 2020 2021

TV & Radio 38.0%
3,642
Digital 32.6%
3,122Live & Background 16.5%
1,578

Private Copying 4.4%
425
CD & Video 3.8%
359
Other 4.7%
449

CISAC GLOBAL COLLECTIONS REPORTHIGHLIGHTS AT A GLANCEDIGITAL COLLECTIONS UP +27.9%
TO EUR3.12BN

GLOBAL MUSIC COLLECTIONSRISE +7.2%

DIGITAL THE PRIMARY SOURCE IN
25 MARKETS

Collections from digital sources grew +27.9% to EUR3.12bn,
which is +49.1% higher than the pre-pandemic revenue
total of 2019. Sharp organic growth in the streaming market,
rising music subscriptions, new and renewed deals withdigital platforms such as YouTube and TikTok and continued
strong growth of subscription video on demand (SVOD)
helped drive growth. Digital uses of creators’ works remain
undervalued however, representing just 32.6% of creators’
collections despite the revolution in streaming consumption.

Total royalties to songwriters and composers grew by +7.2%
but remained -5.1% down on the pre-pandemic levels of
2019. Live and public performance income continued to
be strangled by lockdown, rising only +0.2% in 2021 andremaining -45.1% down on 2019. Live performance saw a
two-year collapse, suffering worse than public performance:data from two-thirds of CISAC’s member music societies
shows concert and festival income down -73% in 2019.
Digital music collections grew +27.5% to EUR3.06bn, withdigital market share more than doubling from 15.4% to36.1% since 2017.

With the shift to streaming, there has been a sharp risein markets with digital as the largest income source. The
two-year period of the pandemic has transformed theshare of digital income in those territories, especially in
the Asia-Paciﬁc region.

Digital collections andannual growth1

3.12+27.8%+29.2%

+2.0%

2.44

8.10

8.94

8.26

-11.5%

7.91

Digital growth
2019–2021

98.2%+175.4%89.5%+343.8%

INDIA

82.1%

+301.9%VIETNAM

73.4%+50.4%

HONG KONG

70.8%+12.9%+7.2%

PHILIPPINES

69.0%+37.0%

8.48

MEXICO

64.8%+45.4%

CHILE

56.9%

+113.8%

TURKEY

56.3%+40.2%

CHINA

53.6%

+5.2%

(EUR billion)+8.2%

Market Share2021

THAILANDMusic collections1+16.6%Country
territory
INDONESIA+27.9%(EUR billion)

Leading digital markets by shareand 2-year growth rate

2.09

1.64
1.27

2017

2018

2019

2020

2021

2017

2018

2019

2020

2021

1) CISAC 2021 data
excludes US digital mechanicalrights income. Past years are
therefore re-stated to show
like-for-like comparison.

CISAC GLOBAL COLLECTIONS REPORT 2022 / 7

CISAC GLOBAL COLLECTIONS REPORTHIGHLIGHTS AT A GLANCETRENDS SPLIT AMONG TOP TEN MARKETSALL REPERTOIRES FEEL COVID IMPACT

Despite overall growth in 2021, six of the ten largest
markets saw collections remain below the pre-pandemic
levels of 2019.

Of the ﬁve repertoires represented, only music, accounting
for 88.6% of the total, saw royalties growth in 2021. Everyother repertoire registered a decrease during the year.
The dramatic sector suffered especially, declining -13.8%
to reach less than half its pre-pandemic level.

Top 10 markets: 2021 and growth 2019–2021

LARGEST THREE REGIONS SEE GROWTH
IN 2021
Canada-USA, Europe, Asia-Paciﬁc and Africa returned to
growth in 2021 having seen smaller declines during the
pandemic than Latin America. Strong digital increases
helped Europe to extend its global share by 1% to 55.2%.

(EUR million)

UNITED STATES

2,011

+3.6%

+2.2%

FRANCE

1,250

+3.6%

-7.7%

UNITED KINGDOM

884+31.2%+7.6%

GERMANY

824

-1.3%

-5.1%

JAPAN

819

+3.7%*-1.6%*

ITALY

412

-1.2%

-32.0%

AUSTRALIA

344

+5.7%

-0.5%

CANADA269+14.0%

+4.5%

SPAIN

249

+19.9%

-4.8%

241

-0.7%

+3.1%

NETHERLANDS
Top 10 Total

7,303

Global Total

9,575*in local currency

8 / CISAC GLOBAL COLLECTIONS REPORT 2022

Collections by repertoire, evolution in 2021 (EUR million)
RepertoireCollections

Annual Growth

Music
Audiovisual
Literary
Visual Arts
Dramatic
Grand Total

8,483
608
199
196
89
9,575

+7.2%
-2.8%
-3.9%
-1.2%
-13.8%+5.8%

Share and growth of collections by region(EUR million)

55.2%
5,290

23.8%
2,280

3.8%
368

+7.5%

+4.7%

+3.7%

-2.6%

16.3%
1,562

LATIN
AMERICA

Growth
2019–2021

ASIA
PACIFIC

Growth2021

CANADA
USA

Collections

EUROPECountry

0.8%
75
AFRICA+17.1%

2021 MARKET ANALYSISCOLLECTIONS GROW +5.8% BUT THE ROAD
TO RECOVERY IS FAR FROM COMPLETE
After more than two years of losses, creators’ royalties are on the path to recovery to their pre-pandemic levels. The recovery is far from complete, however: while collections
rose +5.8% in 2021, they remain -5.3% below the pre-pandemic result of 2019. The COVID crisis transformed the shares of two major income streams: live/public performanceand digital. Although these two royalty channels are expected to see robust growth in 2022, the growth of streaming consumption continues to undervalue and deliver
poor returns to creators.

Creators’ major collections sources, 2017–2021

LIVE SECTOR RECOVERS SLOWER
THAN PUBLIC PERFORMANCE(EUR million)

425
359

Live and public performance, which accounted
for 29.5% of all creators’ royalties in 2017, has
now shrunk to account for only 16.5% of global
collections.

1,578

3,122

Live and Public
Performance 16.5%
EUR1.58bn

3,642

2017

2018

2019

TV & RadioLive & Background

Digital

CD & Video

2020

9 / CISAC GLOBAL COLLECTIONS REPORT 2022

2021

Private Copying

The live and public performance sector, taking in the
exhibitions, cinema and public events sector, remainedlargely ﬂat in 2021, with very few signs of recovery overall
and collections declining by just under 1% for the year. This
leaves annual royalty payments in 2021 -45.8% below 2019.
The business arising from the concerts, theatres and exhibitions sector remained in a state of near-collapse through2021 due to a combination of restrictions and reluctance toreturn to events, especially among an older demographic.
The two-year COVID period devastated careers for many
creators. Brazil, one of the epicentres of COVID, saw live
and public performance collections for 2021 down -72.4%
on pre-pandemic levels. A January 2022 survey led by UBC,
along with cRio and ESPM, reveals that approximately
50% of all musicians had lost 100% of their pre-pandemic
income. Half of these have been forced to ﬁnd anotherprofessional activity.

Data from a large sample representing
around two-thirds of CISAC societies shows
the live sector in 2021 -73% below 2019 levels.
CISAC member societies continued to play a key role
through 2021 in supporting creators through the crisis,
as the case studies in this report illustrate (see page 15).
The path back to full recovery of live and backgroundcollections is not smooth, especially for live performanceand exhibitions. Data from a large sample representing
around two-thirds of CISAC societies shows the live sector
in 2021 -73% below 2019 levels, while background uses
are only -30% below that pre-pandemic result.

2021 MARKET ANALYSISCOLLECTIONS GROW 5.8% BUT THE ROAD TO RECOVERY IS FAR FROM COMPLETE

Concerts and festivals surge back in 2022
The lifting of COVID restrictions in most countries fromthe second quarter of 2022 triggered an explosion ofsold-out live events and festivals. Brazil has seen a strong
recovery in 2022, driven by local events, national tours
and large-scale festivals such as MITA, Rock in Rio andLollapalooza. Societies in the UK, France, Belgium, Germany
and elsewhere have seen the same pattern.

expectations of recovery to 2019 levels split between
2023 (48%) and 2024 (44%). The Asia-Paciﬁc region is
the least optimistic, with only 26% expecting full recovery
in 2023.

When do you expect international tourism
to return to pre-pandemic 2019 levels inyour country?

Global events company Live Nation reported a strong start
to 2022, with income up +52% in the ﬁrst quarter, statingthat events were “back on the road and fan demand has
never been stronger, a reﬂection that live events remain aclear priority for consumers as our social lives restart”.
Looking ahead, it may take until 2023 or even 2024 forlive royalties to recover their pre-pandemic level. Several
factors underlie this slow recovery, including the permanentcollapse of some businesses during the pandemic; thesluggish return of small-scale events featuring local artists
in some countries; and initial delays in the return of world
tours for the big stadium-ﬁlling acts. Australasian society
APRA AMCOS said high costs, COVID restrictions andlengthy planning periods initially deterred promoters,
although many tours are now conﬁrmed for 2023.

Tourism eyes 2023–24 for full recovery
Tourism, an estimated US$1.9 trillion global industry, is adriver of royalty income for creators. Following its collapse
in early 2020, global tourism rose by only +4% in 2021,
according to the world tourism organisation UNWTO.
International arrivals at the end of 2021 were still -72%
down on pre-pandemic levels.
While tourism is now strongly recovering, a return to prepandemic levels may only come in 2023, according to
UNWTO. Its expert panel survey of June 2022 showed

48%

Broadcast remains the largest source of global
royalty collections, accounting for 38% in 2021
and leading creator’s income sources in mostcountries. Collections from TV and radio
declined -1.5% to EUR3.64bn in 2021, down
-5.7% from pre-pandemic levels

44%
Broadcast 38%
EUR3.64bn

Alreadyachieved

2022

2023

By 2024or later

UNWTO panel of tourism experts, June 2022

As a counterbalance, many governments are helping therecovery of domestic tourism. For example, the Japanese
government has rolled out programmes that provide
discounts, coupons and subsidies for domestic travel.
For the creative sector, this has helped in the return oflarge-scale festivals like Fuji Rock and Summer Sonic aswell as in the hospitality sector. ■BROADCAST REMAINS THE MAINSTAYFOR CREATORS
Broadcast collections have maintained a long-term
trajectory of slight year-on-year decline in recent years,
reflecting the general shift from linear to OTT and ondemand subscription streaming.
COVID has had a smaller impact than on the other two
main income streams. Broadcast royalties have proved

resilient as ad revenues fell less than expected andrecovered more quickly than foreseen over the two years.
According to PwC’s Global Entertainment and Media
Outlook (2022–2026), advertising leaped +22.6% in 2021
following a -7% decline in 2020. Global advertising revenues
are projected at annual growth of +6.6% up to 2026. This
growth, however, is fed largely by digital while a decline
in non-digital advertising is predicted after 2025.

The value of CMOs in broadcast licensing
CISAC’s broadcast collection statistics reﬂect a relentlesseffort by member societies to negotiate the best possible
rates for creators in licensing negotiations with broadcasters.
Examples from societies around the world in 2021 illustrate
the vital role played by CMOs in this area:
CISAC GLOBAL COLLECTIONS REPORT 2022 / 10

2021 MARKET ANALYSISCOLLECTIONS GROW 5.8% BUT THE ROAD TO RECOVERY IS FAR FROM COMPLETE• TONO, Norway: settlement of a major court case withnational broadcaster TV2• SACM, Mexico: new licensing deal with satellite service“SKY”• GEMA, Germany: new cable retransmission deal
with Vodafone• KODA, Denmark: new agreements on revenue splits
with other rightsholders• JASRAC, Japan: negotiated higher payments forlicensing despite a headline rate that has beenunchanged in 20 years• KOMCA, Korea: civil lawsuits regarding terrestrial
broadcast management rates• SABAM, Belgium: settlement with major cabledistributor including better remuneration forcomposers and publishers. ■DIGITAL NEARS ONE-THIRDOF ALL COLLECTIONS
Digital’s rapid growth has continued into 2022, helpedby the sustained organic growth of streaming and subscription services and the success of CMOs in getting new
and renewed licensing agreements with services. Further
strong music streaming growth is expected in 2022. Spotify
reported a +14% increase in global music subscribers inthe second quarter of 2022 combined with a +31% risein ad revenue.
Subscription video on demand (SVOD) consumption has
also boosted many societies’ digital collections, helpedby new market entrants and increased competition (seeFuturesource projections, page 12). SVOD is seen as
vulnerable to the global cost of living crisis, more so thanmusic streaming since most consumers or families haveone music streaming service package but, by contrast,

11 / CISAC GLOBAL COLLECTIONS REPORT 2022

multiple SVOD subscriptions. Consumers may therefore
cut costs by reducing their number of SVOD packages.
In the music sector, a steady spread of new services globallyis also helping grow streaming income. Licensing deals
have been made in recent years led by platforms suchas Facebook, TikTok and YouTube.

Digital collections rose +27.9% to EUR3.12bn
in 2021, and now account for 32.6% of all
global collections (up +49.1% from 2019).

Digital 32.6%
EUR3.12bn

Are creators getting fair value from streaming
subscriptions?
Music subscriptions remain strongly undervalued for
creators, in the opinion of many societies. The monthly
EUR9.99 subscription has been unchanged for nearly two
decades, despite the dramatic increase in consumption
and availability of repertoire and long-term year-on-year
inﬂation, which in 2021 has accelerated sharply.

Average monthly streams on a single user music subscription
have risen from 400 to 700 in recent years, according
to one large society, increasing the mismatch between
the value derived by the user and the value returned tothe creator. Furthermore, the freemium model continues tooffer a lower-value alternative which cannibalises premium
subscription. Increased use of discounted bundled offers
further erodes average revenue per user.

