CISAC
GLOBAL COLLECTIONS REPORT 2018
FOR 2017 DATA

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for the Music Industry
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CONTENT
3/ About CISAC
4/ About the report/deﬁnitions
6/ Foreword Jean-Michel Jarre
7/ Foreword Eric Baptiste
8/ Foreword Gadi Oron
9/ Global collections in numbers
10/ Global collections 2013-17
12/ The role of collective management organisations
14/ Global collections by repertoire and use
15/ Global collections – top ten markets
16/ Collections per capita and as % of GDP
Global Collections
18/ music Repertoire
20/ Audiovisual Repertoire
22/ Visual Arts Repertoire
24/ Dramatic Repertoire
25/ Literature Repertoire

Regions
36/ EUROPE
44/ CANADA/USA
48/ ASIA-PACIFIC
54/ LATIN AmERICA & ThE CARIbbEAN
60/ AFRICA
Tables of collections
66/ All Repertoires
67/ music
68/ Audiovisual - Drama
69/ Visual Arts - Literature
70/ Collections per capita by country/territory
71/ Collections as % of GDP by country/territory
72/ memberships by region
74/ methodology
76/ Credits

Insight and analysis
26/ Societies see growing premium video streaming
28/ Digital licensing and managing data
30/ Private Copying - A growing collections stream for creators
31/ Addressing the “transfer of value”
32/ New study highlights beneﬁts of resale right34/ Audiovisual collections up 6.8%
35/ Study shows legal roadmap for audiovisual creators

CISAC GLOBAL COLLECTIONS REPORT 2018 / 1

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About CISAC
The International Confederation of Societies of Authors and Composers (CISAC) brings together 239 collective management
organisations in 121 countries and ﬁve regions. These collective management organisations represent over four million creators
active in the ﬁve major repertoires: audiovisual, dramatic, literature, music and visual arts.

239
collective management
organisations

EURopE5

121
countries+4M
creators

5

AFRICA

MUsIC

REpERToIREs

LITERATURE

REGIons

CAnADA/UsA

LATIn AMERICA& ThE CARIbbEAn
AsIA-pACIFIC

AUDIoVIsUAL

VIsUAL ARTs

DRAMATICCISAC GLOBAL COLLECTIONS REPORT 2018 / 3

About the report/deﬁnitions
CISAC is the International Confederation of Societies of Authors and Composers and the world’s leading network of authors’ societies. Each year, it compiles the royalty
income data registered by its 239 Collective management Organisation members (CmOs) in 121 countries to produce a comprehensive global collections report.
This 2018 report features calculations that are based on the gross domestic collections of CISAC members in each of their respective countries. To avoid double-counting,
only the ﬁnal royalties collected for the use of creative works are compiled and international exchanges between CmOs are excluded.
The information is presented on a global basis, as regional data, and is also split into the ﬁve repertoires CISAC members represent: music, audiovisual, drama, literatureand visual arts.

Types of Rights
There are two main types of rights that CISAC member societies manage on behalf of their aﬃliated authors and publishers.
Performing Rights
These rights allow creators to be remunerated when their works are performed in public either by means of a live performance or when a recording is played. Performing rights also
apply when works are communicated to the public by radio or TV broadcast, or via digital platforms such as streaming services.
Reproduction Rights
These rights allow creators to be remunerated every time a copy of their creative work is made in any format, be it a physical copy such as a CD, or a digital download. The term“mechanical rights” is typically used to describe the right obtained by record producers in order to make a sound recording of a musical work, while “reprography” is used in the context
of the copying of literature and printed works.
A “private copying exception” to the reproduction right exists in the law of some countries to allow consumers to copy works from one device to another. Creators of works can becompensated for this exemption by means of a “private copying levy” taking the form of a tax on blank digital media and electronic products with the facility for storage.
Other Rights
References to “other rights” throughout this report include all that do not fall under the “performing rights” or “reproduction rights” categories. These include royalties collected from private
copying levy schemes, rental or public lending, educational use, synchronisation, exhibition and collections from auction houses and galleries for the artists’ resale right.

Types of Use
Collection data is also broken down by types of use. These include the following:
TV and Radio
Collections from the use of creative works when transmitted to the public by TV or radio broadcasters and from satellite or cable operators, and certain broadcast-related online services
such as “catch-up TV”. TV and radio use may involve the exploitation of both performing and reproduction rights because a copy of the work is often made by the broadcaster before theactual transmission takes place.
Live and Background
Collections for the performance of creative works in front of a live audience, such as playing, reciting or singing in public. It also includes collections from the use of works performedby other sources, such as recorded media, TV or radio broadcasts, which are played in public places. These might be as background in hotel lobbies or restaurants, or as the main
focus of a live audience at discotheques or karaoke bars.

4 / CISAC GLOBAL COLLECTIONS REPORT 2018

Digital and Multimedia
Collections from the licensing of digital services such as download and streaming platforms, as well as use of creative works on digital recordable devices such as photographic images
on CD-ROMs. The exploitation of creative works covered under the digital and multimedia category may involve both performing and reproduction rights.
Compact Discs (CDs)Collections from the licensing of mechanical reproduction of musical works primarily on compact disc, but also on other types of sound carriers such as vinyl record or cassette.
Video
Collections from the licensing of musical works within audiovisual productions that are reproduced on DVDs.
Mechanical Reproduction
Collections from mechanical reproduction of works such as books, newspapers and brochures in the repertoires of drama, literature, and visual arts. In this report, the category
excludes the reproduction of music on CDs or by other means as these have their own individual categories.
Reprography
Collections from the reproduction of graphic works through mechanical or electrical means such as photocopiers and printers. These are usually collected from the manufacturers,
importers or operators of devices that permit works to be reproduced.
Private Copying
Collections from the manufacturers or distributors of blank media such as recordable CDs or electronic devices that have data storage capabilities such as audio and video
recorders, smartphones and personal computers. Private copying levies compensate rights holders for acts of copying carried out by individuals for their own personal use.
Resale Right
A payment made to visual artists as a small percentage of the sale price when their works of art are re-sold by an auction house or gallery. The right applies to paintings, sculptures,
drawings, photographs, and other visual art works.
Rental and Public Lending
Collections from the rental or lending of an original or a copy of a creative work to members of the public.
Synchronisation Right
Collections from the incorporation of a musical work within a soundtrack that is timed to accompany visual images. The work can be used either in full or in part, and the right typicallyrefers to audiovisual works such as ﬁlms, commercials or video games.
Exposition Right
Collections from the showing or exhibition of a work of art to a public, such as in museums.
Educational
Collections from educational establishments for the use of creative works in teaching. This might include the performance or display of a work by instructors as part of a course in aclassroom.

CISAC GLOBAL COLLECTIONS REPORT 2018 / 5

FOREwORD

Jean-Michel Jarre
The EU parliament backed
creators and sent a message
to the world
Jean-Michel Jarre, CISAC President

I am delighted to introduce CISAC’s Global Collections
Report 2018.
This report shows the huge value the CISAC global network
provides on two fronts – in helping secure the best
remuneration for millions of creators to make a living
today; and in helping shape the eco-system that creators
critically need to survive into the next generation.
CISAC is at the heart of a battle for the future of over4 million creators worldwide. It is a ﬁght over whether
legislation can continue to allow the value of creators’
works to be taken from them to fund the business empiresof global tech companies. As an artist and composer,
I am passionately involved in this struggle.
It has fallen to Europe to be the beacon for this global
issue and, in September 2018, the European Parliament
took a momentous decision to support a new EU Copyright
Directive on the digital market. It recognised that it is time
6 / CISAC GLOBAL COLLECTIONS REPORT 2018

for change: it is not acceptable for the law to shield large
tech monopolies and sustain a systemic injustice forcreators.
The European Parliament’s vote made me proud to be
European - but now we must double our eﬀorts! We need
Europe to conclude this legislative process and we needthis important precedent to be exported outside the EU.
There is a message to get to the rest of the world: if Europe,
after four years of debate, decides to ﬁx the transfer ofvalue, then it is time for other governments to sit up andfollow, too.
As our report shows, CISAC member societies are working
to maximise remuneration for creators worldwide. Withoutthem, creators would be unable to make a living fromtheir work. The fact remains, however, that the vast majorityof creators are struggling to make a living in a world skewed
against them.

That is why, while maximising collections today, we mustﬁght so hard for the creators of tomorrow. Global legislativechange and fairness for all creators is our mission - we must
continue this ﬁght, and never give up.

It is not acceptable for the law
to shield large tech monopolies and sustaina systemic injustice for creators

FOREwORD

Eric Baptiste
A positive report card
for CIsAC and its members
Eric baptiste, CISAC Chairperson of the Board

CISAC member societies can ﬁnd a lot of positives in thisGlobal Collections Report 2018. Overall collections areup for the ﬁfth year in a row, at EUR9.6bn, up 6.2%.
Moreover, the past two decades have seen a steadyincrease overall, with only a few down years.
In an environment profoundly impacted by globalisationand digital disruption, CISAC members have provided a lotof value to creators of all genres and to music publishers.
I would like to single out three main takeaways from thisreport. First, the macro economic trends are all pointing
in the right direction. In the digital world, streaming is
becoming the ubiquitous way of consuming creative works.
Digital collections are starting to become a meaningfulstream of income especially in countries like Sweden,
Canada or the US. As long as more traditional sources
like radio or TV keep holding their ground, this means
additional revenues for our rights holders.

Second, we are starting to see a new dynamic in countries
that, historically, were almost non-existent in terms ofcollections. In Africa, Latin America and, as far as Asia isconcerned, in China and India, we are seeing new businesspractices, steadily improving copyright frameworks,
increased digital consumption and a more eﬃcient networkof collective management organisations.
Third, as the business is getting much more complex,
our member societies have stepped up their game withmore creative licensing schemes, massive investments
in technology, and greater eﬃciency and transparency
overall. This has had a direct eﬀect on collections anddistributions to rights holders.

Overall, this year’s Global Collections Report makes apositive report card. Societies are delivering value andgrowth to their members, and I’m conﬁdent this will continue
into the future.