89%

of creators surveyed consider
remuneration not adequate (GEMA)

These factors combined are fuelling a debate internationallyon the value of streaming to creators. Among somesocieties, there is signiﬁcant support for digital services
to increase their subscription rates from the typical
EUR9.99 established at the outset of music streaming
subscription some 15 years ago.
A GEMA-commissioned study by Goldmedia on thestreaming market in Germany in September 2022 further
informed the debate. Findings include that music authors
and publishers receive 15% of the net proceeds of a music
subscription, less than streaming services (30%) andlabels (42%).
The study found 89% of music creators assess the remuneration from music streaming as inadequate. “The ﬁguresof the study prove the urgency of this debate”. says GEMACEO Harald Heker. ■WHAT NEXT FOR TELEVISION AND VIDEOCONSUMPTION AND CONSUMER SPENDING
IN A POST-PANDEMIC WORLD?

David Sidebottom, Principal Analyst,
Futuresource Consulting

Since the beginning of 2020, the entertainment content markets have experienced unprecedented change,
creating increased opportunity and uncertainty in equal measure. The current year started with cautious optimism,
but in 2022 new post-pandemic challenges have emerged, with the cost-of-living crisis in particular creating a
fresh wave of market uncertainty.

COST SQUEEZE PUTS SUBSCRIPTIONUNDER SCRUTINY
Subscription services are today under the most scrutiny,
given how ingrained they have become into consumers’viewing lifestyles. Year-on-year subscription growth has
been spectacular for several years: an estimated 1.4 billion
subscription video on demand (SVoD) and 525 million
music subscribers at the end of 2021, up from 900 million
and 310 million respectively at the end of 2019. Can thisgrowth continue, and at what rate?

20% SVOD GROWTH EXPECTED IN 2022
Despite these pressures, in 2022 the overall SVoD market
is still set to continue to grow by over 20%, taking it to an
estimated US$98 billion worldwide, more than double its
size in 2019.
Subscription Video on Demand
Retail value ($bn)
137.4
124.4
111.2

In 2022 slowdown in growth is expected. This is due
partly to natural market maturity as key demographics inestablished markets reach saturation, combined with theinevitable correction after accelerated uptake during the
pandemic. But the cost-of-living crisis has also placed
subscription services under pressure. This was illuminatedwhen high-proﬁle service Netﬂix reported a decline in
subscriptions for the ﬁrst time in the ﬁrst half of 2022.

97.8
80.6
58.7
42.4
31.3

2018
12 / CISAC GLOBAL COLLECTIONS REPORT 2022

2019 2020 2021 2022 2023 2024 2025

Several factors are driving this continued growth, including
the continued rollout of new direct-to-consumer services
internationally, such as Paramount+, HBO Max andDiscovery+. Price increases on a number of services inmany countries, most notably Netﬂix are also having an
impact. As subscriber growth slows, this is an obvious
strategy for services to help grow their proﬁtability. But
it also risks subscriber attrition, coming at a time when
consumers are acutely aware of the squeeze in theirdisposable income.
Fewer new SVoD services are being launched today
than pre-COVID, with ‘service stacking’ (i.e. consumers
taking additional, multiple services) giving way to ‘service
surﬁng’ (consumers switching between services). In thisemerging economic reality, consumers may look to extract
as much value as they can from each service they take,and potentially take fewer overall than previously. As aresult, the average number of SVoD subscriptions perhousehold – ranging in a number of developed markets
from 1.5 to 3.5 (US services only) - is expected to marginallydecline in 2022.

WHAT NEXT FOR TELEVISION AND VIDEO CONSUMPTION
AND CONSUMER SPENDING IN A POST-PANDEMIC WORLD?
Futuresource Analysis

WILL CONSUMERS STREAMLINE SVOD
SUBSCRIPTIONS?
These factors present a major challenge for all SVoD
platforms, as multiple service uptake has been the key
driver of market growth in recent years. In response,
established services will seek to protect their customer
bases through a combination of regular, strong content‘drops’, bundling packages with telco and Pay-TV services
and, in some cases, annual plans. Disney+ has used allthese elements to help grow its subscriber base in 2021
and 2022 and is typically priced around half the premiumNetﬂix plan. Amazon Prime Video competes with otherbeneﬁts, such as free shipping, to help reduce consumer
churn. Smaller services with a more limited content
library could become more reliant on price promotions
to drive subscriptions. These impact both revenue andproﬁtability of the services, however.
ADVERTISING VOD TURNS UP THE HEAT
Adding to this mix of drivers is the marked increasein ad-supported video-on-demand. In late 2022, thechanging subscriber fortunes of Netﬂix will see it launch
an advertising-funded tier, a move it had historically ruledout. Disney+ will likely follow suit in 2023. It is anticipatedthat these advertising tiers will help grow the services’overall subscriber base and reach, whilst also expanding
revenue diversity. In the USA, established SVoD service,

Hulu (majority owned by Disney), has most of its subscribers
taking the lower-cost ad-funded tier rather than the more
expensive ad-free version.
Dedicated AVoD services and FAST Channels (FreeAd-Supported Television) are also continuing to proliferateinternationally, further increasing the dynamism in thefree TV and video sector. Futuresource’s “Living With Digital”
survey suggests that over 1 in 5 European consumers
watch AVoD programming on services such as Pluto TV,
Rakuten TV or Samsung TV Plus, with awareness anduptake growing signiﬁcantly since the beginning of thepandemic. In the USA, where such services are now
mass market, around half of consumers already use
these services on a monthly basis.
BROADCAST VIDEO-ON-DEMAND (BVOD)
IN THE MIX
Competing with subscription and ad-supported services,many leading broadcasters worldwide continue to invest
signiﬁcantly in their BVoD and streaming strategies. Most
younger viewers no longer rely on broadcast linear TV
for their viewing – Futuresource’s Living With Digitalsurvey suggests that less than 25% of video and TV
viewing amongst 16-25 year-olds is via traditional linear
TV in established streaming markets. This compares towell over half in the over 45s.

A number of free-to-air broadcasters worldwide are
drawing larger audiences for shows on their streaming
services than on their linear TV channels. This trend is
set to continue, with increased premiering or exclusive
releases of TV shows on BVoD platforms. Many commercial
broadcasters will look to “up-sell” this free BVoD audienceto paid-for ad-free offerings across the longer term, as
the boundaries between SVoD, AVoD and BVoD merge.
MORE OUTLETS, MORE COMPETITION
All this amounts to increased competition for consumer
viewing, with important potential implications for rights
holders. With BVoD services providing familiarity, quality,and breadth, and AVoD services likely to further stimulate
curiosity amongst a wider base, many consumers may
look to re-assess their spending on paid-for digital services.
Futuresource’s most recent Living with Digital survey
from summer 2022 suggests that a sizeable proportionof consumers plan to spend less across digital video
services during the remainder of the year, highlighting
the current uncertain mindset amongst the video entertainment population. However, this does provide an
opportunity to drive free or advertising funded streamed
viewing.

CISAC GLOBAL COLLECTIONS REPORT 2022 / 13

WHAT NEXT FOR TELEVISION AND VIDEO CONSUMPTION
AND CONSUMER SPENDING IN A POST-PANDEMIC WORLD?
Futuresource Analysis

MUSIC SUBSCRIPTION GROWTH STILL ROBUST
The music subscription market continues to exceed
expectations and withstand ongoing challenges to its
growth, and the cost of living crisis is not expected tosigniﬁcantly dampen momentum.
Music Subscriptions
Retail value ($bn)

Growth in creator royalty payments will be assisted
by price increases. These will help drive a higher rate ofrevenue growth (compared to growth in subscriptions),
meaning that the sector is on course to exceed $60 billion
by 2026 - double the level of 2021 ﬁgure.

56.8

49.2
42.0
35.4
29.6
23.3
19.1
14.9

2018

become a commodity for many, with most music subscribers
unwilling to trade down to a free, ad-funded offering.

2019 2020 2021 2022 2023 2024 2025

Futuresource expects 1 billion global music subscriptions
to be exceeded in 2026, with double digit growth eachyear before then, with emerging markets, including
China, gaining in signiﬁcance. Whilst a slow-down ingrowth is anticipated, due partly to saturation in somecountries and demographics, music subscription has

14 / CISAC GLOBAL COLLECTIONS REPORT 2022

Futuresource expects 1 billion global music
subscriptions to be exceeded in 2026, withdouble digit growth before then.

TAKEAWAYS FOR CREATORS AND CMOS
For creators and CMOs, the good news in the evolution ofvideo viewing and continued growth in music subscriptions,is an ever-growing number of outlets for creators to reachconsumers with their content.
Despite the uncertainties, royalties from SVOD are set
for continued strong growth, with the slowdown in revenue
less noticeable than for overall subscriptions. Overall
consumer spend on SVoD will reach close to $140 billion
by 2025 – 40% higher than the estimate for 2022.
The new advertising paradigm will see the fragmentationof royalty sources, with traditional linear broadcast set to
decline slowly, but steadily.
This changing mix of royalties is not expected to happen
quickly - but the change is inevitable. ■SOCIETY CASE STUDYPROJECTS TO BUILD TOMORROW’SINFRASTRUCTURE
Kazumasa Izawa,
JASRAC President

As revenues from digital have grown signiﬁcantly in thepast ﬁve years, Japanese rights society JASRAC has
been active building up its infrastructure through various
projects designed to deal with the increasing volume oftransactions and the accuracy of data.

protect themselves from author impersonation and otherabuses by certifying the existence of creators’ musicalworks. KENDRIX was released as a closed beta version inJune 2022, with its official launch scheduled for October2022.

One of the key projects involves JASRAC and other
CMOs in the Asia-Paciﬁc region, that have joined forces
to develop the Global Digital Service Data Exchange(GDSDX). The GDSDX is a common platform to sharepre-matched work data of music used by digital services,with a view to have the platform used by all CISAC musicsocieties in the future.

At launch, KENDRIX will be equipped with an online identity
veriﬁcation system for creators (eKYC), allowing them
to apply for JASRAC membership and to submit work
registration forms. The service is available free of charge
to JASRAC-affiliated and non-affiliated creators.

For JASRAC, the project is designed to respond to thegrowth in the “enormous“ volume of musical works usedthrough digital services, which is challenging music
copyright organizations’ ability to capture and identify all
the uses of music in more efficient and less labour-intensive
ways. JASRAC is funding the system development costsof this project.
Another important project for the society is KENDRIX,a data exchange platform that will enable creators to

In addition, to improve the quality of data related to the
public performance of works, JASRAC has been testing the
Audoo Audio Meter technology at multiple DJ clubs inTokyo. The system is based on a device that automatically
identiﬁes songs by using ﬁngerprinting technology.
These projects are all aimed at the same goal: improve
the quality of data through the use of the most up-to-datetechnologies in order to maximise the volume and accuracyof royalties distributed to members, in a cost-effective
manner.

Overall, after two testing years, JASRAC royalty collections
for ﬁscal year 2021–22 (April 2021–March 2022) amounted
to JPY 116.73 billion, showing an increase of JPY 4.08 billion
compared to ﬁscal 2020. This is the second largest levelof collections in the history of JASRAC, after ﬁscal 2019. ■We secured a high level of royalty
distributions despite the pandemic.
Incorporating the newest technologies,
we aim to conduct our business in a way
everybody involved in music
can appreciate.

Kazumasa Izawa,
JASRAC President

CISAC GLOBAL COLLECTIONS REPORT 2022 / 15

SOCIETY CASE STUDYMarie Anne Ferry-Fall,
Director General of ADAGPADAGP SIGNS “HISTORIC” LICENSING DEALSAND FIGHTS FOR CREATORS’ RIGHTS
After a year 2020 marked by ongoing support for artists
in times of a major health crisis, the year 2021 broughtsome return to normalcy for ADAGP, with progress on thelicensing front and with creators' rights.
The Paris-based society ﬁnalised an innovative partnershipagreement with Google intended to support and remunerate visual arts authors in the digital ecosystem.
The two-prong deal, described as “historic” by ADAGP,
consists of a licensing agreement, which will remunerate
ADAGP members for the use of their works, and thecreation of a support fund for the beneﬁt of the artists
represented by ADAGP. Both agreements are for a periodof ten years. The ﬁrst payments as part of the agreement
were made in the Autumn of 2021.
Another accomplishment on behalf of ADAGP’s members
is the progress towards securing recognition of a right of

16 / CISAC GLOBAL COLLECTIONS REPORT 2022

exhibition by both the French government and venues
where art is exhibited.
Overall, 2021 collections bear witness to these advances,with EUR49m collected in 2021 (an +8% increase compared
to 2020). Income from the resale right, in particular,
increased signiﬁcantly in 2021, reaching EUR16.1m. This
was a +40% increase on 2020, testifying to the dynamic
recovery, in France and abroad, of the art market after
long months of inactivity.
ADAGP also stepped up its advocacy activity in 2020–21.
Since 2020, ADAGP has been an observer at the WorldIntellectual Property Organisation's Standing Committee
on Copyright and Related Rights (SCCR), helping todevelop toolkits to promote the resale right in countries
wishing to implement it or enforce it more effectively. ■2021 has been a very satisfying year
in many respects, with the signing of ouragreements with Google and the changes
with the exhibition rights, which have been
implemented in a certain number of museums
and art centres. But there is still
a lot of work to be done.
Marie Anne
Ferry-Fall,
Director Generalof ADAGP

SOCIETY CASE STUDY

Victor Bozhinov,
Film director and Chairmanof the Board of Filmautor

Ivan Dimitrov,
CEO of Musicautor

SOCIETIES JOIN FORCES TO CAMPAIGNFOR CHANGE IN BULGARIA
Authors in Bulgaria suffer from one of the lowest levelsof remuneration in Europe. This is due in large part to thestate’s inability to create an environment for the professional
growth of artists. The COVID crisis only worsened thesituation.
Bulgaria spends EUR0.11 and EUR0.06 per capita on
royalties for audiovisual and music creators respectively,
according to CISAC data in 2021. Despite this, CISAC’s
member societies achieved collections growth in 2021.
Musicautor grew collections by +8%, with digital income
up +222% due to licensing agreements with Tidal, Deezer,
Facebook, Instagram and TikTok, and with a major domestic
mobile operator for the HBO GO service. Live royalties
also recovered, up +45%.
To achieve a more sustainable growth, Musicautor andFilmautor, along with Artisautor, launched in 2021 theAlliance for the Development of Creative Forces (ARTS).
It aims to support the relevant institutions and contributeto economic development while also ensuring transparency,
fairness and better conditions for creators.
The campaign highlights the extremely low rates in the
broadcast sector, which have not changed since 2001. It
also aims to ﬁx contradictions in the legal landscape forthe collective management of authors’ rights, especiallythe ability of users to completely circumvent authors’
rights for the retransmission of works. Creators also facepoor enforcement and an ineffective procedure for solving
tariff disputes with users.
The government is slow to act. In 2021 the EU opened an
infringement procedure against Bulgaria for not implementing the Copyright Directive and Broadcasting Directive ontime. The authorities have taken no action to date.
The new campaign is backed by data. In a 2021 survey byFilmautor and Gallup International, 75% of respondents
say they are unable to negotiate remuneration except
for a ﬁrst lump sum payment; 95% of respondents saycollective management provides them with better protectionof their rights. Many prominent artists also support ARTS,
calling for urgent measures from the government in a
powerful video. ■We are creating music and movies
in spite of the imbalances in relations
between participants in the creativeenvironment. Victor Bozhinov,
Film director and Chairmanof the Board of Filmautor

The purpose of ARTS is the implementationof a well-focused and purpose-oriented
state policy that reﬂects the rights andinterests of all parties in
the creative industry.
Ivan Dimitrov,
CEO of Musicautor

CISAC GLOBAL COLLECTIONS REPORT 2022 / 17

SOCIETY CASE STUDY

Cesar Cuadra,
Director General of ATN

TRANSFORMING CHILE’S NEWREMUNERATION RIGHT INTO ROYALTIESFOR AUDIOVISUAL CREATORSIn 2016, Chilean society ATN was part of a historic legislative
success, securing an unwaivable right to remuneration
for audiovisual creators. Following that victory, ATN has
played the leading role in ensuring this right is enforced
in practice and paying royalties to its members.
As a result of the society’s work, ATN reported collections
for the ﬁrst time in 2021, totalling EUR670k for its member
audiovisual creators.
Chile’s famous Ricardo Larraín Law (No. 20.959) was signed
into law in 2016, establishing a non-transferable andinalienable right to remuneration for audiovisual directors
and screenwriters.
Securing the law was one thing, but enforcing it was another,and ATN had to take a series of actions to ensure the
new right is respected and complied with.
The ﬁrst step was to develop a modern and objective
tariff system. This was commissioned to the University of

18 / CISAC GLOBAL COLLECTIONS REPORT 2022

Chile’s Faculty of Economics and Business. Using theparameters of intensity of use and breadth of repertoire,the tariff system enables fair and adequate rates forusers required to pay.
Based on these tariffs, an intense negotiation took place
between ATN and user organisations, also taking into
account the spirit of Chilean intellectual property legislation,
which encourages compromise between the two sides.
Eventually on 11 October 2019 a tariff agreement with thepay TV guild (Acceso TV) was reached that effectivelytranslated the Ricardo Larraín Law into commercial reality.
This agreement was not the end of the story, however.
ATN then faced several legal challenges from free-to-air
TV operators, promoted by employee unions. These were
overcome with resounding success, and favourable
resolutions were obtained both in the Tribunal de Defensa
de la Libre Competencia—endorsed by the Supreme
Court of Justice—and before the Constitutional Court.

These judicial successes reinforce the legitimacy of thetariff system in the face of continuing resistance from themain free-to-air TV channels in Chile. The system is now
the basis for other civil lawsuits initiated by ATN against
those channels. ■It is extremely satisfying that ATN has playedsuch a key role in enabling audiovisual authors
to share in the success of their works through its
collective management. This is what motivates
ATN in building respect for this new right for
which we fought for so many years.
Cesar Cuadra,
Director Generalof ATNSOCIETY CASE STUDYINDIA: IPRS DELIVERS BIG
INCREASE IN ROYALTIESAND COVID HELP
Javed Akhtar,
Chairman of IPRS

Indian music society IPRS played a vital role in supporting
members through a COVID crisis that brought a sudden
end to live shows, concerts, ﬁlming and on-ground events.

technology/trends shaping careers. Awareness-building
initiatives for membership enrolment led to a 30% jumpin new member registrations in 2021–2022.

Thankfully, new income-generating opportunities emerged
as digital music consumption went up, helping IPRS growrevenues by +82% to INR3,000 million (US$40 million)

On the technology front, the IPRS launched its new members
portal, powered by BackOffice, thus empowering members
to check their data and work and share related queries froma one-point source, thereby increasing transparency.

in 2021. Introducing a monthly royalty payment cycle
against the earlier quarterly, the IPRS recorded its highest
single-year royalty payout amounting to Rs.2,100 million(US$28 million), up +15% in 2020.
Additional emergency relief funds were released tomembers. Through its Member Welfare Initiative, IPRS
paid out Rs.97 million (US$1.3 million) in multiple tranchesfrom April 2020 to March 2022, and also provided funding
for the medical needs of ailing members.
Undertaking multiple beneﬁcial initiatives for its members,
IPRS conducted pan-India workshops, online training,
webinars and empowerment programmes on the latest

Despite strong collections growth, IPRS continues to facelicensing challenges, with many major users, including
homegrown OTT players, major broadcasters and radio
stations, refusing to pay for the use of music. Inefficiencies
get triggered due to insufficient data provided by the Indianbroadcast industry hampering the collection and distributionof royalties.
Javed Akhtar, Chairman of IPRS, comments, “The IPRS, apartfrom supporting its 3,900 members with emergency relief
funds, also contributed to the upkeep of many from thecreator community who weren’t our members then. Manyof our well-heeled members emerged to wholeheartedly
absorb the ﬁnancial botheration of ﬁnancially-hit creators.
It was the moment we transcended the horizon and becamea resplendent example of humanity and brotherhood forthe world to emulate. After all, at the root of all creation
are the indelible marks of compassion and solidarity.” ■As IPRS, we’ve not only managed to absorb
the hard knocks of the pandemic but have also
provided ﬁnancial succour to many of ourbeleaguered members with a jump of 82%
in revenue. It was possible due to our ability
to do the needful in the time of a calamity, andour team led by CEO Mr. Rakesh Nigam at IPRS
deserves special mention for this.
Javed Akhtar,
Chairman of
IPRS

CISAC GLOBAL COLLECTIONS REPORT 2022 / 19

SOCIETY CASE STUDY

Jotam Matariro,
CEO of CAPASSOCAPASSO DEVELOPS ITSREGIONAL LICENSING HUB
AND IMPROVES SERVICESCAPASSO is a South Africa-based Digital Rights Licensing
Agency that collects and distributes royalties for members
and has been at the forefront of educating direct and indirect
members, publishers and 25 African partner CMOs.
The society has made great strides over the last six years,
growing its membership to 9,143 in total, comprising 7,540
authors and composers and 1,603 publishers. CAPASSO
represents directly and indirectly over 7 million works for
its members.
CAPASSO operates a regional Licensing Hub that hassigned and obtained licensing agreements with major
global DSPs including Apple, Spotify, YouTube, TikTok,
Deezer, Boomplay and Tidal. It is also setting up one of
the ﬁrst regional video on demand licensing hubs.
Efficient and transparent distributions are key to CAPASSO’s
mission. Despite the challenges posed by the COVID-19
outbreak, the CMO continued to run four distributions

20 / CISAC GLOBAL COLLECTIONS REPORT 2022

annually. During lockdown, a R2 million CAPASSO Relief
Fund was set up to help members seeking ﬁnancial aid.
On the systems front, in September 2021 CAPASSO
launched an online portal which increases the speed
and efficiency of works notiﬁcation, a process that waspreviously done manually. The upgrade also improves
member registration and other services.
CAPASSO provided virtual and physical training in theuse of its portal to sister CMOs COSOTA and NASCAM,
increasing works submissions and, in turn, the remunerationof creators.
CAPASSO works to educate members about creators’rights and the value of society membership. A recent
collaboration on a free workshop with one of the country’s
biggest DJs and producers, Shimza, drew 300 attendees. ■We pride ourselves in what we do, fromobtaining licences to maximising member
royalties, to educating creatives.
When Covid-19 broke out, creators were oneof the ﬁrst sectors that were hard hit and thelast to be opened as they make a living fromperforming for supporters. However, the riseof streaming proved to be positive as this also
increased our collection of royalties.
Knowledge is power and we liveby this saying.
Jotam Matariro,
CEO of CAPASSO

SOCIETY CASE STUDY

KODA’S AMBITIONSAND RESPONSIBILITY
FOR THE WORLDAROUND US
Gorm Arildsen,
CEO of Koda

Even though the COVID pandemic continued to causesigniﬁcant ﬁnancial losses for Koda, the organisationachieved an excellent financial result for 2021 with aturnover of EUR138m, which is on a par with 2020.
Koda aims to be among the world’s best collective rights
management societies five and ten years from now.
It has an excellent starting point—Koda’s management
practices was judged “best in class” according to CISAC’s
compliance review of Koda in 2019. To build on this success,the society is now focused on resolving key challenges
concerning metadata, new business models, new technologies and, not least, sustainability.
In 2021, Koda for the ﬁrst time started to integrate sustainability
into its core business. This started with an assessmentof how the society could respond to challenges tosustainable development described by the UN Sustainable
Development Goals (SDGs).

The aim is to engage in sustainable business developmentthat aligns with the SDGs' economic, social and environmental aspects. This includes both the internal and external
aspects: how Koda as a business can be sustainable on
all parameters; and how the music industry in Denmarkand globally can fulﬁl its role in implementing the SDGs.
Koda’s membership grew by 1,547 to 48,799 in 2021,
comprising creators and publishers. The society conducteda major qualitative membership survey during the year,
the objective being to better understand the needs ofmembers now and in the future. The survey showed generalsatisfaction with Koda, and the results serve as input for
Koda’s upcoming business strategy.

We see partnerships and data as key enablers
to ensure impact for Koda and the industry.
Cross-sector partnerships and collaborations
are crucial to tackling some of the industry’s
systemic challenges of sustainable growthand gender diversity.
Gorm Arildsen,
CEO of Koda

On the advocacy front, faced with a new draft bill whichseeks to impose VAT on Koda activities, the society has
lobbied hard on behalf of its members to remain exempt
from VAT and for the exemption to extend to CMOs andsimilar organisations that manage collective rights. ■CISAC GLOBAL COLLECTIONS REPORT 2022 / 21

SOCIETY CASE STUDY

Jennifer Brown,
CEO of SOCANA SHARPENED FOCUS ON
DELIVERING TO MEMBERS

In 2021, SOCAN continued to realize new records in collections and distributions, including CAD$416 million in totalcollections (a +6% increase over 2020), total distributions
to members and clients of CAD$353 million, and digitalcollections increasing +30% to CAD$135 million.

• People and partners: providing SOCAN’s nearly 280
employees with the workplace, tools, information, andtraining to excel. SOCAN is also working to optimise
more partnerships and collaboration within the Canadianmusic industry.

To build on this success, SOCAN used the last two years to
sharpen its focus on its core business of serving our members.
The company divested its ownership in for-proﬁt companies
and going forward will be guided by four strategic pillars:

Concrete reforms are delivering on these guiding tenets.
A distinct strategic team of reproduction rights experts wascreated early in 2021 to bring dedicated expertise to alllevels of the company. Among many achievements, theteam expedited ﬁrst payments from the newly-formed MLC(Mechanical Licensing Collective) in the United States.

• Member-centric: All actions by SOCAN must be to thebenefit of its 180,000+ member/client songwriters,
composers, and music publishers.
• Maximise royalties: ﬁnding, collecting, matching, anddistributing more royalties faster and more accurately,and ensuring that effective technology tools and people
are in place to support this.
• Revolutionise service: SOCAN aims to provide the best
quality of service to its members and stakeholders.

SOCAN’s royalty collections area executed new agreements with a variety of digital service platforms in the ﬁelds
of ﬁtness, audiovisual (onscreen) productions and online
concerts, to beneﬁt members. Royalty collections was alsopart of a re-organisation effort, bringing greater memberoriented focus to roles and employees, and working as acomplete, united group on royalty collections, services andoperations.

With members continuing to shift their performances
online in 2021, SOCAN maintained its Encore! program,which quickly distributed approximately CAD$200,000
each quarter to eligible online concerts with royalties of
CAD$150 per concert. ■Today, more than ever before, SOCAN isa member-centric organisation, committed toservice excellence, working in partnership with
our staff and stakeholders to maximise rights androyalties, and striving to exceed expectations at
every turn. A year of strategic development andsharpened focus on our core business has put
our members at the heart of every decision,large and small.
Jennifer Brown,
CEO of SOCANCISAC GLOBAL COLLECTIONS REPORT 2022 / 22

REPERTOIRE

MUSIC
€

8,483m+7.2%

GLOBAL MUSIC COLLECTIONS UP +7.2% IN 2021

Music collections by region (EUR billion)

Royalties earned by music creators grew by +7.2% to
EUR8.48bn in 2021, reversing the previous year’s -11.5%
decline. By far the largest source of growth was from digitalwhich for the ﬁrst time exceeded EUR3bn globally.