In an environment profoundly impacted
by globalisation and digital disruption,
CISAC members have provided a lot of value
to creators of all genres andto music publishers

There is no room for complacency. We continue to be
deeply dependent on a fair legal environment and are
ﬁghting for this for our members on many fronts. In some,such as audiovisual and visual arts, our campaigns face
big challenges but are also seeing key successes.
CISAC GLOBAL COLLECTIONS REPORT 2018 / 7

FOREwORD

Gadi Oronuidem iuidem i

Growth in all repertoires andregions shows CIsAC membersdelivering value to creators

Gadi oron, Director General, CISAC

CISAC’s 2018 Global Collections Report shows encouraging
data: collections are growing for all creative repertoires andin all regions; total collections are up for the ﬁfth year in a row;and income from digital uses has passed the EUR 1bn markfor the ﬁrst time. Further, collections in the largest traditional
uses - TV and radio and live and background - remain stable.
This impressive performance proves that authors’ societies
are delivering value to the millions of creators they represent
around the world.
In the face of extraordinary changes and challenges in ourlandscape, CISAC members are constantly adapting, innovating
and improving their operations.
Digital hits €1 billion
Collections from digital services have more than doubled in
the last ﬁve years, reaching a record EUR 1.27 bn in 2017. Asdigital becomes a dominant use, this positive trend is a vitalbarometer of the health of our sector.
Achieving this kind of growth does not happen by accident:
it is the result of the skills, expertise and investments CMOs
8 / CISAC GLOBAL COLLECTIONS REPORT 2018

deploy on behalf of creators. As we report on page 12, CMOs
have responded to rapidly changing technology, licensing
digital services in new ﬂexible ways and handling trillions ofdata transactions. They are ﬁghting for the best licensing terms
and the highest royalties possible in a world where powerfulusers are determined to avoid, or minimise, paying a fair returnto creators for their work. In that context, the constant increasein digital collections is an impressive, hard-won achievement.
Fighting for future collections
There is an enormous amount still to be done. Despite rising
digital collections, these still only represent 13% of global
collections. This percentage should be far higher.
As our report on page 31 explains, some of the world’s largest
digital users, of all repertoires, are siphoning oﬀ vast revenues
rather than remunerating creators. The European Parliament’s
vote on the proposed EU Copyright Directive is an important
step towards resolving this injustice. Its global ripple eﬀect isgood news for CISAC members worldwide.

Global reachWith exclusive data from 239 CISAC member societies, thisreport provides the most comprehensive data and analysis
of our sector. This year, we have introduced no fewer than
10 individual case studies and included pages of raw global
data.
The Global Collections Report is a unique body of informationand insight, improving understanding of our sector and its
work. I hope you will ﬁnd it a valuable and interesting resource.

With exclusive data from 239 CISAC
member societies, this report provides
the most comprehensive data
and analysis of our sectorGlobal collections in numbers

€

9.6bn
2017 GLOBAL COLLECTIONS(EUR billion)€

1.27bn2017 DIGITAL COLLECTIONS(EUR billion)+ 6.2+ 28.2%%2017 GROwTh+ 24.0%2017 DIGITAL INCOME GROwTh

GROwThSINCE 2013

13.2

%

DIGITAL ShARE OF TOTALCOLLECTIONSCISAC GLOBAL COLLECTIONS REPORT 2018 / 9

Global collections 2013-17
Collections up 28.2% since 2013
and 6.2% in 2017 (EUR billion)
9.01

8.51

All repertoires saw growthin 2017

9.58+6.8%+5.2% +6.0%

7.67

+3.7%

17
20

20
16

20
15

20
14

7.47

20
13

+19.0%

Global repertoire growth
2013-2017+28.3% +28.9%+18.4%+4.7%

10 / CISAC GLOBAL COLLECTIONS REPORT 2018+67.5%Collections and growthby region (EUR million)

Share of global collections
by region

+5.7%
5,401

6.4%

0.8%
56.4%

+7.3%
2,129

14.2%

EURopE

+0.5%
1,364

CAnADA-UsA
AsIA-pACIFIC+22.7%
609

LATIn AMERICA & ThE CARIbbEAn
22.2%

AFRICA+11.4%
75

EURopE

CAnADAUsA

AsIApACIFICLATIn AMERICA &ThE CARIbbEAn

AFRICA

Europe accounted for the highest share of 2017 collections in value.
Latin America and the Caribbean saw the fastest year-on-year growth at 22.7%.

Digital leads growthin types of use (EUR million)

Share of global
collections by use+24.0%

Despite growth in digital throughout theworld, TV and radio remains the largest
source of collections at 40.6%, followed bylive and background at 28.6%.

2.6%

2.7%

5.1%
40.6%

246

Digital collections grew by EUR246m, dwarﬁng growth in
TV and radio - the largest source of collections - and private
copying, the fastest growing collection source of 2017.
+33.3%
+2.9%
121

+3.4%

110
91

TV & Radio

Private Copying

Live & Background

Reprography

DigitalOther

CD & Video

Digital

TV & Radio

PrivateCopying

7.2%

13.2%

28.6%

Live &
Background
CISAC GLOBAL COLLECTIONS REPORT 2018 / 11

The role of collective
management organisations
CISAC’s membership comprises 239 authors’ societies, also known as Collective management Organisations or CmOs. They cover all the main creative repertoires of audiovisual,dramatic works, literature, music and visual arts, and ensure that creators receive fair remuneration from the use or “exploitation” of their works. CmOs are usually not-for-proﬁt
bodies that are owned and controlled by their members, such as songwriters, composers, visual artists, writers, ﬁlmmakers or music publishers.

Ensuring remuneration for creators
Copyright laws give creators the right to authorise or prohibit the use of their works. This means that to perform or distribute works to the public, any user needs to identify thecreator, get their authorisation, and pay them a royalty based upon the type and extent of the exploitation.
This process is complex, particularly in cases with multiple rights holders and a diverse range of uses. A song, for example, is commonly played on radio, in TV advertising, on a CD,
in a film soundtrack, as a download, or via a streaming service. Attempting to obtain separate authorisations from each creator for each exploitation of every work would present
an impossible challenge.
CMOs simplify this by operating on behalf of their members collectively. They exist to facilitate the process of bringing creative works to the public.
The collective management of rights
When creators join a CMO, they transfer their rights to them to manage collectively. CMOs negotiate licences with all the organisations that use these works and sign agreements withother CMOs so that they can also represent creators from other countries. This allows them to collect and distribute royalties back to the creator wherever their works are used or sold.
Via this network of CMOs, users are granted licences and are required to provide information about the use of the works so that CMOs can distribute royalties accurately to the relevant
creators.
When works are distributed digitally, the platform or streaming service using the work can negotiate a licence on a national, regional or global basis. The CMO’s task is to identify when
its repertoires are used by the platform and to invoice accordingly. This process can involve billions of individual transactions. CMOs have invested heavily in infrastructure to manage
this volume and guarantee the accurate and prompt distribution of royalties to creators and publishers.
Licences granted by CMOs involve a variety of diﬀerent types of rights. The majority of revenues for music CMOs arise from public performance, when music is played in public spaces
or broadcast by radio and TV channels. In audiovisual, the main type of use is TV and Radio and in the visual arts sector, a user that wishes to reproduce photographs or paintings isrequired to obtain a licence for this reprographic exploitation. Many countries such as the European union, have also introduced the artist resale right which entitles visual artists to ashare in the sale price when their work is re-sold through an auction house or gallery.

12 / CISAC GLOBAL COLLECTIONS REPORT 2018

Advocating on behalf of creators
CMOs promote creators’ rights. They take an active role in lobbying governments to ensurethat each country's legal framework contains the necessary legislation to eﬀectively protect
creators. They may also bring litigation on behalf of their members to enforce rights against
unlicensed use.

Collective management allows CMOs
to collect and distribute royalties
back to the creator wherever theirworks are used or sold

Another important role that CMOs play in their own countries is to support their domestic
creative sectors. They engage in cultural activities to help promote new talent and raiseawareness of the importance of remunerating them.
CISAC supports CMOs globally
CISAC plays a pivotal role in supporting the activities of its CMO members. It provides tools
and assistance that facilitate the sharing of information on creators and their works andharmonises practices in distribution of royalties for their use. It manages a set of professionalrules and binding resolutions that incorporates governance, transparency and operational
aspects. These drive the highest standards of excellence throughout the industry. And
through its work on global policy and legal aﬀairs, CISAC advocates in favour of the protectionof authors’ rights and brings the global voice of creators to the heart of international legislativedecision-making.

CISAC GLOBAL COLLECTIONS REPORT 2018 / 13

GLOBAL COLLECTIONS By REPERTOIRE AND USE
Global collections up for all ﬁve repertoires
Overall collections by CISAC member societies reached
EUR9.6bn in 2017. There has been a steady increase incollections over the last ﬁve years, with income up 28.2%
since 2013.

Global collections and growthby repertoire (EUR million)

Collections by use(EUR million)

+6.0%

8,336

TV & Radio

3,891

Live & Background

The largest repertoire is music, representing 87.0% of global
collections. In Canada and the US, that proportion reached99.7%; in Asia-Paciﬁc 92.3%; Africa 91.5%; Latin America
and the Caribbean 88.3%; and Europe 80.5%.

Global collections reported an overall increase of 6.2%
in 2017. Visual arts saw the highest growth (+19.0%), thanks
mainly to private copying payments in Germany.
The audiovisual repertoire also grew 6.8%, helped bycollections from France, growth in Argentina and a twelvefold increase in private copying revenue in Germany.
Literature rose 5.2%, collecting EUR227m. Six countries
account for almost 90% of all literature collections: Australia(42.0%), the UK (11.9%), Switzerland (11.6%), Austria (8.4%),
Finland (8.4%), and the Netherlands (5.1%). Still the smallest
repertoire for collections, dramatic grew by 3.7%, with Italy
and France making up more than 50% of global collections.

14 / CISAC GLOBAL COLLECTIONS REPORT 2018

1,268

Digital
CD & Video

Music collections in 2017 totalled EUR8.3bn, up 6.0%,
followed by audiovisual (EUR611m), literature (EUR227m),
visual arts (EUR208m) and dramatic (EUR196m).
Steady growth

2,736

+6.8%

611
MUSIC

Private Copying+5.2%+19.0%

+3.7%

227

208

196

AUDIOVISUAL LITERATURE VISUAL ARTS

2.2%
6.4%

484

Reprography

249

Other

257

DRAMATICMusic leads global collections
Share of global collections by repertoire

2.4%

692

2.0%

87.0%

MUSIC
AUDIOVISUAL
LITERATURE
VISUAL ARTSDRAMATICGLOBAL COLLECTIONS – TOP TEN MARKETSTop collectors help drive growth
The US is the leading national market for collections,which increased by 7.0%, notably thanks to a rapidly
expanding music streaming sector.