RegionCollections

Share

GrowthCountry

Collections

DigitalShare

EUROPE

4.33

51.1%

+10.4%MEXICO

92

63

68.5%

CANADA-USA

2.27

26.8%

+4.6%

SWEDEN

133

78

58.7%

ASIA-PACIFIC

1.47

17.4%

+4.0%

AUSTRALIA

264

153

57.9%

Overall, music collections in 2021 remained -5.1% below
the pre-COVID levels of 2019.

LATIN AMERICA

0.33

3.9%

-2.1%

CHINA

54

29

54.3%

AFRICA

0.07

0.8%+17.5%CANADA

268

143

53.4%

SOUTH KOREA

201

101

50.5%

UNITED KINGDOM

813

400

49.1%

Digital income growth of +27.5% was almost double theprevious year, with digital collections rising +48.2% above
the pre-pandemic level. Digital now makes up more than
one-third of all global music revenue at 36.1% of the total –a fast-rising share but still reﬂecting a low level of return tocreators on digital networks.
Top 10 collecting countries1 (EUR million)
Country
UNITED STATESFRANCEJAPAN
UNITED KINGDOMGERMANYITALYCANADA
AUSTRALIA
SOUTH KOREA
SPAIN

Collections

Growth

2,004
951
818
813
766
308
268
264
201
199

+3.5%
+5.4%
-2.8% (+3.6% JPY)
+33.1%+4.0%-0.2%+14.0%+9.1%+16.0%+26.6%

1) CISAC 2021 data excludes US digital mechanical rights income.
2020 is therefore re-stated to show like-for-like comparison.

23 / CISAC GLOBAL COLLECTIONS REPORT 2022

Digital collection champions (EUR million)

STREAMING GROWTH DRIVES DIGITAL
The continuing surge in subscription and ad-funded
streaming, especially video on demand, has driven thisexceptional digital growth.
Digital is now the primary source of music creators’
income in more than 29 countries, helped by a subscriber
growth, a widening choice of platforms and new licensing
deals and new formats. Among these, TikTok was particularly
impactful with proliferating demand for its shortform video
format. Asia-Paciﬁc markets are driving high rates of digitalcollections, especially in many smaller markets such as
Vietnam, Indonesia, Hong Kong, Thailand and the Philippines.

BROADCAST INCOME DECLINES DESPITE
SUCCESSFUL DEALS
Earnings from TV and radio remain the largest income
source although its share difference over digital, in second
place, has narrowed from 10.8% in 2020 to just 1.6% in 2021.
Global broadcast collections fell by -1.8%, with weakeradvertising rates in some markets translating into lower
revenues. Digital is also substituting for broadcast income,although there was notable growth in some countries.
In Mexico, broadcast collections rose +47.8% with theconclusion of a judicial process that generated a signiﬁcantroyalty back-payment from the satellite broadcaster, SKY.
In Spain, broadcast income rose +47.6% following agreements signed by SGAE with the main private TV networks.
The country’s advertising revenues were also up in 2021
but still well below the pre-pandemic level.

REPERTOIREMUSIC

TWO-YEAR PANDEMIC CUT LIVE INCOME BY -73%
Total live and public performance royalties were ﬂat(+0.2%) at EUR1.49bn in 2021, following a -45.2% decline
the previous year. The two-year slump reversed more thana decade of sustained strong growth in the live, theatre,
exhibition and general licensing sector. For historicalcontext, the sector’s collections in 2021 were substantiallybelow the EUR1.9bn recorded 15 years ago in 2007.
Strong growth is expected for 2022 in many markets
though some societies still believe a full recovery won’t
be possible before 2023.
A breakdown of the numbers shows the marked disparity
in live income compared to public performance. Data
from around two-thirds of CISAC members shows thatwhile background music recovered +17% in 2021 on topof a -39.9% fall in 2020, live music royalties remained infreefall. Live income shrank by -29.4% in 2021 following
a -61.1% fall the previous year. This left income fromconcerts and festivals in 2021 -73% down on the 2019 level.
The path back to pre-pandemic levels has varied acrossthe world, affected by variations in government measures.
In Brazil and Poland, income continued to decline in
2021 and ended the year down by more than two-thirds
versus 2019. Australia, which like other markets saw
more generous government support in 2020 than in 2021,

remained at half its pre-pandemic level. By contrast, theUK and USA saw signiﬁcant growth in 2021 and added
almost EUR90m to the sector as public performance
income beneﬁtted from reopening businesses.
OTHER INCOME SOURCES DECLINE
Private copying income collected from the levy placedon the purchase of recordable media and devices withstorage capacity, is an important source of remuneration
for creators. Private copying proceeds fell by -15.3%,
largely due to the signiﬁcant back-payments received
the previous year. The 2021 total remains more than oneﬁfth higher than before the pandemic. Revenues from CD
and video grew a mere +3.1%.
Breakdown of music collections (EUR million)
Use

TV & Radio
DigitalLive & BackgroundCD & Video
Private Copying
Synchronisation
Rental/Public Lending
Publication
Reprography
Other

Collections

Growth

3,194
3,059
1,491
359
286
28
10
6
3
46

-1.8%
+27.5%+0.1%+3.1%-15.3%+6.9%-16.4%+6.2%+38.0%+9.1%

Share of collections
by type of use(EUR million)

TV & Radio 37.7%
3,194
Digital 36.1%
3,059
Live & Background 17.6%
1,491
CD & Video 4.2%
359
Private Copying 3.4%
286
Other 1.0%
96

CISAC GLOBAL COLLECTIONS REPORT 2022 / 24

REPERTOIREAUDIOVISUAL
€

608 m
-2.8%

DIGITAL INCOME LEAPS WHERE CREATORS HAVE
THE RIGHTS
Global collections for audiovisual creators fell by -2.8%
to reach EUR608m in 2021. The decline followed an
exceptional back payment the previous year (2020) for
private copying, which, if discounted, would have led tooverall collections growth in 2021 of +3.4%. Collections
are well below pre-pandemic levels (-2.8% vs 2019) but
growth is expected in 2022.
Broadcast royalties are substantially the largest sourceof income received by audiovisual creators, with EUR411m
collected representing 67.5% of total collections. Earnings
from live and background use recovered slightly from thedisastrous impact of the pandemic in 2020, growing by+12.8% in 2021 after near halving the previous year.
Digital revenues were once again the fastest-growing
income source, increasing by one-third (+34.5%) in 2021
and showing growth of +86.7% over the two-year pandemic
period. Despite this, royalties from digital sources remaina small share (7.3%) of the income of audiovisual creators,
largely because of the very limited number of countries
providing the necessary legal regime to require royalty
payments.

25 / CISAC GLOBAL COLLECTIONS REPORT 2022

Audiovisual creators – typically screenwriters and directors– receive royalties only in countries such as Spain, Poland,
France and Italy where they are typically granted in law
an unwaivable right of remuneration. The right has been
recently introduced in Colombia, Chile, Uruguay andPanama, countries which are now collecting income formembers.
Top 10 collecting countries (EUR million)
Country
FRANCE
SWITZERLAND
ITALY
SPAIN
POLAND
ARGENTINANETHERLANDSGERMANY
UNITED KINGDOMBELGIUM

Collections

Growth

232
53
52
37
30
23
23
17
16
14

-0.7%
+3.3%
+1.8%
-5.4%
+13.8%-19.6%+35.1%-64.0%+18.6%+13.5%

Case studies on the impact of the remuneration rightin four markets (Italy, Spain, Poland, Latin America),
published by CISAC with sister bodies SAA and W&DW
in 2021–22, have demonstrated its positive contribution
to the economic and cultural success of the national
audiovisual industry.
Chilean society ATN achieved its ﬁrst year of collections(EUR671k) in 2021 after successfully defending legal
challenges to the new unwaivable right introduced by
the 2016 Ricardo Larraín Law (see details page 18).
Audiovisual creators elsewhere in Latin America saw anincrease in local currency royalties during 2021. In theﬁve countries where an audiovisual remuneration rightexists, the highest percentage growth was in Uruguay.
Argentina remained by far the largest market with threequarters of the regional total.

REPERTOIREAUDIOVISUAL

DIGITAL INCREASES SHARPLY IN FRANCE, SPAIN

STRONG GROWTH IN POLAND

Digital income rose in Spain during the pandemic, divided
between two societies, DAMA and SGAE. DAMA reported
royalties from TV operators at EUR12.9m, more than half
its total collections of EUR22m. Revenues from SVOD
services jumped +43% while cinema royalties collapsedby -44.8% due to lockdown restrictions. Recovery is
expected in 2022, however.

Audiovisual collections in Poland increased by +13.8%,
contributing EUR30m to the global total in 2021. Local
society ZAPA was able to operate without any restrictionsin the second year of the pandemic and recorded
the highest revenues in the organisation’s history. Public
performance revenues rose by +82.7%, helped by the
successful receipt of arrears from multi-screen cinemas.

Audiovisual collections in France, the largest collecting
country, fell slightly due to a -5.5% decline in broadcast
revenues. This was largely offset by strong growth indigital, which grew +41.9% during the year and ended atnearly double the pre-pandemic level. Digital income wasboosted by a new retro-active agreement with Disney+.
French society SACD also reported the signing of a further
deal with YouTube that will begin to generate income in2022.

Broadcast and digital uses also saw growth. For the ﬁrst
time, revenues were collected for local creators from theuse of their work on foreign VOD services, boosting thesector total.
Breakdown of audiovisual collections (EUR million)
Use

Collections

GrowthTV & Radio

411

+0.3%

Private Copying

108-23.7%

Digital44+34.5%

Live & Background15+12.8%

Educational Use

5

+5.6%

Mechanical Reproduction

1+56.1%

Rental/Public Lending

0.9

-8.9%

Reprography

0.3-32.3%

Other

23

+7.6%

Share of collections
by type of use(EUR million)

TV & Radio 67.5%
411
Private Copying 17.7%
108
Digital 7.3%
44
Live & Background 2.4%
15
Other 5.1%
30

CISAC GLOBAL COLLECTIONS REPORT 2022 / 26

REPERTOIREVISUAL ARTS
€

196 m
-1.2%

RESALE RIGHT AND DIGITAL HELP DRIVE RECOVERY
Collections in the visual arts repertoire declined by -1.2%
in 2021 to EUR196m, but the total still remained +18.3%
above the pre-pandemic level. This sector is typicallyaffected by back payments and the annual decrease islargely explained by an exceptional retroactive payment
of EUR71m in reprography in 2020.
Reprography is the largest collectively-managed royalty
source for visual artists, generating income from the saleof photocopiers and printers. It accounts for 25.6% of
total collections. Excluding this type of use from the total,
visual arts income increased by +15.1% during the year,
reﬂecting less severe lockdown restrictions and a recovery
in the art market.
France, Germany and the UK remain the top collecting
nations, with the latter growing fastest at +15.2%. There
was also strong growth in the US (+30.2%), Sweden(+10.4%) and Italy (+12.2%).

27 / CISAC GLOBAL COLLECTIONS REPORT 2022

Top 10 collecting countries (EUR million)
Country

RESALE RIGHT RECOVERS TO PRE-PANDEMIC LEVEL

Collections

Growth

44
41
22
14
13
10
8
7
6.6
6

+3.0%
-18.8%+15.2%-23.9%+10.4%+12.2%-2.6%+30.2%+0.5%-5.4%

FRANCEGERMANY
UNITED KINGDOMNETHERLANDSSWEDENITALY
DENMARKUNITED STATESBELGIUM
FINLAND

Visual arts collections by region (EUR million)
RegionCollections

GrowthEUROPE

181-3.5%

CANADA-USA

7.4+29.2%

ASIA-PACIFIC

6.7+62.8%LATIN AMERICA

0.3+12.0%AFRICA

0.02+17.4%

Income from the artists resale right grew by +23% in
2021, to more than reverse the decline seen the previous
year. The resale right is a small royalty paid to the artist
when their work is resold at auction. In 2020, resale rightincome fell by -18% as a result of the temporary closureof galleries and auction houses.
Some auctions during the pandemic were moved online
to mitigate its impact, and this combined with the easingof restrictions in many of the largest art markets to help
restore resale right revenues to slightly above the prepandemic level. The UK and France remained the primarycontributors at 30.3% and 25.5% of the global total
respectively but eight of the top ten collecting countries
saw resale right growth. DACS in the UK said the resaleright market had improved in 2021 with “art market
professionals ﬁnding ways to operate under less restrictive
lockdown conditions”.
CISAC continues to work with governments and WIPO
to encourage a universal adoption of the resale right,
which currently exists in the legislation of around 80
countries, granting artists a fair and lifelong association
with their works and beneﬁtting artists of all signatory
countries via reciprocal agreements.

REPERTOIREVISUAL ARTSDIGITAL COLLECTIONS MORE THAN DOUBLE
Digital revenues for visual arts are generated when artists’work is used online in e-Books, websites or mobile apps.
In 2021, collections from this source more than doubled
to reach EUR15.2m. Overall, digital collections for visualarts are now more than two and a half times the prepandemic level. The largest increase in 2021 came inGermany which tripled due to a one-off payment (including
for past years) related to the use from intranet in universities
and schools. Digital collections in France, a major contributor,
more than doubled, attributed by French society ADAGP
to new agreements with digital platforms.
PRIVATE COPYING AND REPRODUCTION FEES
Private copy collections, the fourth ranked income stream
for visual arts, were -22.3% lower than the previous year
following a +75.5% increase in 2020. Reproduction feesfrom the use of visual art in books and magazines rose
+21.8%.