Global collections up 28.2% since 2013
Collections in EUR billion and annual growth+10.9%+2.6%

While Germany recorded the second highest growth
globally in value (+EUR113m) after the US (+EUR124m)
thanks to back payments from new private copying
agreements, it’s still France that holds the second place interms of collections, with 12.6% of global collections.
In Asia-Paciﬁc, following a 12.0% growth in 2016, Japan
reported a 6.8% drop in euros, but was largely ﬂat in local
currency. Australian societies’ collections grew 14.6%
year-on-year, accounting for 3.4% of global collections.
Reprography is the country's first source of income:national collections for the use represent almost 40% of
the global total.

7.48

7.67

2013

2014

8.51

2015

+6.0%

9.01

2016

+6.2%
9.58

2017

Top 10 markets (EUR million),% share and growth

Evolving mix of collections
Italy reported a 2.7% decrease, partly due to a large backpayment that inflated 2016 collections. Growth in the
Netherlands remained ﬂat: losses in its main source ofincome, TV and radio, were compensated by healthy
growth in digital, CD and video and private copying.
Reﬂecting the evolving recalibration of income streams,
Canada’s growth was almost entirely driven by rapidly
increasing digital collections.
Thanks to a 38.9% increase in collections, Brazil is the ﬁrst
country in Latin America and the Caribbean to become
a top 10 collecting country (see p.58).

UNITED STATESFRANCEGERMANYJAPAN
UNITED KINGDOMITALYAUSTRALIABRAZILCANADA
NEThERLANDS

2017 collections

Global share

Growth

1,890
1,203
925
800
743
591
323
253
239
235

19.7%
12.6%
9.7%
8.4%
7.8%
6.2%
3.4%
2.6%
2.5%
2.5%

+7.0%
+2.6%
+13.9%
-6.8%
+4.9%
-2.7%
+14.6%+38.9%+9.4%+0.5%

CISAC GLOBAL COLLECTIONS REPORT 2018 / 15

COLLECTIONS PER CAPITA AND AS % OF GDP
CISAC’s calculation of collections per capita ranks the amountcollected in relation to a country’s population. Collections
per GDP reﬂects income in relation to a country's economic
position.
The rankings are impacted by various factors: economic
prosperity, the strength of the legal environment andenforcement, the maturity of authors' societies historically,
and the eﬀectiveness of current performance.
Collections per capita
The world average of collections per capita has climbed
to EUR1.87 per person in 2017. Europe and Canada/USA
have substantially the highest rates of collections per capita.
Asia-Paciﬁc's rate is increasing promisingly year-on-year but
remains one tenth the level of Europe.

Collections per capita by region (EUR)

6.18

5.88

0.97

EURopE

CAnADA/UsA

LATIn AMERICA& ThE CARIbbEAn

16 / CISAC GLOBAL COLLECTIONS REPORT 2018

0.07
AFRICA

1.87
WoRLD

Collections per capita by country (EUR)
27.33
25.07
18.41

17.93

In the global ranking per country, Europe also accounts
for 9 of the top 10 countries. In 2017, Australia is the ﬁrst
non-European country on the list. Switzerland, Denmarkand Finland lead all countries.
Signiﬁcant year-on-year percentage growth came from
Iceland (38.9%), Norway (35.21%), Saint Lucia (34.25%),
Denmark (25.55%), South Korea (20.7%), Estonia (18.92%),
Finland (18.04%), Sweden (17.12%) and Argentina (17%).

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Collections as % of GDP
The world average of collections by GDP reached 0.0148%,
up 5.9% in 2017. Europe leads in collections by GDP, reaching
0.0282%. Latin America and the Caribbean continues tosurpass Canada/USA by providing 0.0131% collections by
GDP compared to 0.0114% of their northern neighbours.
Asia-Paciﬁc follows with 0.0067%, reinforcing prospects for
growth with a 11.5% year-on-year increase when compared
to 2016. Africa is just behind Asia-Pacific with 0.0044%,
declining 11% year-on-year due in part to a decline in theoverall African economy and Kenya’s CMO no longer being
part of CISAC.

Collections as % of GDP by region

0.028%

0.013%

0.011%

EURopELATIn AMERICA& ThE CARIbbEAn

CAnADA/UsA

0.004%AFRICA

0.0148%WoRLD

Collections as % of GDP by country
0.053
0.050

In terms of collections by GDP by country, Europe comprises
most of the top 10 countries, except Saint Lucia. France,
Denmark, Finland and Switzerland lead all countries.
Collections in France account for 0.053% of GDP, remaining
stable when compared to 2016.
Other non-European countries showing signiﬁcant collections
by GDP include Uruguay at 0.022% (+5.57%) and Australia at
0.028% (+6.13%). The ﬁrst African country in terms of collections
by GDP is Algeria, which collects 0.013% of GDP.

0.007%AsIA-pACIFIC

0.045
0.038

0.038

0.038

0.037

0.036

0.035

0.035
0.032

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i
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n
Sa
Sw
mo

Ita

ly
n
hu

0.032

0.032

0.031

0.031

s
a
m
ium
nd
tin
do
rla
en
elg
ng
e
g
i
b
r
h
K
t
A
d
Ne
ite
Un

ia
str
Au

ga

ry

CISAC GLOBAL COLLECTIONS REPORT 2018 / 17

MUSIC REPERTOIRE –GLOBAL COLLECTIONS
Global growth for music
Music accounts for 87.0% of global collections. In 2017,
collections for the musical repertoire reached EUR8bn,
up 6.0% year-on-year from the previous year. Since 2013,
music collections have risen by almost EUR2bn (+ 28.3%).

Music collections by region

Music collections(EUR million)

6,497

6,661

7,352

In Asia-Paciﬁc, Japanese collections account for 63.5% ofregional collections thanks to a strong local repertoireand exports.
Latin America and Africa on the rise
Latin America and the Caribbean represent 6.4% of global
music collections. Brazil’s 39.1% growth since 2016 has
made the country the world’s seventh largest contributor,
mainly thanks to audiovisual uses of the musical repertoire.
91.5% of African collections are musical rights, but despite
15.7% growth, the region still only represents 0.8% of global
collections for the repertoire. South Africa (50.3%), Algeria(24.8%), Morocco (7.8%) and Ivory Coast (5.3%) dominate
collections in the region.

18 / CISAC GLOBAL COLLECTIONS REPORT 2018

7,863

+28.3%

25.5%

In terms of global share, thanks to large contributors suchas France (10.6%), Germany (9.7%), the UK (8.1%), Italy (5.5%)
and the Netherlands (2.3%), Europe accounts for 52.2%of the global total.
Canada/USA is the second largest collecting region.
The US is the single highest contributor to collections
for the musical repertoire, accounting for over one ﬁfthof the global total.

52.2%

8,336

+6.0%

15.1%
6.4%
0.8%
2013

2014

2015

2016

2017

EURopE

CAnADAUsA

Top 10 countries for music collections (EUR million)

UNITED STATESFRANCEGERMANYJAPAN
UNITED KINGDOMITALYBRAZILCANADA
AUSTRALIA
NEThERLANDS

Collections

share of world
collections

Growth

1,884
886
806
799
678
458
252
239
226
190

22.6%
10.6%
9.7%
9.6%
8.1%
5.5%
3.0%
2.9%
2.7%
2.3%

+7.0%
+2.1%
+7.2%
-6.8%
+5.0%
+0.6%
+39.1%+9.4%+18.0%+5.1%

AsIApACIFICLATIn
AMERICAAFRICAMUsIC REPERTOIREGLOBAL COLLECTIONSTV and radio, live and background, digital and CD andvideo are the largest sources of collections for the musicalrepertoire. With the exception of CD and video, all types ofmusic use saw growth in 2017.

TV and radio remains largest source
main music uses over 5 years(EUR million)

Music collections grew 6.0% in 2017
breakdown of music collections (EUR million)
Collections

Growth5 yearGrowthTV & Radio

3,398

+3.2%

+14.2%

3,398
2,977

Digital music tops EUR 1 billion
Of the four main uses, digital reported the sharpest increase,growing 23.1% in 2017 and 164% since 2013 to reach over
EUR1bn. The sustained sharp growth in music streaming inrecent years has driven digital growth. Despite this, digitalstill accounts for only 15% of CISAC music society collections.
Private copying, accounting for 4.1% of music collections,saw the highest overall growth of 2017 (+28.4%), and thesecond highest since 2013 (+151%), helped by large backpayments in Germany.
Traditional uses remain strong
TV and radio and live and background still dominate
collections for musical authors. TV and radio accounted for
40.8% of music collections, making them the leading sourceof revenue for the repertoire. Collections for TV and radio rose
3.2% despite resistance to licensing by major broadcasters
in many countries.

2,542
2,182

565
474
2013

2014

TV & RadioLive & background

2015

2016

Type of Use

Live & Background

2,542

+3.4%

+16.5%

1,249

Digital1,248+23.1%+164%692

CD & Video

692

-2.8%

+22.6%

Private Copying

342+28.4%+151%

Rental/Public Lending25-15.2%-18.4%

Synchronisation

32

-8.7%

+65.3%

Publication

7-13.2%-17.1%

Other

50

+3.1%

-52.9%

Performing Rights

6,608

+6.0%

+26.2%

2017

CDs & Video
DigitalType of Right

Digital music takes 15% share
Share of music collections by use
40.8%
30.5%

Live and background represents almost a third of global
music collections. Brazil saw collections grow 29.2% in 2017,
now representing 3.2% of the global live and backgroundcollections thanks to its dynamic concert and festival scene.

Mechanical Rights

1,323

+2.6%

+24.3%

Other Rights

405+19.7%+108%

Total Music

8,336

+6.0%

+28.3%

15.0%
8.3%

4.1%

1.4%
TV & RadioLive &
Background

Digital

CD & Video

PrivateCopying

Other

CISAC GLOBAL COLLECTIONS REPORT 2018 / 19

AUDIOVISUAL REPERTOIRE –GLOBAL COLLECTIONS
Audiovisual collections grow by 6.8% to EUR611m
Europe accounts for more than 90% of collections for theaudiovisual repertoire. The region saw growth of 6.3% in2017 and income has increased by 30.7% over the past
ﬁve years. France leads the ﬁeld and, of the 38.3% shareit represents, 84.5% comes from TV and radio.

Audiovisual grows 6.8% in 2017,28.9% since 2013
Audiovisual collections (EUR million)

In Africa, collections for the repertoire are generated byprivate copying levies from Algeria and Burkina Faso,
and TV and radio income from Ivory Coast.
Canada and the US reported negligible collections to
CISAC. In the US, royalties for the use of audiovisualrepertoire are known as residuals which are negotiatedand collected by unions and guilds on behalf of theirmembers as a compensation for the distribution or exhibitionof works beyond their initial use.
Asia-Pacific reported very small amounts, mainly from
Australian societies in TV and radio.

20 / CISAC GLOBAL COLLECTIONS REPORT 2018

91.5%
611

577
474

572

+28.9%

488

In many countries, especially outside Europe, collections
are stymied by the lack of a guaranteed remunerationright for audiovisual creators.
Latin America and the Caribbean, the second largest
region for the audiovisual repertoire (8.3%), saw 13.6%
growth. The sector currently depends on Argentina and
Mexico, which respectively represent 88.8% and 10.7% ofcollections. There too, TV and radio is the dominantsource of audiovisual collections.

Audiovisual collections reported
by region

+6.8%

8.3%

2013

2014

2015

2016

2017

EURopELATIn AMERICAFrance leads global audiovisual collections
Top 10 countries for audiovisual collections (EUR million)

FRANCE
SwITZERLAND
ITALY
ARGENTINAGERMANYSPAIN
POLAND
NEThERLANDSUNITED KINGDOMBELGIUM

Collections

share of world
collections

Growth

234
68
48
45
42
34
22
17
16
14

38.3%
11.1%
7.9%
7.4%
6.9%
5.6%
3.6%
2.8%
2.7%
2.3%

+4.5%
-11.2%-31.8%+17.6%+1,184%+0.0%+21.2%-20.6%
-1.1%
+9.2%

0.1%

0.01%

0.002%AFRICA

CAnADA-UsA

AsIA-pACIFIC

AUDIoVIsUAL REPERTOIREGLOBAL COLLECTIONS

Audiovisual led by TV and radio
45.1% of all TV and radio collections for the audiovisualrepertoire came from France. Overall, European societies
collected the most for the use: Switzerland represented
12.8%, Italy 8.0%, Poland 4.7% and Spain 4.7%.

TV and radio account for over two thirdsof audiovisual collections
Share of audiovisual collections by use

EUR608m collected for audiovisual repertoire in 2017
breakdown of audiovisual collections (EUR million)

Live and background
Live and background, which only represented 3.2% ofaudiovisual collections in 2017, saw 11.3% growth. Spain(59.4%), Switzerland (16.3%), Argentina (6.2%) and the Czech
Republic (6.1%) account for over 90% of the world’s live andbackground collections for the audiovisual repertoire.
Digital on the rise
Digital collections for the repertoire grew by 122% in 2017and over twelvefold since 2013 - but still only represent
2.4% of audiovisual collections. Five European countries
collect digital rights for the audiovisual repertoire, with France(83.4%), Italy (11.4%) and Spain (4.8%) totalling a little over
EUR14m. All three saw growth in this sector in 2017.

Growth5 yearGrowthTV & Radio

438

-0.4%

+26.2%

Type of Use

Argentina collects signiﬁcant income in the sector and is anotable exception to Europe’s dominance, reporting a 9.8%
share of global TV and radio collections for the repertoire.
The audiovisual sector represents around one quarter ofthe country's total collections for authors.
Private copying collections up 52.5%
Collections from private copying were led by Germany(35.2%), which recorded the highest growth thanks to a
new back payment agreement for smartphones, tablets
and PCs, and France (18.0%). Italy (9.7%) and Switzerland(5.9%) both saw sharp declines in private copying collections.

Collections

71.6%

17.3%
3.2%
TV & Radio

PrivateLive &
Copying Background

2.4%
Digital

5.5%

Private Copying

105+57.3%+85.1%

Live & Background20+11.3%+61.7%

Digital15+122%+1,198%

Educational Use

5-13.2%+2.2%

Mechanical Reproduction

2-26.3%-91.2%

Rental/Public Lending

1.2+25.4%-5.9%

Reprography

0.5+45.6%+13.1%

Other

25-21.7%+9.3%

Performing Rights

458

-2.7%

+25.8%

Mechanical Rights

153+50.5%+39.1%

Total Audiovisual

611

+6.8%

+28.9%

Other

Type of Right

Private copying almost doubles over 5 years
Evolution of main audiovisual uses
(EUR million)

438

347

105
57
12
1
2013

20
15
2014

TV & RadioLive & background

2015

2016

2017

Private Copying
DigitalCISAC GLOBAL COLLECTIONS REPORT 2018 / 21

VISUAL ARTS REPERTOIRE –GLOBAL COLLECTIONSVisual arts collections back to growth
CMOs collected EUR208m for visual arts in 2017. Following
a decrease in collections in 2016 that reﬂected a wider
decline in global arts markets, collections saw a 19.0%
increase in 2017, the highest year-on-year growth for any
repertoire over the same period. Since 2013, visual arts
collections have jumped up by 67.5%.

Visual arts grow 19.0% in 2017,67.5% since 2013
Visual arts collections (EUR million)

The Canada/USA region accounts for 3.2% of visual arts
collections. The US is the only non-European country to beamong the top ten collecting countries for the repertoire.
In Asia-Paciﬁc, visual arts collections grew 8.0% despite
a 21.5% decline in Korean collections, primary helped by
a 16.0% increase in collections from Australian societies,
which account for 65.2% of regional income for visual
arts, followed by Japan (28.7%).
Visual arts collections increased over twelvefold inSouth Africa, which collects 74.7% of the African region’s
income for the repertoire.

22 / CISAC GLOBAL COLLECTIONS REPORT 2018

95.0%
208

183
124

175

+67.5%

141+19.0%The resale right for visual artists is a signiﬁcant potential
driver of growth, currently implemented in some 80 countries
but absent in major markets including the US, Japan,
Switzerland and China.
95.0% of visual arts collections come from Europe. Germany
led collections, growing 34.6 % since 2016 thanks to backpayments from previous years. Austria saw the highest
growth (+81.4%) while the Netherlands and Belgium saw
revenues decline.

Visual arts collections by region

3.2%
2013

2014

2015

2016

2017

EURopE

0.2%

CAnADA/UsA AsIA-pACIFIC LATIn AMERICA

Germany dominates visual arts collections
Top 10 countries for visual arts collections (EUR million)

GERMANYFRANCEUNITED KINGDOMNEThERLANDSITALY
SwEDENDENMARKUNITED STATESBELGIUM
AUSTRIA

1.6%

Collections

share of world
collections

Growth

77
32
21
16
10
9
8
6
5
5

37.1%
15.2%
10.2%
7.7%
4.8%
4.3%
3.9%
2.9%
2.6%
2.3%

+34.6%+16.8%+15.3%
-9.6%
+1.2%
+0.2%
+6.1%
+15.5%-3.2%+81.4%

0.02%
AFRICA

VIsUAL ARTs REPERTOIREGLOBAL COLLECTIONS

Growth in reprography
At 42.0% of visual arts collections, reprography – the reproduction of visual arts works - is the most important sourceof collections. After a slight dip in 2016, collections in 2017 weredouble those reported in 2013. In 2017 alone, reprography
grew by 24.1%.

Share of visual arts collections by use

Resale right supported by UK collections
The resale right is an important source of income, amounting
to 21.6% of total collections in Europe. In the UK, resale rightcollections have risen 21.9% over the past ﬁve years andare the largest source of income (69.8%). Resale rights fromthe UK represent over a third of the total amount collected
globally.

20.8%

Other uses lag behind
Reproduction represents 11.6% of collections for visual artists.
In the US, it is the only source of collections for the repertoire.
Over half the world’s private copying collections come from
France (54.9%), followed by the Netherlands (23.6%) and
Italy (14.2%).
Despite strong growth for digital collections (+167%) they
still only represent 2.3% of the visual arts income and aremostly limited to Germany and France.

42.0%

11.6%

8.6%

7.5%

7.2%
2.3%

Reprography Resale Right Reproduction

TV & Radio

PrivateCopying

Reprography collections double over 5 years(EUR million)

Digital

Other

Breakdown of visual arts collections(EUR million)
87

Collections

Growth5 yearGrowth

87
43
24
18
15
5
5
5
4
2

+24.1%+0.0%+8.1%+29.6%+9.7%+167%+82.9%+9.5%+1,620%-28.8%+109%+14.7%
+7.1%
+335%
+137%
+89.9%+151%+12.0%+1,328%-36.2%

Performing Rights
Mechanical Rights

19
188

+9.7%
+20.0%+87.6%+65.7%

Total Visual Arts

208

+19.0%+67.5%

Type of Use
42
38

43

22

24
18

4
2013

2014

Reprography
Reproduction

2015

2016

Resale Right
Private Copying

2017

Reprography
Resale Right
Reproduction
Private Copying
TV & Radio
DigitalRental/Public Lending
Live & Background
Educational Use
OtherType of RightCISAC GLOBAL COLLECTIONS REPORT 2018 / 23

DRAMATIC REPERTOIRE –GLOBAL COLLECTIONSDramatic collections up 3.7%, led by Europe
Collections for the dramatic repertoire grew 3.7% in 2017,with societies collecting a total of EUR196m for authors.
Five countries collected almost 90% of global income forthe dramatic repertoire. All are in Europe with the exceptionof Argentina – the fourth highest collecting country (9.0%)
behind Italy (34.1%), France (26.5%) and the RussianFederation (11.7%). Argentina also saw the highest growth
for the repertoire in 2017: 26.9%.
Algeria accounted for two thirds of dramatic collectionsin Africa, with 80% of its income from private copying.

Dramatic rights up over ﬁve years
Dramatic collections (EUR million)

187

192

191

Breakdown of dramatic collections(EUR million)

+4.7%

+3.7%

2013

2014

2015

Collections

Growth5 yearGrowthLive & Background

167

+3.3%

+3.6%

TV & Radio

21

+4.4%

-1.4%

Private Copying

6+26.0%

+524%

196
189

2016

2017

Type of Use

Rental/Public Lending

0.7-21.0%+425%

Mechanical Reproduction

0.2-46.1%-45.4%

Other

0.9-10.0%-70.0%In Asia-Paciﬁc, Japan was the only country to collect for
the repertoire. All its dramatic collections came from live
and background.