Breakdown of visual arts collections (EUR million)
Use

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

Collections

Growth

50
47
25
21.5
15.2
14.9
9
7
4
1

-29.9%+23.0%+21.8%-22.3%+140.2%-2.1%+33.5%+6.8%-2.7%+208.5%

Resale right: top 10 collecting countries (EUR million)
Country
UNITED KINGDOMFRANCEITALYGERMANYSWEDENBELGIUM
AUSTRIA
AUSTRALIACZECH REPUBLIC
DENMARK

Collections

Growth

14
12
6
5
1.8
1.5
1.1
0.9
0.8
0.8

+15.2%+42.6%+13.6%+49.7%+1.8%+14.9%+52.4%+38.3%-4.9%-29.4%

Share of collections
by type of use(EUR million)

Reprography 25.6%
50
Resale Right 24.1%
47
Reproduction 12.9%
25
Private Copying 11%
21.5
Digital 7.8%
15.2
TV & Radio 7.6%
14.9
Educational Use 4.6%
9
Live & Background 3.6%
7
Rental/Public Lending 2.2%
4
Other 0.6%
1

CISAC GLOBAL COLLECTIONS REPORT 2022 / 28

REPERTOIRE

DRAMA
€

89 m
-13.8%REVENUE DECLINE SLOWS AS LOCKDOWNS LIFT
The drop in dramatic repertoire collections slowed in
2021, but income still fell by -13.8% to reach EUR89m.
As the shutdown of theatres and public events ran wellinto a second year, following a -44.4% decline in 2020,
revenue from the use of dramatic works ended 2021
below half its pre-pandemic level.

to 21.8% of the sector total. There was +6.2% growth inItaly, helping limit the overall decline. Some of the smallercollecting countries also performed well with a +40.1%
rise in Portugal, +65.9% in Lithuania and a doubling ofcollections in Latvia.

More than 70% of dramatic royalty income derives frompublic performance, making the repertoire highly vulnerable
to lockdown restrictions. Collections here fell between
three and four times more than any other repertoire during
the two years of the pandemic.

Almost two-thirds of drama royalty income is generated
in Italy and France with those countries showing declinesof -14.6% and -17.9% respectively. These drops were gentler,
however, than the previous year’s slide of -31.2% and-51.8%. In Belgium and Poland, there were sharp falls,
with collections in each decreasing by around one half.

Among the top ﬁve collecting countries, only Spain andArgentina saw growth (+20.8% and +204.4%, respectively),
following -48.5% and -86.5% drops in 2020. This was
attributed by SGAE and Argentores to the progressive
lifting of restrictions and the increase in permitted capacities
for shows.
BROADCAST REVENUES RECOVERING
Broadcast royalties only slightly compensated for thelosses. Following an increase of +5.4% during the year,
the share of income from TV and radio grew from 17.9%

29 / CISAC GLOBAL COLLECTIONS REPORT 2022

FALLS IN MAJOR MARKETSTop 5 collecting countries (EUR million)
CountryITALY
FRANCESPAIN
SWITZERLAND
ARGENTINA

Collections

Growth

36
23
7.1
7
3

-14.6%-17.9%+20.8%-20.3%+204.4%

Breakdown of drama collections (EUR million)
Use

Live & BackgroundTV & Radio
Private Copying
DigitalRental/Public Lending
Mechanical Reproduction
Other

Share

Collections

Growth

64
19.5
4
0.3
0.2
0.1
0.9

-19.1%
+5.4%
+5.9%
+6.4%
-67.6%-11.5%+6.2%

REPERTOIRE

LITERATURE
€

199 m
-3.9%

REVENUES END 2021 ABOVE PRE-PANDEMIC LEVEL
Collections on behalf of literary authors fell by -3.9% in
2021 and, as usual, were heavily affected by irregularmulti-year payments. Because of this, and despite theannual fall, royalties for the repertoire total ended at +1.1%
above their 2019 level.

smaller collecting countries, Slovakia and Portugal grewby +22.7% and +49.7% while Lithuania’s total more thandoubled.

More than 80% of literary earnings come from reprography
and are derived from the use of literary work in printed
publications. In 2020, signiﬁcant back payments increased
revenues in this sector by +5.9%, which in turn led to a
-5.2% decrease the following year.

Digital royalties are collected only in the Netherlands,
Czech Republic and Latvia and so make up just 1.7% of
the literary total. In 2021 however, this ﬁgure grew by+35.1% and has more than trebled since 2019. Digital now
makes up almost 15% of the Netherlands’ collections withthe majority coming from E-Lending of literary works.

Income from private copying rose +2.1%, boosted by theaddition of Lithuania, where authors received income
from this levy for the ﬁrst time. This followed a -15.9% decline
the previous year.
GROWTH IN SMALLER COLLECTING COUNTRIESAustralia and the UK remain the largest collectors forliterature, with 38.5% and 16.0% of the global total
respectively. Income in Australia decreased -5.2%, while
UK revenues grew +8.3%. Finland regained its third
place, and the Netherlands dropped by -26.4% following
a near-trebling of collections the previous year. Of the

DIGITAL GROWTH OUTPERFORMS OTHER SECTORSIN THE NETHERLANDS

Breakdown of literary collections (EUR million)
Use

Reprography
Rental/Public Lending
Private Copying
Educational Use
Digital
TV & Radio
Mechanical Reproduction
Live & Background
Other

Share

Collections

Growth

160
20
4.7
4.5
3.3
3
1.4
1.1
1.4

-5.2%
-1.1%
+2.1%
+8.0%
+35.1%-17.9%+15.9%-11.1%+34.0%

Income from more regular forms of rental and public
lending decreased by -1% but still comprised 10.1% of the
global literary repertoire total.
Top 5 collecting countries (EUR million)
Country
AUSTRALIA
UNITED KINGDOMFINLANDNETHERLANDSSWITZERLAND

Collections

Growth

77
32
21
17.2
16.8

-5.2%
+8.3%
+0.6%
-26.4%-5.5%

CISAC GLOBAL COLLECTIONS REPORT 2022 / 30

EUROPE€5,290mREGION

46 countries

106 members+7.5%

PANDEMIC LIMITS COLLECTIONS RECOVERY

Collections by repertoire, Europe (EUR million)

Collections on behalf of creators in Europe recovered by+7.5% in 2021 but remained -7.7% below the pre-pandemic
level of 2019. The ongoing effects of lockdown continued
to restrict live and public performance but digital income
helped offset the decline.

Repertoire

Total revenues in Italy and Poland continued to fall while
Spain, Sweden and the UK saw growth helped by continued
strong increases in digital income. Germany declined-1.3% due to a correction in private copying, which cut
audiovisual and visual arts collections. In visual arts, theresale right grew due to strong performance in the UK(+15.2%) and France (+42.6%).
Europe remains the largest region for collections overall,with an unchanged 55.2% share of global collections.

Music
Audiovisual
Visual Arts
Literary
Dramatic
Grand Total

Collections

Growth

4,334
575
181
115
85
5,290

+10.4%
-2.2%
-3.5%
-3.6%
-16.2%+7.5%

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

Repertoire

Music
Audiovisual
Dramatic
Literary
Visual Arts
Grand Total

Collections

Growth

316
84
8
7
4
419

+2.8%
+8.8%
-25.1%
+9.0%
+9.6%
+3.4%

quarter (27%) of all European collections, a reﬂection of
the general undervaluation and poor returns for creatorsin the streaming environment.
Audio streaming fared well in 2021 as consumers returned
to mobile listening (for example while commuting), andthere was continued strong growth in video streaming,boosted by lockdown.
Countries with a high digital share of income, such as
those in Scandinavia, were again able to better weather
the continued pandemic effects. The largest digital growth
was in the UK, where SVOD revenues almost doubled
from 2019 due to new and renewed licences for services
such as Disney+, Apple TV and Netﬂix.
Digital collections rise (EUR million)
Country

31 / CISAC GLOBAL COLLECTIONS REPORT 2022

DigitalDigital Share

Growth+49.8%DIGITAL GROWTH RATE DOUBLES FROM 2020

UNITED KINGDOM

400

45.2%

Digital income generated almost all the growth in Europe,
rising +33.5% in 2021, double the +14% increase of 2020.
However, digital still represents barely more than one

FRANCE

392

31.4%+16.4%GERMANY

243

29.5%

+37.3%SWEDEN78

53.4%+64.0%

ITALY

57

14.0%

+19.2%REGION

EUROPEBROADCAST MAINLY RESILIENTSLOWER RECOVERY IN EASTERN EUROPE

TV and radio broadcast remains the largest revenue
source in Europe. Income from broadcast uses in 2021
rose +3.8% compared to a -4.6% fall in 2020, and accounted
for a 37.7% share of total collections. The result washelped by generally resilient advertising spending andby a contract signed with Vodafone in Germany that
released back payments from previous years. The largest
decrease came in France which declined by -3.5% in
2021 after a similar fall in 2020.

Collections in Eastern Europe recovered by +3.4% in
2021. The largest challenge remained the live and background sector which fell a further -6.7% and is now nearly
half its 2019 level. TV & radio, which had grown by +3.2%
in 2020, grew only +1.5% as the region continued to beplagued by poor rates and resistance from broadcasters.
Only digital grew signiﬁcantly at +52.2%, but from a low
base, driven mainly by Turkey, Hungary, Poland andCzech Republic.

LIVE AND PUBLIC PERFORMANCE SLOWTO RECOVER
Income from live and background uses rose +3.2% in
2021, barely recovering from the disastrous -49.6% fall inEurope the previous year. The continuation of lockdown
restrictions left collections below half of pre-pandemic
levels at just over EUR1bn.
The UK was by far the fastest growing country in this sector
with collections recovering +65.2% but remaining onethird below the pre-pandemic total. PRS for Music reported
an optimistic outlook for 2022 with over 240 major tours
already planned throughout the UK and beyond. Israel,
Belgium and Spain also saw growth.
AUDIOVISUAL COLLECTIONS DECLINE
European collections from the audiovisual repertoire fell
-2.2%, largely reﬂecting a large back payment in Germany
the previous year. In France, collections were virtually ﬂatbut the country still contributed more than a third of theEuropean total. Strong increases came in the Netherlands,
Czech Republic and Greece.

Share of collections
by use(EUR million)

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

TV & Radio

Collections

Growth

1,995

+3.7%

Digital1,431+33.5%

Live & Background

1,033

+3.2%

Private Copying

413-18.1%

Reprography131-16.7%

CD & Video

129

+4.9%

Resale Right46+22.7%

Rental/Public Lending

31

-0.6%

Reproduction

15+12.2%

Synchronisation

13

+3.1%

Educational Use

12+16.6%

Mechanical Reproduction
Publication
Other

3

+32.1%

0.03+120.4%39+9.6%

TV & Radio 37.7%
1,995
Digital 27.0%
1,431Live & Background 19.5%
1,033
Private Copying 7.8%
413
Reprography 2.5%
131
CD & Video 2.4%
129
Other 3.0%
159

CISAC GLOBAL COLLECTIONS REPORT 2022 / 32

CANADAUSA€
2,280mREGION

2 countries

12 members+4.7%

DIGITAL GROWTH LEADS COLLECTIONS RECOVERYSTRONG DIGITAL GROWTH

2021 has marked a semblance of return to normal business for North American CMOs after two years dominatedby the impact of the COVID crisis. Collections rose +4.7%
to EUR2.28bn. This calculation includes an adjustment of
the 2020 total to account for the transfer of digitalmechanical rights income in 2021 to the newly-created
US Music Licencing Collective (MLC), which is not a CISAC
member and therefore excluded from this Report.

Some pressure in the public performance sector, due tothe slow return of live events, was offset by continuing
strong growth in digital revenues. Digital revenues grew
+26.8% to EUR871m in 2021, following +29.2% and +17.7%
growth in 2019 and 2020 respectively.

Music accounted for the bulk of collections, with theremainder coming from visual arts at EUR7.4m, up +29.2%.
The three main CISAC members in the region — ASCAP,
BMI and SOCAN — all posted increased collections in
2021, and all three reported revenues at historic highlevels. In Canada, SOCAN also posted a +36.1% year-onyear growth for the use of music on digital platforms,
offsetting drops in live and public performance, whichwere still far from returning to pre-pandemic levels.

33 / CISAC GLOBAL COLLECTIONS REPORT 2022

ASCAP said increases in collections from the audio
streaming and audiovisual sectors helped grow domestic
revenues to new records. BMI highlighted the “phenomenal
growth in the digital sector”, with a total of 1.98 trillion
performances processed during the year, up +13% fromthe previous year, of which 1.95 trillion were digital plays.
THE RISE OF OTT SERVICES
Revenues from the use of music on TV shows and ﬁlms
played on major ‘over-the-top’ (OTT) streaming services— such as Netﬂix, Hulu, Amazon, Apple TV+, Disney+ andHBO Max, among others — contributed to the good
performance in the region.

Societies have consolidated and expanded licensing
agreements with music users, from ﬁtness brands tomajor streaming and OTT services. All societies reported
a healthy level of licensing activity, reﬂecting the regular
addition of new platforms.
BROADCAST INCOME UNDER PRESSURE
TV & radio remained the leading source of revenues in
the region in 2021, at EUR1.10bn, but collections were
down -8.7% year-on-year. Cable and satellite revenues
were stable but those from broadcast radio and television
are still short of pre-COVID levels.
Income from live and background uses rose +10.1% yearon-year to EUR268m, reﬂecting some recovery after the
pandemic. However, live and public performance remain-29.9% below their 2019 levels.

REGION

CANADA/USA

DIGITAL MECHANICAL ROYALTIES
Mechanical collections changed in the US with the launchof the MLC on 1 January 2021 as the collective in chargeof licensing and administering mechanical rights on digitalplatforms. Figures are not included in this report.
Mechanical revenues will beneﬁt from the ﬁnal decisionfrom the Copyright Royalty Board to uphold the rates
negotiated in 2018 that called for a 40% increase inmechanical rates for the period 2018–2022. The increase
will now have to be paid retroactively by the DSPs, andwill be accrued in the coming years.
Collections by repertoire (EUR million)
RepertoireCollections

GrowthMusic
Visual Arts
Audiovisual

2,273
7.4
0.03

+4.6%
+29.2%-41.9%Breakdown of collections by type of use (EUR million)
Use

TV & Radio
DigitalLive & BackgroundCD & Video
Reproduction
Synchronisation
Reprography
Other

Collections

Growth

1,095
871
268
35
7
3
0.08
0.8

-8.7%
+26.8%+10.1%-9.0%+30.9%-4.0%-21.6%-22.0%

Share of collections
by type of use(EUR million)

TV & Radio 48.0%
1,095
Digital 38.2%
871
Live & Background 11.8%
268
CD & Video 1.5%
35
Other 0.5%
11

CISAC GLOBAL COLLECTIONS REPORT 2022 / 34

ASIA-PACIFIC€
1,562 mREGION

17 countries/territories

30 members+3.7%

DIGITAL HELPS POWER RETURN TO GROWTH
Collections in the Asia-Paciﬁc region grew by +3.7% in
2021, nearly reversing the -4% drop the previous year.
Digital income was responsible for most of the growth,
increasing by +19.2% to end the year +40.6% up on the2019 pre-pandemic level.
Digital collections now account for 42.6% of the region’s
royalties, making Asia-Paciﬁc the only region with digital as
the largest royalty source. By contrast, TV and radio and live
and background royalties, still under the inﬂuence of the
COVID pandemic, declined -8.8% and -11.3% respectively.
TV and radio revenues come under strong pressure due
to powerful broadcasters seeking low rates.
Many of the region’s smaller collecting countries performed
exceptionally in 2021 due to high digital shares. In Thailand,for example, income grew by +68.8% and digital accounts
for 89.5% of total collections.
Top 3 territories (EUR million)
Country/territory

Collections

GrowthJAPAN
AUSTRALIA
SOUTH KOREA

819
344
209

-2.7% (+3.7% JPY)
+5.7%
+15.8%

35 / CISAC GLOBAL COLLECTIONS REPORT 2022

Collections by repertoire (EUR million)
RepertoireCollections

GrowthMusic
Literary
Visual Arts
Audiovisual

1,473
82
7
0.2

+4.0%
-4.4%
+62.8%-17.6%DIGITAL COLLECTIONS UP IN JAPANJapan is substantially the largest collecting country in theregion at 52.4% of the total. Collections in 2021 grew
+3.7% in local currency, but declined -2.7% when converted
to euros.
For the ﬁrst time, digital collections exceed one-thirdof the Japan total after increasing +7.3% in 2021. Music
society JASRAC reported income growth of more than
+20% from music subscriptions and SVOD, while revenue
from video streaming on YouTube, Facebook and online
concerts grew almost +15%.
Broadcast, however, suffered worse in 2021 than the ﬁrst
year of the pandemic as subscriptions to NHK, the local
public broadcaster, decreased and advertising revenue
continued to shift from terrestrial to digital services.

Income from live events and background music increasedslightly in local currency. Concert performances recovered,but severe pandemic restrictions at the rescheduledTokyo Olympics led to signiﬁcant lost income.
REVENUES RESILIENT IN KOREA
Collections in Korea continued to buck global trends
and rose +15.8% in 2021. Revenues are now more than
one-quarter higher than in 2019 with digital up +53.2%
over the two-year period. In addition to growth in video
subscription driven by lockdown restrictions, a change in
KOMCA’s digital collection rules led to increased promotionof music subscriptions by the major music platforms.
Broadcast revenues remained nearly ﬂat. Live and background collections declined -20.1% to end at nearly half
the pre-pandemic level. The entertainment, club andkaraoke sectors were designated high-risk facilities
under government social distancing regulations and hadto accommodate forced closures and shorter businesshours. Cinema attendance levels in 2021 were reported
as being at their lowest levels since 2004.

REGION

ASIA-PACIFIC
AUSTRALASIA: SLOW RETURN FOR LIVEIn Australia and New Zealand, income from live and public
performance fell by -33% in both 2020 and 2021, and is
now at less than half the 2019 level. A strict second lockdown in 2021 restricted the hospitality, ﬁtness and nightclub sectors, and forced the cancellation of concerts andtheatrical events. Additionally, the largest live shows
often feature foreign acts and due to the complexity oftour planning, most chose to postpone their tour plans.
These are returning in 2022, but slowly.
Broadcast income grew by +3.6% with increase inadvertising income. Digital collections continued to rise,+23% in 2021, helped by SVOD income growth andincreased advertising revenues on some music services.

India’s IPRS reported income up +77.6% over 2 years driven
by a rapid growth of streaming.

Digital collections rise (EUR million)
Country/territory

DigitalDigital Share

JAPAN
289
AUSTRALIA
153
SOUTH KOREA
101
CHINA
29.1
INDIA
28.8
HONG KONG
23
THAILAND11
INDONESIA
7.5
MALAYSIA
6.5
TAIWAN, CHINESE TAIPEI
5

35.2%
44.6%
48.6%
53.6%
82.1%
70.8%
89.5%
98.2%
49.3%
39.6%

VISUAL ARTS COLLECTION RISE
Australasia is the region’s only collector of the visualarts resale right, the levy placed on works of art when
they are resold at auction. This saw a +38.3% increasein 2021. The Australian Copyright Agency reported thatin the 11 years the scheme had been in place, around
2,200 local artists had beneﬁtted from the resale rightwith 65% of them being of Aboriginal and Torres Strait
Islander origin.
DIGITAL DRIVES SHARP GROWTH IN SMALL MARKETSHigh digital shares have insulated some territories fromlosses through the pandemic. Collections in Indonesia arevirtually all digital and grew +59.4%, +111% over 2019 levels.
More increases are expected as local society WAMI
continues negotiations to collect for OTT video transmitted
via the Internet. Collections in Malaysia grew by +31.3%.

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

GrowthDigital666+19.1%

TV & Radio

353

-8.8%

Live & Background212-11.3%

CD & Video

193

+4.5%

Reprography

80

-3.9%

Educational Use

7+17.9%

Publication

6

+5.9%

Use

Synchronisation5+19.5%

4.9-35.3%

Reproduction

2+105.3%

Resale Right

0.9+38.3%

Private Copying

0.03

-6.2%

31

+11.9%

Rental/Public Lending

Other

Share of collections
by type of use(EUR million)

Digital 42.6%
666
TV & Radio 22.6%
353
Live & Background 13.6%
212
CD & Video 12.4%
193
Reprography 5.1%
80
Other 3.7%
58

CISAC GLOBAL COLLECTIONS REPORT 2022 / 36

LATIN AMERICA &THE CARIBBEAN€
368m
REGION

24 countries

47 members-2.6%

DIGITAL COLLECTIONS UP +22% BUT PANDEMIC
IMPEDES RECOVERY
Collections in Latin America and the Caribbean fell by
EUR9.6m in 2021, a drop of -2.6% despite strong digitalcollections led by Brazil, Argentina and Mexico. At EUR368m,
the regional total was around one-quarter (-27.3%) below
its pre-pandemic level of 2019. This was the only region torecord a decrease in collections in 2021. Fluctuating
currency exchange rates had a big impact, especially in
two major markets, Brazil and Argentina.
The largest decrease was in live and background income,down by -44.2% in 2021 and down almost three-quarters
on the 2019 total. Live and public performance, traditionallya strong royalties sector in the region, has slumped dramatically as a share of total collections, decreasing from
38.3% to 13.9% between 2019 and 2021. A strong recovery
is expected in 2022, however, with concerts, festivals,
theatres and exhibitions sold out across the region.

37 / CISAC GLOBAL COLLECTIONS REPORT 2022

TV and radio saw a small +2.7% increase in 2021 while
digital revenues rose +22.2% during the year, helped bysubstantial increases in most markets, led outstandingly
by Argentina.
Top 3 territories (EUR million)
Country

BRAZILMEXICO
ARGENTINA

Collections

GrowthGrowth (Local)

115
97
77

-12.9%
+9.6%
-8.1%

-1.8%
+7.4%
+27.7%

Collections by repertoire (EUR million)
RepertoireCollections

GrowthMusic
Audiovisual
Dramatic
Visual Arts

334
31
4
0.3

-2.1%
-12.9%+123.9%+11.9%MEXICO COLLECTIONS EXCEED ONE-QUARTER
OF REGION
Collections in Mexico grew by +9.6% in 2021 and, forthe ﬁrst time, contributed more than one-quarter of theregional total. Following a +45.2% increase in digital in2020, growth in this sector remained ﬂat. Mexico’s digital
royalties still made up almost two-thirds of the national
total.
In the broadcast sector, a significant back payment
with satellite broadcaster SKY led to a +36.2% rise in TV
and radio income. The country also saw growth in public
performance as concerts, clubs and businesses reopened,leading to a +23.5% rise in revenue.

REGIONLATIN AMERICA &THE CARIBBEAN
BRAZIL DECLINES BUT RECOVERY SEEN IN 2022
Brazil’s live and background collections were heavily
impacted in 2021 for the second year running, falling by-52.3% after a -42.1% drop in 2020. The sector’s royalties
ended 2021 at less than a third of their pre-pandemic level.
A member survey by music society UBC found that half
the country’s musicians had lost all of their income due
to lockdown restrictions. Half of those were forced to ﬁnd
another professional activity.

By contrast, royalties from live and background accelerated
their decline in 2021. The combined effect was to decrease
the share of public performance income from 26.9% tojust 8.5%. The share of broadcast collections remained
consistent at a little over one-half of the national total.
Breakdown of collections by type of use (EUR million)(EUR million)

Collections

GrowthTV & Radio

166

+2.7%

A strong recovery is expected in 2022, however. Numerous
national tours and large festivals such as Rock in Rio andLollapalooza have been booked for 2022 with events
selling out.

Digital141+22.2%

Live & Background51-44.2%

Synchronisation

7+10.6%

Private Copying

1+12.9%

Brazil’s digital collections grew by +12.4% and the
predominant broadcast sector reversed the previous
year’s decline to rise by +1.1%.

CD & Video

0.6

+9.2%

Reproduction

0.2-37.2%DIGITAL COLLECTIONS MORE THAN DOUBLEIN ARGENTINA

Share of collections
by type of use

Use

Educational Use

0.1

0.0%

Resale Right

0.04+25.3%

Publication

0.01+24.0%

Other

0.1+64.3%

TV & Radio 45.1%
166
Digital 38.4%
141
Live & Background 13.9%
51
Other 2.6%
9.7

Revenues in Argentina grew by +27.7% in local currency,
driven by new subscription video licence agreements
including back payments, increased tariffs for some DSPs,
organic growth in streaming subscriptions and income
from live streaming of concerts.

CISAC GLOBAL COLLECTIONS REPORT 2022 / 38

AFRICA€
75 m
REGION

32 countries

Collections by repertoire (EUR million)
RepertoireCollections

Growth

69.7
3
1.8
0.4
0.02
75

+17.5%+2.2%+28.2%+15.6%+17.4%Music
Literary
Audiovisual
Dramatic
Visual Arts
Grand Total

33 members+17.1%Breakdown of collections by type of use (EUR million)

AFRICA COLLECTIONS UP +17.1%, HELPED BY DIGITAL
Collections in the Africa region grew by +17.1% in 2021 toreach EUR75m, with growth in all repertoires. The totalremains -6.4% below the pre-pandemic ﬁgure of 2019.
LIVE AND BACKGROUND INCOME STILL FACINGCHALLENGES WITH SLOW RECOVERYLive and public performance income grew by +3.1% in
2021 but remains more than one-quarter below the 2019
total. Lockdown regulations began to be slowly relaxed
but continued to have an effect on the sector. Societies
also reported a reluctance to attend live events amongst
the public, even after restrictions eased. Kenya collections
decreased by -43.9%. In Côte d’Ivoire, the local society
BURIDA partnered with town halls, national institutions andlarger umbrella users such as health centres and hotels
to dramatically increase collections by +58.9%.
BROADCAST UP +19.1% AND LEADS COLLECTIONSRoyalties from broadcast TV and radio in Africa grewby +19.1%, making up more than 44% of the regional total.
South Africa is substantially the largest collecting country,
but a continued slowing of radio advertising cause asmall drop in its income. TV and radio collections in Nigeria

39 / CISAC GLOBAL COLLECTIONS REPORT 2022

Use

however, grew more than four-fold following a licensing
agreement between society MCSN and broadcaster
Multichoice. Senegal also saw an increase due to a satellite
settlement with Canal.