Type of Right

Canada and the US did not report any collections for thedramatic repertoire.
Live and background the largest use
Live and background was the largest source of income,representing 85.2% of collections: France collected thehighest share of live and background collections (31.1%)
followed by Italy (26.7%).
While globally, TV and radio only represented 10.9% of
overall dramatic collections, in Italy, the use accounted fora quarter of the country's dramatic income.

24 / CISAC GLOBAL COLLECTIONS REPORT 2018

Performing Rights

189

+3.3%

+3.1%

Mechanical Rights

7+15.2%+87.9%

Total Dramatic

196

+3.7%

+4.7%

Top 5 countries for dramatic collections(EUR million)

ITALY
FRANCERUSSIAN FEDERATIONARGENTINA
SPAIN

Collections

share of world
collections

Growth

67
52
23
18
11

34.1%
26.5%
11.7%
9.0%
5.5%

+2.8%
-4.5%
+17.4%+26.9%+5.3%

LITERATURE REPERTOIRE –GLOBAL COLLECTIONS
Australia leads literature collections
CMOs collected EUR227m for literature authors in 2017.
This represented a year-on-year growth of 5.2%.

Collections for literature repertoire(EUR million)

Reprography accounts for over
two thirds of collections
breakdown of literature collections (EUR million)
227

Australia collected EUR95m, 42.0% of the global market,
making it the leading collector for the literature repertoire.
100% of Australian literature collections came from reprography. This was also the case in the UK, the world’s second
largest market for literature collections (11.9%).

202

191

215

Reprography leads uses
Reprography is the highest source of collections for therepertoire (71.3%), accounting for EUR162m. Collections
related to the use have been broadly ﬂat for the last ﬁve
years. Other sources of revenue are seeing growth.
Rental and public lending grew 37.5%, supported by Finland
and the Netherlands; TV and radio grew 18.8% bolsteredby collections in Switzerland and Austria; and private
copying collections quadrupled in Italy in just a year.
Educational use became the ﬁfth highest source of revenue.

Growth5 yearGrowth

162

+3.0%

+3.1%

Rental/Public Lending

21+37.5%+132%

TV & Radio

19+18.8%+38.0%

Private Copying

13+15.3%+423%

Educational Use

13-14.5%

Type of Use
Reprography+5.2%

In Switzerland, reprography represents more than half ofincome, followed by TV and radio (30.5%). Its fastest
growing use is private copying, up 225% since 2013.
Finland recorded the highest growth for literature collections
among the world’s top ﬁve contributors (+32.3%). Collections
are mainly supported by rental and public lending (62.4%).
In Austria, 8.4% of literature collections, TV and radio
narrowly lead collections (43.3%) ahead of reprography(42.8%).

Collections+18.4%

186

2013

2014

2015

2016

2017

Live & Background

3

-3.1%

+6.2%

Mechanical Reproduction

2-57.9%-58.5%

Other

1-35.4%-47.2%

Performing Rights

19

+0.5%

+15.7%

Mechanical Rights

208

+5.6%

+18.6%

Total Literature

227

+5.2%

+18.4%

Type of Right

Top 5 countries for literature collections(EUR million)

AUSTRALIA
UNITED KINGDOMSwITZERLAND
FINLAND
AUSTRIA

Collections

share of world
collections

Growth

95
27
27
19
19

42.0%
11.9%
11.6%
8.4%
8.4%

+7.2%
-0.5%
+4.7%
+32.3%+4.8%

CISAC GLOBAL COLLECTIONS REPORT 2018 / 25

Societies see growing premium
video streaming
By David Sidebottom, Principal Analyst, Entertainment, Futuresource

Premium video streaming, particularly subscription video on
demand (SVoD), has witnessed an explosion in recent years,
growing from 143 million subscribers at the end of 2014, to
458 million subscribers at the end of 2017.
This movement was initially driven from the US, by Netﬂix,
but is now a global phenomenon with multiple service operators
active, providing a potentially signiﬁcant revenue opportunity
for content creators and rights holders.
Futuresource Consulting estimates that consumers spent
USD20bn on SVoD services globally in 2017, compared tojust USD11bn on streaming music.
Strong growth in VoD collections
Authors’ societies worldwide are witnessing excellent revenue
growth in VoD collections. For example, Australian society
APRA AMCOS reported growth in total VoD revenues of 70%
in 2017 (to AUD14.1 m), and, in the UK, PRS For Music saw VoD
revenues grow by 47% in 2017 (to GBP13.8m). SVoD was the
key driver of this growth. Although this revenue is equivalent
to less than 20% of the revenue collected from television forboth these societies, this is higher than the typical proportionof viewing time allocated to SVoD.

26 / CISAC GLOBAL COLLECTIONS REPORT 2018

Subscribers to premium video streaming services

2014

2017

143
million458
millionTypical VoD tariﬀs are approximately 2.5% of revenue withsome societies actively targeting new services with bespoke
tariﬀs, whilst others are adhering to published tariﬀs. Germansociety GEMA has recently agreed a similar retrospective tariﬀ
of 20 cents per subscriber.
Estimated consumer spending, 2017 (USD)

11 billion

20 billion

Music streaming

SVoD services

Futuresource estimates that if similar agreements were
universally implemented in every country worldwide, thenthe cumulative societies’ SVoD revenue in 2018 would exceed
USD1bn, which is equivalent to 11% of CISAC’s total musiccollections revenue in 2017 (USD9.4bn).
Surge in TV content
The emergence of SVoD as a staple part of many consumers'
video consumption has fuelled a surge in premium, scripted
TV content in particular. Services such as Netﬂix, Amazon
Prime Video and Hulu are now major content producers oforiginal series, with signiﬁcant content budgets. Netﬂix alone
has an USD8bn content budget with the vast majority ofthis dedicated to original, exclusive TV series and movie
productions.
The increased production of these premium TV shows, thevast majority of which have global reach, has provided a major
opportunity for creators, giving them a platform for soundtracks,
compositions and synchronisation on a scale not witnessed
before. Netﬂix alone has over 1,000 originals, including over
100 original movies, with an equally strong pipeline.

Beyond Netﬂix
Netﬂix is the highest proﬁle of all SVoD services, particularly
for original content, but there is also a signiﬁcant role forsmaller, niche services and local players.
Many local services, particularly outside of Asia, have struggledlargely due to lack of investment, but local joint venturesand partnerships can pool investment to create a compelling
consumer oﬀering. These will largely be driven by local
broadcasters, such as “Salto” in France, a joint venture between
the major French broadcasters TF1, M6 Group and France
Televisions.
Amazon Channels is a platform that provides such third-party
services with strong reach and now hosts approximately 150
services focussed on a wide range of genres. In the longer
term, these smaller services will help drive the SVoD markets,as growth of the major services slows.
Collection challenges
Whilst the sector has provided a burgeoning revenue stream,
it is not without its challenges, particularly for collection societies:• Business models also vary by service. Most commonly a ﬂatmonthly rate applies, although in some cases, such as Amazon
Prime Video, bundling video streaming into a larger oﬀering
may require a tailored approach.

SVoD viewing is also starting to cannibalise traditional TV
viewing in some countries, albeit at a minor level. Revenues
from television will slow and likely decline in the longer term.
However, SVoD services are expected to at least compensate
for this in the foreseeable future even if potential saturation in
TV series slows growth.
Positive outlook
Overall, SVoD services are set for strong growth in the years
ahead, ultimately fuelled by continued consumer uptake.
Global SVoD consumer spend is set to reach USD44bn in
2021, over double the 2017 level. This forecast in itself is a
striking illustration of the level of opportunity in this sector.

• Many smaller services in particular are not aware of theneed for a licence and are not factoring the payments into
their ﬁnancial model.

• While Netﬂix is dominant in many countries, this is not thecase everywhere. Local services dominate in Asia, typicallywithin a dynamic and fragmented landscape, providing
further royalty collection challenges.

© 2018 Futuresource Consulting Ltd.
All Rights Reserved.

CISAC GLOBAL COLLECTIONS REPORT 2018 / 27

Digital licensing and managing data:
key skills of CMOs in the streaming world – ANALYSIS – MUSICThe rise and rise of digital consumption of all creative repertoires
has been the strongest feature in global collections for morethan a decade. In 2017, digital collections passed the EUR1bn
mark for the ﬁrst time. Digital accounted for 13.2% of totalcollections in 2017, leaving enormous room for further
growth. However, in some countries the share is far greater– notably Sweden (32.8%), Mexico (32.3%) and South Korea(31.8%).

Subscription takes oﬀ
Services like Spotify and Apple Music have announced
signiﬁcant gains in subscribers so far for 2018, with a totalof 86 million paid subscribers for Spotify (out of a 180 million
total users) at the end of July and over 50 million for AppleMusic. Streaming has also started unlocking huge potential
in markets of low digital penetration and high piracy, such
as Latin America, Africa and Asia.

Music has led the digital revolution. Streaming has moved
from a marginal to a mainstream, and ﬁnally to the dominantmusic format, and in doing so has returned the global music
sector to sustained growth since 2014. It has also opened
multiple new licensing opportunities and challenges for authors’societies.

For CISAC member societies, despite its sharp growth, digitalremains an under-developed income stream. However, therise in digital collections has largely not been detrimental to
the traditional main source of revenue for CMOs: performing
rights for the use of content on radio and TV. In 2017, collections
from TV and radio accounted for EUR3.6bn up 2.7% comparedto the previous year.

Streaming’s growth is driving the whole music sector. Figures
covering the full year 2017, and 2018 mid-year ﬁgures fromkey markets such as the US, the UK and France show digitalconsumption is constantly on the rise. In the US, with 268
billion streams monitored during the first half of 2018,
on-demand audio streaming volume was up 45% comparedto the same period of 2017, according to Nielsen.

28 / CISAC GLOBAL COLLECTIONS REPORT 2018

Licensing new digital players
CMOs have also responded to the arrival of new players
searching for licences, such as Facebook, by adjusting theirlicensing processes. As more diﬀerent business models
are making their way in the digital eco-system, CMOs haveanswered with ﬂexibility and creativity in their negotiations,taking into account the particular needs of each digital service
provider (DSP) in drafting their licensing conditions.

The streaming world has also opened up new revenue models
based on access to music, from connected to voice activatedspeakers. This new trend in consumption will beneﬁt rights
holders since the music streams accessed by smart speakers’
users will be delivered by a DSP, either from the free tier,but most likely from a subscription.
Music rights holders are also sharply impacted by changes
in consumer viewing of the TV screen. As they did for music,
consumers want “ﬁlms and TV whenever I want, wherever I
want, as much as I want” and have embraced subscription
video on demand (SVOD) services and “Over The Top”
(OTT) platforms (see analysis by Futuresource, page 26).
Long term licences with services such as Netﬂix and Hulu
(only in the US), and other OTT platforms have contributed
signiﬁcantly to some societies’ rise in digital collections. As
these platforms continue their global development, they will
also contribute revenue to local CMOs. In Australia, for example,
rights society APRA reported that VoD revenues grew 70%
year-on-year. In Canada, SOCAN reported strong levels ofcollections from Netﬂix and youTube.

ANALySIS
MUsIC

CMOs manage the data explosion
In this new digital environment, the management of data has
become a primary source of focus for CMOs that are now
dealing with billions of micro-transactions. British society
PRS for Music processed 6.6 trillion uses of music in 2017, a
50% increase over 2016. France's society Sacem processed
2.1 trillion uses of music in 2017 while US society BMI processedclose to 1.4 trillion performances (of which 1.350 trillion weredigital performances), a figure up 40% compared to theprevious year.

Managing Music Data in 2017
PRS
Sacem
BMI

6.6 trillion uses

In a rapidly changing world, CMOs have made the transition
to digital and are now capable of dealing with the complexitiesof the new business models, consumption patterns and data
challenges.

As diﬀerent new business models
are making their way in the digital
eco-system, CMOs have answeredwith ﬂexibility and creativity

2.1 trillion uses
1.4 trillion performances

The rise of data volume has been met with increasing
investments from CMOs to adapt their systems to the newmarket conditions and deliver better, quicker and moreaccurate distributions. Amid competition among CMOs,
rights societies have looked at collaborations to improvesystems.

CISAC GLOBAL COLLECTIONS REPORT 2018 / 29

Private Copying
A growing collections stream for creators – ANALYSIS – MUSIC
Private copying is a fair andequitable measure that, if properly
implemented, could transform the livesof creators for the best
Angélique Kidjo,
CISAC Vice President

Private copying is an exception to the reproduction right thatallows individuals to make a copy of a creative work for theirown personal, non-commercial use. To remunerate the creatorof the work, a levy is imposed on the blank media and devices
with storage facilities that enable the copying.
Globally, private copying generates collections of EUR484m,
a ﬁgure that has grown by 33.3% year-on-year and by 141%
since 2013. Music, the largest sector at 70.6%, grew by 28.4%.
The increases in audiovisual, visual arts and dramatic repertoires
were at 57.3%, 29.6% and 26.0% respectively.
The private copying levy is an important source of income
for creators able to receive it. This is especially true in countries
where physical formats dominate but the copyright environmentis weak. In some African countries, private copying constitutes
more than half of the local society’s income. It makes up
14.1% of the region’s collections as a whole.

30 / CISAC GLOBAL COLLECTIONS REPORT 2018

Private copying demonstrates huge growth potential
Countries where private copying is implemented eﬀectively
have seen strong collections growth in recent years.
In Germany, a retroactive agreement that extended therange of devices upon which the levy is made resulted ina near-doubling of private copying income. In Morocco, alegislative reform prompted a major increase in income forcreators, which grew to more than EUR4m in 2017.
Despite this growth, private copying still makes up just 5.1%of global collections, largely because of inadequate legislationand implementation. In October 2017, CISAC released acomprehensive study of the sector. It revealed that only 74
countries have laws in place to recognise the private copying
levy and among those, only 38 have implemented an eﬀective
collection system.

Private copying levies have a key role to play in the digitalworld. The key to unlocking their potential is adequate
legislation, proper application of the law and effective
collection mechanisms.

Global private copying collection(EUR million)
484

+141%
363
298

2014

2015

201

2013

Distributions
In addition to direct payments to creators, more than EUR50m
annually is used to help creators via cultural, educationaland social projects. Small shares of distributions are used toinvest in a myriad of activities, for example in France, Germany,
Italy, the Netherlands and Switzerland.

296

2016

2017

Addressing the “transfer of value”:
Europe’s message to the world – ANALYSIS – MUSICIn September 2018, a landmark vote in the EU Parliament
took the creative industries a step closer towards addressing
a fundamental ﬂaw that is denying creators fair payment bysome of the world’s largest digital platforms.
In the current digital market, user upload content (UUC)
services such as youTube are using creative works, making
large advertising revenues and paying only a tiny fraction of
the sums they generate to creators. They also pay signiﬁcantly
less for other streaming services which oﬀer the exact samecontent.
The EU Copyright Directive addresses this by requiring
UUC platforms to negotiate properly for copyright licences
and use technical measures to prevent the availabilityof unauthorised works on their platforms. If adopted by EU
governments, the directive will help bring a level playing ﬁeld
for creative content ensuring that the same rules apply to all
digital platforms.
This report provides key evidence of the problem for creators:
CISAC’s member societies, despite rapid growth in digitalcollections, are still seeing digital at only 13% of total global
collections. Income from UUC services in turn represents asmall fraction of that sum.
Beyond Europe: CISAC’s Liebowitz study
The “transfer of value” or “value gap” is a global, not merely
European, problem. Europe’s legislative solution holds up
important lessons to governments worldwide, albeit with
diﬀerent legislative conditions. Common to many jurisdictions
is the existence of ﬂawed legal frameworks that allow UUC
services to abuse misapplied “safe harbour” rules.

Safe harbour rules are abused by UUC platforms to give thema competitive edge over services that pay copyright licences.
youTube alone boasts 1.8 billion logged-in viewers monthly,
multiple times more than the largest global music streaming
subscription service, Spotify, with 159 million monthly active
users and 71 million premium users. However youTube andsimilar UUC services pay signiﬁcantly less.

The study ﬁnds:• Because of the safe harbours, UUC services such as youTube
have “an ineﬃcient and unfair advantage” when they negotiate
rates for permission to use copyrighted works on theirplatforms.

• As a result, UUCs either do not pay for copyright licences or,if they pay something, they pay less than the market rate.

• Other online services (such as subscription services, e.g.

1.8
1.8 billion:
YouTube logged
in viewers

13%
13%:
Global digital shareof collections

Economic analysis of this issue has until recently been limited.
However, in 2018, CISAC published a study by Ashbel Smith
Professor Stan Liebowitz of the University of Texas at Dallas.
The study is entitled “Economic Analysis of Safe Harbor
Provisions”. It ﬁnds that safe harbour regimes, drawn up aquarter of a century ago to help nurture early online commerce,
are distorting the digital market, proﬁting tech giants andleading to signiﬁcant underpayment of copyright owners.

Spotify and Apple Music) are at a competitive disadvantage
when competing with UUC platforms. These services
generate lower revenues and have a reduced user base,because of the distorting impact of safe harbours.

This important ﬁrst step is a seminal
moment in the future of music creatorsand creative people in the EU
and around the world
Eddie Schwartz,
songwriter and President of CIAM
(International Council of Music
Creators)

CISAC GLOBAL COLLECTIONS REPORT 2018 / 31

New study highlights beneﬁts of resale right
ANALYSIS – VISUAL ARTS

Artists are overwhelmingly in favourof the resale right. Most believe artists
should share in the proﬁtability of theirwork, as do other creators
WIPO commissionned study

Nurturing visual artists:
the resale right’s share of collectionsin the top 5 collection countries (EUR million)
69.8%

15
28.9%

9
67.0%

7

5.4%

4
34.8%

2

UNITED
KINGDOMFRANCEITALYGERMANY

32 / CISAC GLOBAL COLLECTIONS REPORT 2018

BELGIUMThe resale right has grown in importance over the past
decade and accounts now for over a ﬁfth of the world's totalcollections for the visual arts repertoire at EUR43 m.
The resale right serves a fundamental purpose for visual
artists, allowing them a small share of the proceeds when
their works are re-sold by auction houses and galleries.
More than 80 countries have now introduced the rightand discussions are progressing in the World Intellectual
Property Organisation (WIPO) to extend the right to beneﬁt
artists internationally.
A new study commissioned by WIPO has brought some
important new insights into the beneﬁts of the resale right.
It is written by Joëlle Farchy, Professor at the University ofParis I, Panthéon-Sorbonne in Paris, with Kathryn Graddy,
Dean of the Brandeis International Business School andthe Fred and Rita Richman Distinguished Professor in
Economics at Brandeis University in Boston. Titled “TheEconomic Implications of the Artist's Resale Right”, it waspresented ﬁrst at WIPO’S Standing Committee on Copyrightand Related Rights (SCCR) in November 2017.
Case studies observed
The study oﬀers a detailed picture of the evolution of the
global art market and analyses the economic consequencesof the resale right, in particular on the prices of works. “Thestudy focused on several areas,” explains Graddy. “First, we
looked at the economic theory and context of the resaleright, next we provided a summary of academic work withdata and econometric analysis, and ﬁnally we provided casestudies of the resale right in the UK, Africa and Australia. We
did not collect new data, as we relied on data and analyses
from our previous studies. In these studies, we could not ﬁnd
any price decreases after the implementation of the resaleright.”
The authors of the study noted that “the resale right, whichassociates the creator with the economic life of his work intime, appears as a speciﬁc right for graphic and visual artists
who produce unique original works or works printed in alimited, numbered series.”
The global art market is highly concentrated, with a few
countries controlling most of the art business. The world's
largest auction art markets are China (38% in 2016), the US(28%), the UK (17%) and France (5%), according to the study.
Two of these countries, France and the UK, have a resaleright provision in the law, as they are both members of theEuropean Union, which adopted in 2001 the directive on theresale right for the beneﬁt of the author of an original workof art (2001/84/EC).
France - resale right leader
France accounts for 21.1% of resale rights collections worldwide, making it the second largest collector for the use globally.
The concept of resale right in France dates back to the late
1800s; the notion of droit de suite was ﬁrst introduced into
law in 1920. French visual arts society ADAGP continues thislongstanding tradition as a pioneer for visual artists by beinga vocal proponent of the campaign for the resale right on the
global stage.