Collections

Growth

33.3
13.5
12.7
10.6
4.9

+44.4%+18.0%+16.9%+6.6%+1.7%

TV & RadioLive & Background
DigitalPrivate Copying
Other

GROWTH IN DIGITAL
Digital collections increased by +68.9% to reach a four-year
high of EUR12.7m. The largest contributor was South
Africa, which saw digital revenue nearly doubling thanks
to a joint CAPASSO/SAMRO licensing agreement facilitating
the retrospective invoicing of Netﬂix, Facebook and Deezer.
Elsewhere in the region, digital remains poorly represented
and comprised just 16.9% of African collections. A few
countries contributed modest digital income, led by Côte
d’Ivoire and Mali.
Top 3 territories (EUR million)
Country

SOUTH AFRICA
MOROCCOCÔTE D’IVOIRE

Collections

Growth

40
7
6.5

+9.4%
-4.7%
+51.8%

Share of collections
by type of use(EUR million)

TV & Radio 44.4%
33.3
Live & Background 18.0%
13.5
Digital 16.9%
12.7

Private Copying 14.1%
10.6
Other 6.6%
4.9

TABLES OF COLLECTIONSALL REPERTOIRESCOLLECTIONS FOR ALL REPERTOIRES 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
21
22
23
24
25

UNITED STATESFRANCEUNITED KINGDOMGERMANYJAPANITALY
AUSTRALIACANADASPAIN
NETHERLANDSSOUTH KOREASWITZERLAND
SWEDENDENMARKBELGIUM
BRAZILFINLANDMEXICOPOLAND
AUSTRIA
ARGENTINANORWAYCHINACZECH REPUBLICPORTUGAL

2,011
1,250
884
824
819
412
344
269
249
241
209
197
146.2
145.8
116.2
115.3
109.7
97.4
96.7
91.9
76.9
72.6
54.3
52.0
45.5

+3.6%
+3.6%
+31.2%
-1.3%
-2.7%
-1.2%
+5.7%
+14.0%+19.9%-0.7%+15.8%-0.7%+20.4%+9.4%+9.5%-12.9%+4.8%+9.6%-16.3%-6.4%-8.1%+32.7%+13.9%+20.4%+11.3%

21.0%
13.1%
9.2%
8.6%
8.6%
4.3%
3.6%
2.8%
2.6%
2.5%
2.2%
2.1%
1.5%
1.5%
1.2%
1.2%
1.1%
1.0%
1.0%
1.0%
0.8%
0.8%
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

ISRAEL
SOUTH AFRICAHUNGARY
INDIA
HONG KONG
ROMANIACHILE
COLOMBIA
TURKEYIRELANDCROATIAGREECESLOVENIASERBIASLOVAKIA
MALAYSIATHAILANDTAIWAN, CHINESE TAIPEIPERUSINGAPORE
INDONESIALITHUANIA
MOROCCOESTONIACÔTE D'IVOIRE

40 / CISAC GLOBAL COLLECTIONS REPORT 2022

COLLECTIONS

44.0
39.9
39.2
35.1
33.1
30.6
24.9
21.9
21.7
18.6
17.4
16.9
16.1
13.6
13.3
13.0
12.6
12.2
12.1
8.1
7.6
7.5
7.0
6.6
6.5

GROWTHGLOBAL SHARE

+4.6%
+9.4%
+13.2%+73.8%-1.3%+9.4%+26.9%+6.4%+37.1%+9.9%+8.5%+47.9%
+9.6%
+8.3%
+4.8%
+31.3%+68.8%-14.1%+1.4%+5.9%+59.4%+17.1%-4.7%+9.6%+51.8%

0.5%
0.4%
0.4%
0.4%
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%
0.1%
0.1%
0.1%

TABLES OF COLLECTIONSMUSIC
COLLECTIONS 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
21
22
23
24
25

UNITED STATESFRANCEJAPAN
UNITED KINGDOMGERMANYITALYCANADA
AUSTRALIA
SOUTH KOREA
SPAIN
NETHERLANDS
DENMARKSWEDENSWITZERLAND
BRAZILBELGIUM
MEXICONORWAYFINLANDPOLAND
AUSTRIACHINA
ARGENTINACZECH REPUBLICPORTUGAL

2,004
951
818
813
766
308
268
264
201
199
187
138
133
119
115
92
92
71
69
65
63
54
51
40.7
37.2

+3.5%
+5.4%
-2.8%
+33.1%+4.0%-0.2%+14.0%+9.1%+16.0%+26.6%+1.6%+10.2%+21.5%-0.1%-13.0%+12.5%+10.0%+33.5%+9.4%-24.6%-7.9%+12.3%-6.4%+19.1%
+8.5%

23.6%
11.2%
9.6%
9.6%
9.0%
3.6%
3.2%
3.1%
2.4%
2.3%
2.2%
1.6%
1.6%
1.4%
1.4%
1.1%
1.1%
0.8%
0.8%
0.8%
0.7%
0.6%
0.6%
0.5%
0.4%

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

SOUTH AFRICAISRAELINDIAHUNGARY
HONG KONG
ROMANIA
CHILE
TURKEYCOLOMBIAIRELANDCROATIASERBIAMALAYSIATHAILANDTAIWAN, CHINESE TAIPEIPERUSLOVENIAGREECESLOVAKIASINGAPORE
INDONESIA
MOROCCOALGERIAVIETNAMPHILIPPINESCOLLECTIONS

37.2
35.6
35.1
34.7
33.1
24.6
24.1
21.7
20.2
18.5
15.7
13.2
13.0
12.6
12.2
12.1
10.4
9.6
9.4
8.1
7.6
7.0
6.1
5.7
5.6

GROWTHGLOBAL SHARE+10.1%+5.5%+73.8%+13.4%-1.3%+13.6%+23.8%+37.1%
+6.2%
+9.1%
+7.4%
+7.1%
+31.3%+68.8%-14.1%+1.4%+13.8%+46.0%+1.9%+5.9%+59.4%
-4.5%
+0.0%
+3.9%
+13.4%

0.4%
0.4%
0.4%
0.4%
0.4%
0.3%
0.3%
0.3%
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%
0.1%
0.1%
0.1%

CISAC GLOBAL COLLECTIONS REPORT 2022 / 41

TABLES OF COLLECTIONSTABLES OF COLLECTIONSAUDIOVISUAL
COLLECTIONS IN EUR MILLION

VISUAL ARTSCOLLECTIONS IN EUR MILLIONRANKCOUNTRY/TERRITORY

COLLECTIONSGROWTHGLOBAL SHARERANKCOUNTRY/TERRITORY

COLLECTIONSGROWTHGLOBAL SHARE

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
ARGENTINANETHERLANDSGERMANY
UNITED KINGDOMBELGIUM
FINLAND
AUSTRIAISRAELGREECECZECH REPUBLIC
ROMANIAMEXICOSLOVENIAPORTUGALHUNGARY

232
53
51.8
37.0
30.1
22.9
22.6
17.5
16.1
14.2
14.0
13.8
8.1
7.1
6.9
5.9
5.3
5.2
3.2
2.9

-0.7%
+3.3%
+1.8%
-5.4%
+13.8%-19.6%+35.1%-64.0%+18.6%+13.5%
-4.6%
-0.1%
+0.9%
+52.8%+54.5%
-5.2%
+3.5%
+2.1%
+16.5%+19.3%

38.1%
8.8%
8.5%
6.1%
4.9%
3.8%
3.7%
2.9%
2.6%
2.3%
2.3%
2.3%
1.3%
1.2%
1.1%
1.0%
0.9%
0.9%
0.5%
0.5%

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

FRANCEGERMANY
UNITED KINGDOMNETHERLANDSSWEDENITALY
DENMARKUNITED STATESBELGIUM
FINLANDSPAINAUSTRIA
SOUTH KOREA
AUSTRALIANORWAYCZECH REPUBLICSWITZERLAND
PORTUGAL
CHINA
JAPAN

44
41
22
13.7
13.3
9.6
8.0
7.0
6.6
6.0
5.5
4.7
3.0
2.3
1.6
1.3
0.9
0.8
0.8
0.7

+3.0%
-18.8%+15.2%-23.9%+10.4%+12.2%-2.6%+30.2%
+0.5%
-5.4%
+7.8%
+6.9%
+14.7%+50.3%+2.2%-12.1%-12.5%+12.3%
-

22.4%
20.7%
11.4%
7.0%
6.8%
4.9%
4.1%
3.6%
3.4%
3.1%
2.8%
2.4%
1.5%
1.2%
0.8%
0.7%
0.4%
0.4%
0.4%
0.3%

42 / CISAC GLOBAL COLLECTIONS REPORT 2022

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

ITALY
FRANCESPAIN
SWITZERLAND
ARGENTINAPOLANDBELGIUM
PORTUGALLUXEMBOURG
URUGUAY
LITHUANIABELARUSGREECE
COTE D'IVOIRESOUTH AFRICALATVIAARMENIA
BURKINA FASOSLOVAKIAESTONIA

COLLECTIONS IN EUR MILLIONCOLLECTIONSGROWTHGLOBAL SHARERANKCOUNTRY/TERRITORY

COLLECTIONSGROWTHGLOBAL SHARE

36
23
7.1
7.0
3.3
1.7
1.6
1.0
0.6
0.4
0.3
0.2
0.2
0.1
0.1
0.1
0.1
0.1
0.1
0.1

-14.6%-17.9%+20.8%-20.3%+204.4%-45.3%-54.1%+5.5%-11.6%-13.5%
-7.3%
+2.5%
+0.0%
+133.7%+0.0%-29.8%+87.5%+0.0%+22.0%-12.8%

40.6%
26.1%
7.9%
7.8%
3.7%
1.9%
1.8%
1.1%
0.6%
0.4%
0.4%
0.3%
0.2%
0.2%
0.1%
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 KINGDOMFINLANDNETHERLANDSSWITZERLAND
AUSTRIAITALY
SOUTH KOREAPORTUGALCZECH REPUBLIC
SOUTH AFRICABELGIUMSLOVAKIAHUNGARY
LITHUANIALATVIASLOVENIAISRAEL
BURKINA FASO
CÔTE D'IVOIRE

77
32
20.5
17.2
16.8
10.0
5.9
4.8
3.4
3.1
2.6
1.5
1.1
1.1
0.9
0.6
0.6
0.3
0.1
0.1

-5.2%
+8.3%
+0.6%
-26.4%-5.5%-10.5%-3.0%+9.1%+49.7%
+1.3%
+0.0%
-3.6%
+22.7%+0.0%+147.7%-27.0%+8.1%+10.0%+0.0%+136.0%

38.5%
16.0%
10.3%
8.6%
8.5%
5.0%
2.9%
2.4%
1.7%
1.5%
1.3%
0.7%
0.6%
0.5%
0.5%
0.3%
0.3%
0.2%
0.1%
0.0%

CISAC GLOBAL COLLECTIONS REPORT 2022 / 43

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

WORLD AVERAGE: 1.49
RANK

COUNTRY/TERRITORY

COLLECTIONSPER CAPITAREGIONRANKCOUNTRY/TERRITORY

COLLECTIONSPER CAPITAREGION

1

DENMARK

24.89

EUROPE

26

CROATIA

4.47

EUROPE

2

SWITZERLAND

22.62

EUROPE

27

HONG KONG

4.46

ASIA-PACIFIC

3

FINLAND

19.80

EUROPE28

PORTUGAL

4.42

EUROPE

4FRANCE

18.52

EUROPE

29

ANDORRA

4.17

EUROPE

5

SWEDEN

14.04

EUROPE30

HUNGARY

4.03

EUROPE

6

NETHERLANDS

13.72

EUROPE31

IRELAND

3.71

EUROPE

7NORWAY

13.42

EUROPE32

LATVIA

3.06

EUROPE

8

AUSTRALIA

13.35

ASIA-PACIFIC

33

LITHUANIA

2.70

EUROPE

9UNITED KINGDOM

13.12

EUROPE34

POLAND

2.56

EUROPE10ICELAND

10.38

EUROPE35

SLOVAKIA

2.44

EUROPE

11

AUSTRIA

10.26

EUROPE36

MONTENEGRO

2.25

EUROPE

12

BELGIUM

10.02

EUROPE37

SERBIA

1.99

EUROPE

13

GERMANY

9.91

EUROPE38

ARGENTINA

1.68

LATIN AMERICA AND THE CARIBBEAN

14

SOUTH KOREA

8.06

ASIA-PACIFIC39

URUGUAY

1.66

LATIN AMERICA AND THE CARIBBEAN

15SLOVENIA

7.66

EUROPE40

ROMANIA

1.60

EUROPE16

LUXEMBOURG

7.22

EUROPE

41

GREECE

1.58

EUROPE

17

CANADA

7.03

CANADA-USA

42

MACAU

1.54

ASIA-PACIFIC

18

ITALY

6.97

EUROPE43

SAINT LUCIA

1.49

LATIN AMERICA AND THE CARIBBEAN

19

JAPAN

6.52

ASIA-PACIFIC

44

SINGAPORE

1.48

ASIA-PACIFIC

20

NEW CALEDONIA (FRANCE)