ANALySISVIsUAL ARTs

UK: EUR74m paid to 5,000 artists
In the UK, the resale right was introduced in 2006 and in2012 its beneﬁts were extended to heirs of artists. In total,
since 2006, the UK's Design and Artists Copyright Society(DACS) has paid resale right royalties of over GBP65m(EUR74m) to almost 5,000 artists and estates. Farchy andGraddy looked at the evolution of the art market in the UK,
through the business of auction houses and art dealers.
“The study shows, especially in the UK, that the resale rightdoes not seem to have had an impact on the art market.
Items are unique, and buyers do not think about the resaleright when they want to acquire a work of art,” explains Graddy.
Australian market
In their analysis of the Australian market, which introduced
the resale right in 2010, Farchy and Graddy showed that it
had a signiﬁcant impact on the livelihoods of Australian artists,in particular Aboriginal artists, who valued the beneﬁts of
the resale right. “Listening to the artists was very interesting,”says Graddy. “They told us that the resale right is more thanjust payment. Artists care about tracking their works. It isvery powerful for them to know what happens to theirworks, and tracking is costly in itself. For artists, [the resaleright] is important and may increase their productivity
through their commitment to their work.”

Farchy and Graddy conclude their report by stating that“overall, artists are overwhelmingly in favour of the artist’s
resale right. Most believe it is a moral issue; artists shouldshare in the proﬁtability of their work, as do other creators.”

The resale right works,
it is fair and it beneﬁts thousands
and thousands of artists
Joel Shapiro,
President, The International Councilof Creators of Graphic, Plastic and
Photographic Arts (CIAGP)

In a market where the fastest growing segment is Post-War
and contemporary works, the resale right has the potential
to deliver signiﬁcant royalties to visual artists, as shown by
ﬁgures in the UK and Australia.

CISAC GLOBAL COLLECTIONS REPORT 2018 / 33

Audiovisual collections up 6.8%, but creators still needfair remuneration – ANALYSIS – AUDIOVISUAL
In the digital world our works can reachaudiences around the world, but the ﬁlm
makers and screenwriters behind them are
not being fairly compensated.
This is a matter of fairness for tomorrow’s
audiovisual creators around the world
Jia Zhang-ke,
ﬁlmmaker and CISAC Vice President

The audiovisual landscape is transforming and expanding,
and with it opportunities for remunerating creators. According
to the Motion Picture Association of America (MPAA), the global
box oﬃce reached a record high of USD40.6bn (EUR35.9bn)
in 2017, while home entertainment consumer spending forcontent released digitally and on disc increased globally to
USD47.8bn (EUR42.9bn).
Collections for audiovisual creators reported to CISAC also
saw a 6.8% increase in 2017, with CMOs collecting EUR611m
worldwide, across all uses. TV continued to be the ﬁrst sourceof audiovisual collections accounting for over 70%. Digitalcollections have grown over tenfold since 2013, reﬂecting
the growing penetration of smartphones and tablets globallyand the rise in consumption of audiovisual content online.
The challenge for audiovisual authors
Despite encouraging growth, in most countries, screenwritersand directors are still not fairly rewarded for their contribution
to this booming sector.

34 / CISAC GLOBAL COLLECTIONS REPORT 2018

Authors are largely dependent on the contracts they signwith audiovisual producers. As a result of this weak bargaining
position, they often end up signing over their rights in
exchange for lump sum payments. This means that, while
operators, broadcasters and distributors’ revenue thrives,
authors are rarely able to secure pay that accurately reﬂects
the success derived from the exploitation of their works.
The audiovisual campaign
In 2015, Writers & Directors Worldwide and CISAC launched
the audiovisual campaign to support the right of screenwritersand directors to a universally applied, unassignable andunwaivable remuneration right to bring them level with otherplayers in the sector.
This right provides creators with the means to thrive andcreate - it is also an economic lever stimulating a vibrant ﬁlm
sector, economic growth and jobs.
Momentum is building to introduce fair remuneration internationally. Belgium, France, Italy, Poland and Spain have successfully
implemented various forms of remuneration rights, though
not all unassignable and unwaivable. The campaign is prompting
new markets to seek similar frameworks to support theirauthors - Chile adopted the Ricardo Larraín Law in 2016 andColombia welcomed the Pepe Sánchez Act in May 2017.
Progress in Europe
Further support came from the EU when the European
Parliament adopted the Copyright Directive in September 2018.

This is an important step forward and sends a signal toaudiovisual creators and governments internationally. It
establishes above all the principle of fair and proportionate
remuneration for authors, and will be strongly supported
by audiovisual creators as it moves to discussion by EU
governments.

TV & Radio leads audiovisual collections(EUR million)+28.9%
15
7
1.0
1.1
69
57

0.8
77

53

59
79

105
67

86

82

439

438

2016

2017

412
347

329

2013

2014

TV & Radio
Private Copying

2015
Other
DigitalStudy shows legal roadmap
for audiovisual creators – ANALYSIS – AUDIOVISUAL
For the ﬁrst time, we have a comprehensive
global legal study showing the way to fairtreatment of audiovisual creators
Gadi Oron,
Director General, CISAC

Legal reforms are needed on a global scale to help screenwriters and directors earn royalties for the use of their works,
according to a new international legal study commissioned
by CISAC and Writers & Directors Worldwide.
The study by Professor Raquel Xalabarder, Intellectual
Property Chair at the Universitat Oberta de Catalunya in
Spain, highlights the need for audiovisual authors to have aguaranteed right of equitable remuneration when theirworks are used by digital services and other users.
The new study, published in May 2018, provides a clear
legislative blueprint for decision makers to ensure all
audiovisual authors beneﬁt equally, regardless of their countryof origin or of audiovisual production. It beneﬁts all parties
involved in audiovisual production and exploitation, ensuring
a constant ﬂow of remuneration from users to authors without
impinging on the commercial exploitation of the works by
the producer, which retains full control over the exploitation.
The framework proposed complies with international andEU copyright obligations.

Identifying local and regional solutions
The study found that there is no universally agreed upondeﬁnition of audiovisual authorship. Even when provisions
for the remuneration of audiovisual authors exist, they vary
greatly from country to country and depending on the typeof use.
Nineteen out of the 28 EU Member States have implemented
remuneration systems for audiovisual authors, mostly forcable retransmission and private copying. Worldwide, online
exploitation is rarely covered by any type of remuneration.
To be properly implemented and managed, mandatory
remuneration schemes rely on the existence of strong tradeunions, CMOs or guilds, as is the case in the US.

Universal implementation needs to be mandatory to ensurethat all audiovisual authors beneﬁt equally, regardless of
their country of origin or of audiovisual production.

Creators need proper bargaining
tools that enable them to continue
making their voices heard andshare their stories worldwide
for generations to comehoracio maldonado,
President, Writers & Directors Worldwide

Fine-tuning a future-proof ﬁx for policy makers
Based on her assessment of existing laws and best practices
around the world, Professor Xalabarder notes that themost eﬀective way of ensuring authors receive equitableremuneration is by creating an unwaivable and inalienable
right and entrusting its collection to CMOs.
This right is not a compensation but a payment made by users
in exchange for the exploitation of works. It is regarded as
equitable remuneration if proportionally based on the revenuesof the licensee. Unless unwaivable and inalienable, theremuneration right tends to be transferred or waived underpressure from the producer.

CISAC GLOBAL COLLECTIONS REPORT 2018 / 35

REGION

EUROPE
Total 2017 collections(EUR million)

+5.7%
2017
5,401

48 countries

56.4%
107 members

European shareof global collections

2016
5,109

Largest collecting countries
and annual growth (EUR million)
+2.6%

1,203
+13.9%
+4.9%

925

743

UNITED
KINGDOMGERMANYFRANCE36 / CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ EUROPE

REGIONAL COLLECTIONS INCREASE
by EUR292 mILLION
Europe remains the world’s largest region for collections with
its share constant at 56.4% of the worldwide total. CISAC’s
society members in the region collected EUR5.4bn on
behalf of their members, an increase of 5.7% over theprevious year.

Almost all of the growth in Germany was attributable toa EUR91m back payment from new private copying
agreements for smartphones, tablets and PCs. Live musiccollections in the country also rose due to the increasing
demand for large concerts.

Almost 40% of this growth was generated by Germany.
Following were the UK at 11.9% and France at 10.5%. In
absolute value terms, these three countries also madeup more than half of the region’s total, with France taking
the lead and collecting EUR1.2bn.

In 2016, exchange rates turned a 9.2% increase in UK
collections into a 3.1% deﬁcit when converted to euros.
The exchange eﬀect was reduced in the 2017 ﬁgures and
UK digital growth of 30.6% year-on-year led overallcollections to rise 4.9%.

EUROPE

TyPES OF USE
Digital drives nearly one third of Europe’s growth
Digital accounts for 31.2% of Europe’s EUR292m increase incollections, driven by streaming and video on demand. The
total value of the digital sector in Europe rose by 20.5% but,
despite this encouraging increase, it still only accounts forless than a tenth of the region’s total collections. Growth indigital slowed compared to 2016, which was boosted by thesettlement of a retroactive agreement with youTube in Germany.
Digital in Nordics doubles in ﬁve years
The digital boom of Nordic countries continues with Denmark
growing by 65.8% and Norway by 52.8%. In Sweden, growthof 19.5% saw digital become the country's largest income
sector for the ﬁrst time with 32.8% of the total. Finland, thesmallest Nordic market, saw digital growth of 14.8%. This
trend is driven by the widescale adoption of premium musicstreaming services: an average of 40% of Nordic people
have subscriptions, according to a 2017 study by Polaris.
Additionally, video on demand use among ﬁxed broadband
homes now exceeds 75%1 whereas a comparable ﬁgure for
the UK market is 56%.