6.50

ASIA-PACIFIC

45

CHILE

1.29

LATIN AMERICA AND THE CARIBBEAN

21

UNITED STATES

6.06

CANADA-USA

46

NORTH MACEDONIA

0.86

EUROPE

22

SPAIN

5.26

EUROPE47

BOSNIA AND HERZEGOVINA

0.83

EUROPE23

ESTONIA

4.99

EUROPE48

BULGARIA

0.79

EUROPE24

CZECH REPUBLIC

4.86

EUROPE

49

BARBADOS

0.79

LATIN AMERICA AND THE CARIBBEAN

25

ISRAEL

4.70

EUROPE50

MEXICO

0.75

LATIN AMERICA AND THE CARIBBEAN

44 / CISAC GLOBAL COLLECTIONS REPORT 2022

TABLES OF COLLECTIONSCOLLECTIONS AS % OF GDP BY COUNTRY/TERRITORY

WORLD AVERAGE: 0.015%
RANK

COUNTRY/TERRITORY

COLLECTIONS
AS % OF GDP

REGIONRANKCOUNTRY/TERRITORY

COLLECTIONS
AS % OF GDP

REGION

1

FRANCE

0.054%EUROPE26

LATVIA

0.021%EUROPE

2

FINLAND

0.047%EUROPE

27

POLAND0.020%EUROPE

3

DENMARK

0.047%EUROPE

28

JAPAN

0.020%

ASIA-PACIFIC

4

UNITED KINGDOM

0.037%EUROPE

29

SAINT LUCIA

0.019%LATIN AMERICA

5MONTENEGRO

0.036%EUROPE

30

CANADA

0.019%CANADA-USA

6

SLOVENIA

0.034%EUROPE

31

ARGENTINA

0.018%LATIN AMERICA

7HUNGARY

0.033%EUROPE

32

BRAZIL

0.018%LATIN AMERICA

8CROATIA0.033%EUROPE33

URUGUAY

0.017%LATIN AMERICA

9

SWEDEN

0.031%EUROPE

34

LITHUANIA

0.017%EUROPE

10NETHERLANDS

0.031%EUROPE35

BOSNIA AND HERZEGOVINA

0.016%EUROPE

11

SERBIA

0.030%EUROPE36

SOUTH AFRICA

0.016%AFRICA

12

SWITZERLAND

0.029%EUROPE37

SLOVAKIA

0.015%EUROPE

13

AUSTRALIA

0.027%

ASIA-PACIFIC

38

SOUTH KOREA

0.014%

ASIA-PACIFIC

14

BELGIUM

0.026%EUROPE39

GUINEA

0.015%AFRICA

15

GERMANY

0.026%EUROPE40

BURKINA FASO

0.014%AFRICA

16

ESTONIA

0.026%EUROPE41

MEXICO

0.013%LATIN AMERICA17CZECH REPUBLIC

0.026%EUROPE

42

ANDORRA0.012%EUROPE

18

AUSTRIA0.025%EUROPE

43

UNITED STATES

0.012%CANADA-USA

19

ITALY

0.025%EUROPE44

MOLDOVA

0.012%EUROPE20

PORTUGAL

0.024%EUROPE45

ISRAEL

0.012%EUROPE21

NORTH MACEDONIA

0.024%EUROPE46

TURKEY

0.011%EUROPE

22

SPAIN

0.022%EUROPE47

CHILE

0.011%LATIN AMERICA23

NORWAY

0.022%EUROPE48

COTE D'IVOIRE

0.011%AFRICA24

ICELAND

0.022%EUROPE

49

HONG KONG

0.011%

ASIA-PACIFIC

25

MALAWI

0.021%AFRICA

50

COLOMBIA

0.011%LATIN AMERICACISAC GLOBAL COLLECTIONS REPORT 2022 / 45

MEMBERSHIP BY REGION
119 COUNTRIES/TERRITORIES - 228 MEMBERS
SOCIETYEUROPE46 countries
106 members

STATUSREPERTOIRECOUNTRY/TERRITORY

SOCIETY

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

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

AZERBAIJANKAZAKHSTANUNITED KINGDOMISRAELFRANCESLOVENIALATVIA
AUSTRIAALBANIA
UNITED KINGDOMBOSNIA AND HERZEGOVINAMOLDOVA, REPUBLIC OFARMENIAHUNGARYGREECEUKRAINEGREECEAZERBAIJAN
AUSTRIASWEDENNORWAYNETHERLANDSSWEDENRUSSIAN FEDERATIONROMANIA
UNITED KINGDOMSPAINCROATIACZECH REPUBLIC
UNITED KINGDOMESTONIAGREECESPAIN
BELGIUM
BULGARIAHUNGARY

GCA
GEMA
GESAC
GESTOR
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

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

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

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

GEORGIAGERMANYBELGIUMCZECH REPUBLICCROATIAHUNGARYBELGIUM
IRELANDGREECEIRELANDKAZAKHSTAN
DENMARKFINLANDFINLAND
LITHUANIANETHERLANDSSLOVAKIA
AUSTRIA
TURKEY
TURKEYBULGARIAICELAND
DENMARKBELARUSUKRAINECZECH REPUBLICSERBIACZECH REPUBLICCZECH REPUBLIC
MONTENEGRONETHERLANDSSWITZERLAND
UNITED KINGDOMRUSSIAN FEDERATIONBELGIUM
BELGIUM

SACD
SACEM
SACEMLUXEMBOURGSAIF
SANASTO
SAZAS
SCAM
SDADV
SGAE
SIAE
SOFAM
SOKOJ
SOZA
SPA
SSA
STEF
STEMRASTIM
SUISA
SUISSIMAGETALITEOSTOTONO
UCMR-ADAUFFICIO GIURIDICO
VDFS
VEGAP
VEVAM
VG BILD-KUNST
VISDA
ZAIKS
ZAMP MACEDONIAZAMP SLOVENIAZAPASTATUS
M
M
M
M
M
M
M
P
M
M
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

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

FRANCEFRANCELUXEMBOURG
FRANCEFINLANDSLOVENIAFRANCEANDORRASPAIN
ITALY
BELGIUM
SERBIASLOVAKIAPORTUGALSWITZERLANDICELANDNETHERLANDSSWEDENSWITZERLANDSWITZERLAND
ISRAELFINLANDNORWAYROMANIAVATICAN CITY STATE
AUSTRIASPAIN
NETHERLANDSGERMANY
DENMARKPOLANDNORTH MACEDONIASLOVENIAPOLAND

Members reclassiﬁed to Provisionals
SOCIETYCANADA/USA
2 countries
12 members

STATUSREPERTOIRE

M
M
M
P
M
M

M
AGP
M
AGP
M
AGP

AMRA
ARS
ASCAP
ASCRL
BMI
CARCC

COUNTRY/TERRITORY

SOCIETY

UNITED STATESUNITED STATESUNITED STATESUNITED STATESUNITED STATESCANADA

CSCS
DGA
DRCC
SARTECSOCANSPACQSTATUSREPERTOIRE

M
A
M
A
M
A

AV
AV
AV
AV
M, AGPM

COUNTRY/TERRITORY
CANADA
UNITED STATESCANADACANADACANADACANADAAAS (Azerbaijan), APSAV (Peru), BCDA (Congo), BGDA (Guinea), BSCAP (Belize),
BUBEDRA (Benin), BUMDA (Mali), BUTODRA (Togo), CMC (Cameroon), COSOTA(Tanzania), CREAIMAGEN (Chile), ECCO (Saint Lucia), IVARO (Ireland), KazAK(Kazakhstan), OMDA (Madagascar), OTDAV (Tunisia), SACERAU (Egypt), SACS
(Seychelles), SACVEN (Venezuela), SASUR (Suriname), SAVA (Argentina),
SOCILADRA (Cameroon), SOGEM (Mexico), UPRS (Uganda), ZAMCOPS (Zambia)

Provisionals upgraded to Members
OAZA (Czech Republic, AV)

STATUS WITHIN CISAC
M = Member
A = Associate
P = Provisional
46 / CISAC GLOBAL COLLECTIONS REPORT 2022

REPERTOIRE
M = Music

AV = Audiovisual

AGP = Visual Arts

L = Literature

D = Drama

NR = No Repertoire

MEMBERSHIP BY REGION
119 COUNTRIES/TERRITORIES - 228 MEMBERS
SOCIETY

ASIA-PACIFIC
17 countries/territories
30 members

SOCIETY

LATIN AMERICA& THE CARIBBEAN
24 countries
47 members

AFRICA
30 countries
33 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

DGK
FILSCAPICSCIPRSJASPARJASRAC
KOLAA
KOMCA
KOSCAP
MACA

P
M
P
M
P
M
P
M
P
M

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

COUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORY

SOUTH KOREA
PHILIPPINES
CHINA
INDIA
JAPAN
JAPAN
SOUTH KOREA
SOUTH KOREA
SOUTH KOREA
MACAU

MACP
MCSC
MCT
MOSCAP
MRCSN
MÜSTSACENC
SACK
VCPMC
WAMI

M
M
M
P
P
M
M
M
M
M

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

MALAYSIACHINA
THAILANDMONGOLIANEPAL
TAIWAN, CHINESE TAIPEINEW CALEDONIA (FRANCE)SOUTH KOREAVIETNAMINDONESIAREPERTOIRECOUNTRY/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
M
M
P

REPERTOIRECOUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORY

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
SASUR
SAVA
SAYCE
SAYCO
SBACEM
SCD
SGACEDOM
SICAM
SOBODAYCOM
SOCINPROSOGEM
SOMAAP
SPAC
UBC

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

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

COUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORY

MALAWITANZANIA, UNITED REPUBLIC OFTANZANIA, UNITED REPUBLIC OFGHANA
MAURITIUS
KENYANIGERIANAMIBIA
MADAGASCARALGERIA
TUNISIARSAU
SACERAUSACS
SAMRO
SCM-COOPERATIVASOCILADRASODAV
UNAC-SAUPRSZAMCOPSZIMURA

P
P
P
M
P
P
P
P
P
P
M

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

RWANDAEGYPTSEYCHELLESSOUTH AFRICA
CABO VERDECAMEROONSENEGALANGOLAUGANDAZAMBIA
ZIMBABWE

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRE

BBDA
BCDA
BGDA
BMDA
BUBEDRA
BUMDA
BURIDA
BUTODRACAPASSO
CMC
COSBOTS

M
P
P
M
P
P
M
P
M
P
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
M, AV, D, L

BURKINA FASOCONGOGUINEA
MOROCCOBENIN
MALI
CÔTE D’IVOIRE
TOGO
SOUTH AFRICACAMEROONBOTSWANACOSOMACOSOTACOSOZA
GHAMRO
MASA
MCSK
MCSN
NASCAM
OMDA
ONDA
OTDAV

M
P
P
P
P
P
P
M
P
M
P

M, L
M
M
M
M
M
M
M
M, AV, D, L
M, AV, D, L
M, D, LNew CISAC members as of June 2022:
SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORYREGION

COPYSWEDEEDEM
EKKI
MYNDSTEF

P
P
P
P

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

SWEDENGREECESPAINICELANDEUROPEEUROPEEUROPEEUROPE

ARGENTINASURINAME
ARGENTINAECUADORCOLOMBIA
BRAZILCHILE
DOMINICAN REPUBLICBRAZIL
BOLIVIA
BRAZILMEXICOMEXICOPANAMABRAZIL

Societies no longer CISAC members as of June 2022:

CISAC Client RMEs:

COSON (Nigeria, M), ODDA (Djibouti, M), RUR (Russian Federation, AV, M),
SOMAS (Mozambique, M), UPRAVIS (Russian Federation, AGP), WGAW
(United States, AV, D)

ALLTrack (United States, M), CMRRA (Canada, M), DALRO (South Africa,
L, D, AGP), ESMAA (United Arab Emirates, M), Hexacorp Ltd (UnitedStates, M), MCPS (United Kingdom, M), NexTone (Japan, M), ORFIUM(Greece, M), SESAC (United States, M), Soundreef (United Kingdom, M),
UNISON (Spain, M).

Societies readmitted as Members:
MESAM (Turkey, MU), MSG (Turkey, MU)

CISAC GLOBAL COLLECTIONS REPORT 2022 / 47

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 228 collective management organisation (CMO) members in 119 countries to generate this comprehensive global collection report.
This 2022 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.

48 / CISAC GLOBAL COLLECTIONS REPORT 2022

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 2022 / 49

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. 35% of collections
declared to CISAC come from the eurozone while 23% are expressed in US dollar, 9% in pound sterling and 8% in yen.
Over 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 2021. Previous year ﬁgures
are converted into euro using the average rate of the corresponding year. Year-by-year comparisons are impacted bycurrency changes which may vary considering political and economic situations. Changes play a role when dealing with
global or aggregated data. It has no effect on regional or national comparison expressed in the same local currency.
Collection ﬁgures have been rounded up to the nearest million or thousands, except when ﬁgures are too small to besigniﬁcant or for rankings. In these cases, one decimal has been added. Percentages are calculated using the actual
unrounded ﬁgures.
In this 2022 Report, US digital rights income is excluded as it has been transferred to the newly formed Music Licensing
Collective which is not a CISAC member. Past year numbers have been re-stated to show like-for-like comparison.
Collections trends have also been impacted by a change in the number of CISAC members. When societies join CISAC
and declare their income, this automatically increases revenues in their country. On the contrary, when societies stop
being CISAC members, collections from their country appear to decrease compared to previous reports. ■50 / CISAC GLOBAL COLLECTIONS REPORT 2022

CREDITSCISAC wishes to thank the following:
Front cover: © Chinnapong/Shutterstock - © Recep Buyukguzel - © Melinda Nagy/Shutterstock - ©metamorworks/Shutterstock- © Rad K/Shutterstock © 4 PM Production/Shutterstock.
Photos credits:
Inside pages: Björn Ulvaeus ©Kristian Pohl for Zap PR (p.2) - Marcelo Castello Branco ©Miguel Sá (p.4) - Gadi Oron ©Gilles Dacquin (p.5)
David Sidebottom ©Pippa Bicknell (p.13) - Kazumasa Izawa ©JASRAC (p16) - Marie Anne Ferry-Fall, ADGAP© Caroline Bleux (p.17) - Victor
Bozhinov, Filmautor ©Ivanichka Kyuchukova (p.18) - Ivan Dimitrov, Musicautor ©Dimitar Kyosemarliev (p.18) - Cesar Cuadra, ATN ©Marilú
Arcaya (p.17) - Javed Akhtar, IPRS ©Baba Azmi (p.20) - Jotam Matariro, CAPASSO ©Capasso (p.21) - Gorm Arildsen, KODA ©KODA Press
Photo (p.22) - Jennifer Brown, SOCAN ©Brad Ardley (p.23) - Repertoire Music © Recep Buyukguzel (p.24) - Repertoire Audiovisual © Rad
K/Shutterstock (p.26) - Repertoire Visual Arts © 4 PM Production/Shutterstock (p.28) - Repertoire Drama ©Luigi Nifosi/Shutterstock (p.30) Repertoire Literature © Chinnapong/Shutterstock (p.31)
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 2022.
Graphic design: Olivier Noël, ON.

CISAC GLOBAL COLLECTIONS REPORT 2022 / 51

Fact-based insights, data, forecasts and strategic intelligence for the
global media, entertainment & technology sectors.

TV &Video▪ Subscription Streaming▪ Video on Demand▪ Pay-TV▪ Free-to-Air Broadcast

Music▪ Streaming Subscriptions▪ Advertising Funded
Streaming▪ CD▪ Vinyl

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CISAC Global Collections Report 2022 For 2021 Data - All rights reserved - 10/2022

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