Main contributors to growth(EUR million)

Breakdown of regional collections(EUR million)+119

Growth5 year
growthMusic
Audiovisual
Visual Arts
Dramatic
Literature

4,349
559
197
175
121

+5.2%
+6.3%
+19.3%+2.1%+5.8%+19.5%+30.7%+73.8%+3.5%+23.8%

Type of Use
TV & RadioLive & Background
DigitalPrivate Copying
CD & Video
Reprography
Resale Right
Rental/Public Lending
Reproduction
Synchronisation
Educational Use
Mechanical Reproduction
Publication
Other

1,987
1,855
535
471
242
150
43
33
16
12
10
4
0
45

+1.3%
+3.0%
+20.5%+33.6%-6.7%+11.3%+0.0%+34.2%+5.7%-17.8%+58.1%-43.1%-86.3%-6.7%+11.6%+10.6%+157%+146%-14.2%+40.8%+14.2%+95.3%+12.1%+91.8%+83.0%-86.8%-88.9%-49.8%

Performing Rights
Mechanical Rights
Other Rights

3,968
1,086
347

+3.7%
+7.9%
+25.3%+17.3%+17.5%
+148%

Total

5,401

+5.7%

+21.5%

Repertoire
+54
+26
+2
PrivateCopying

DigitalLive &
TV & Radio
background

Other

Strong digital growth in Nordic countries(EUR million)
45

31

TV & radio remains a tough market for royalty rates
Broadcasters in several European countries, including France,
Italy and the Netherlands, continue to aggressively seek
royalty decreases and thus reduce collections. Despite this,the sector still saw growth in 2017, helped by the conclusionof copyright tribunal proceedings and new licence negotiationsin the UK, and by the resolution of an agreement with the
Copydan alliance in Denmark.

Collections

+91

26

14

Type of Right

9
9

8

2
2013
SWEDEN

2014

2015
DENmARK2016

NORWAy2017
FINLAND

Sources
1. 2018 report by Kagan, a media research group within
S&P Global Market Intelligence.

CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ EUROPE / 37

EUROPE

REPERTOIRESMusic collections grow as eﬃciency improves
Of the five repertoires, music saw the strongest
growth in value, expanding by EUR216m. This reﬂects
the largely streaming-driven recovery of Europe’s
music market as well as stable royalties from thelargest non-digital uses.
Live and background remains the largest type ofmusic use, and growth was visible in 19 of the top
20 countries. Part of this is driven by a shift towards
larger concerts and music festivals where higher
and multi-day ticket prices have fed more money
back to music authors.
Additionally, CMOs have been evolving their businessmodels to make it easier for venue and store owners.
Licences are being combined into single, one-stop
solutions. An example was the collaboration between
CISAC member SUISA and a European for-proﬁt
competitor that simpliﬁed background music licensing
in Switzerland.
Audiovisual growth oﬀset by Italy
Audiovisual, the second largest repertoire, grew by
6.3% but this was largely attributable to an additional
EUR37m in private copying in Germany that oﬀset a
EUR22m drop in Italian collections. This decrease in
Italy is explained by a large back payment that inﬂated
the 2016 ﬁgure and by a dispute involving an important
TV operator that resulted in the suspension of
payments in 2017. ⊲38 / CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ EUROPE

Top uses by repertoire(EUR million)

Live & background leads music use(EUR million)
1,683
1,614
1,515

Growth5 yearGrowth

1,683
1,544
515
4,349

+3.1%
+1.9%
+18.4%+5.2%+11.1%+7.7%+152%+19.5%

389
105
18
559

-2.0%
+58.8%+11.8%+6.3%+26.7%+87.7%+65.0%+30.7%

86
43
18
197

+24.3%+0.0%+29.3%+19.3%+113%+14.2%+335%+73.8%

147
21
5
175

+0.9%
+5.3%
+39.9%
+2.1%

+2.0%
-1.6%
+1,324%
+3.5%

63
21
18
121

-2.8%
+37.5%+23.6%
+5.8%

-3.7%
+132%
+39.2%+23.8%

MUsIC

1,538

Live & BackgroundTV & Radio
DigitalMusic all uses

+3.1%

2013

Collections+11.1%

1,632

2014

2016

2015

AUDIoVIsUAL

2017

TV & Radio
Private Copying
Live & Background
Audiovisual all uses

France leads audiovisual collections(EUR million)

VIsUAL ARTs
234

FRANCE
SWITZERLAND

68-11.2%

ITALy

48-31.8%GERmANy42+1,184%

SPAIN

34

+0.0%

+4.5%

Reprography
Resale Right
Private Copying
Visual Arts all uses
DRAMATIC
Live & BackgroundTV & Radio
Private Copying
Dramatic all uses
LITERATURE
Reprography
Rental/Public Lending
TV & Radio
Literature all uses

EUROPE

REPERTOIRES⊲ The European audiovisual sector outside of Italy
expanded by 12.2% with the strongest growth after
Germany seen in France, where private copying
netted an additional EUR6.7m. Video on demand
subscriptions also drove collections growth with thenumber of French subscribers increasing by 40%
year-on-year1.
Resale right and private copying remain vital for
creators
In visual arts, collections grew 19.3%, again driven
mainly by back payments in Germany. This country,
France, the UK and the Netherlands make up almost
three-quarters of the total. The resale right remains
a crucial source of income, amounting to 21.6% of
total collections in Europe and second only to reprography at 43.7%. In the UK, resale right collections
have risen 21.9% over the past ﬁve years and are
the largest source of income at 69.8% of total.
In the literature repertoire, by far the largest areaof growth was in rental and public lending which
expanded by 37.5% to compensate for falls in
reprography and mechanical reproduction. In
drama, the amount for regional collections wasconstant, with Italy responsible for 38.0% of theEuropean total.

Resale right key for visual artists(EUR million)
Collections

share

Reprography

86

43.7%

Resale Right

43

21.6%

Private Copying

18

9.0%

Reproduction

16

7.9%

TV & Radio

15

7.5%

Other

20

10.3%

Reprography leads literature collections(EUR million)
-2.8%
63

+37.5%+23.6%
21
18+16.5%
13

Reprography

Rental/Public
Lending

TV & Radio

PrivateCopying

Sources
1. Report by Mediametrie, 2017.

CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ EUROPE / 39

FRAnCE
wORLD LEADER SEES CONTINUED GROwTh
France is Europe’s leading country for authors’ societycollections, and the second biggest contributor to global
income behind the US, accounting for 12.6% of the global total.
With a history of authors’ rights pre-dating the French
Revolution, the country boasts some of the world’s oldest
CMOs and strongest laws protecting creators. Frenchsocieties are inﬂuential players on the European andinternational stage.
In 2017, French societies collected EUR1,203m across allrepertoires, up 2.6% from 2016 and 15.8% over the past
ﬁve years. Music is the largest repertoire (73.6%), followedby audiovisual (19.4%), dramatic (4.3%) and visual arts
(2.6%).

€
Euro 1,203 million

National collections up 2.6%
(EUR million)

1,203+15.8%

1,172

1,087
+2.6%
1,039

1,040

Largest types of use (EUR million)
524
2013

2014

2015

2016

482

2017

358

335

France ranks high in most repertoires
125

TV and radio still ranks as France’s highest use (43.5%),
despite a slight drop in collections in 2017. Live and background remain stable at around 29.7%. Private copying is
the country’s third highest use, growing 21.1% since 2016.
In France, private copying levies for all repertoires arecollected by a single entity, Copie France, which allocatesits collections among member societies and those whohave given it a mandate to collect on their behalf.
Reported digital collections have nearly quadrupled in
ﬁve years and rose by 15.5% in 2017. This reﬂects France’s
expanding multi-territorial licensing approach and thegrowing presence of French repertoire on digital platforms.
Digital has overtaken CDs and video as the fourth largest
revenue category.

40 / CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ EUROPE

86

Repertoire

share of world
collections

Rank

Music
Audiovisual
Dramatic
Visual Arts

10.6%
38.3%
26.5%
15.2%

2
1
2
2

97

26
2013

2014

TV & RadioLive & background

2015

2016

2017

CDs & Video
DigitalMusic accounts for 74% of collections
Music revenues grew 2.1% in 2017, reaching a record
EUR886m for Sacem. TV and radio accounted for over
36% of collections, remaining stable overall.
Live and background, the second source of revenue for themusical repertoire, rose by 4.8% thanks to a healthy festival
scene and strong concert programming. Collections
were bolstered by new contracts, tariﬀ increases andmore regular payments by users.

Private copying collections for Sacem’s repertoire increased
by EUR13m reaching EUR96m, mainly due to a dynamic
smartphone market and to several back payments forprevious years.
Digital collections grew 7.9% for the musical repertoire.
Growth was driven by audio streaming and video sharing
services. Multi-territorial licensing deals with Facebook
and new partnerships with international music publishers
were signed in2018. ⊲FRAnCE
wORLD LEADER SEES CONTINUED GROwTh⊲ Audiovisual collections riseFrance is the world leader for audiovisual collections,with almost 85% coming from TV and radio. Collections
for audiovisual creators rose 4.5% to EUR234m in 2017.

Private copying remuneration has grown signiﬁcantly.
According to a 2017 CREDOC study, over 73% of the French
population owns a smartphone, against 17% in 2011, with
44% using their device to watch videos, up 10 points fromlast year. A settlement between Copie France and several
carrier makers and importers unlocked previously unpaid
amounts for private copying for societies and rights holders.
Performance slump hampers dramatic collections
Collections for the dramatic repertoire are almost all
sourced from live and background. A drop in the numberof big performances and tour dates resulted in a decline
in SACD collections to EUR52m. The society has concluded
new agreements with several federations, venues andfestivals.

328

326

320

316

SACD, which draws over 78% of its collections from TV
and radio, reached new agreements with digital platforms,
thematic channels, and national operators. SCAM, which
represents multimedia authors, saw TV and radio collections
remain stable overall (+5.9% over 5 years), with a slightincrease attributed to the settling of outstanding royalties
and more regular payments from high deﬁnition DTT
channels. There are concerns the overhaul of the publicaudiovisual sector and planned budget cuts could impact
authors in the future.

Breakdown of national collections(EUR million)

TV & radio collections 5-year growth(EUR million)
320

Collections

Growth5 yearGrowth

886
234
52
32

+2.1%
+4.5%
-4.5%
+16.8%+17.3%+10.1%-2.6%+79.8%

524
358
125
97
81
9
3
2
0.4
0.1
5

-1.3%
+3.3%
+21.1%+15.5%-7.0%+14.6%-13.6%+55.5%+8.8%+6.8%+44.1%+275%+23.6%+9.8%-28.8%+19.4%-14.2%-49.3%+649%-33.2%

840
267
96

-0.5%
+9.1%
+15.8%+10.1%+27.9%+42.4%

1,203

+2.6%

+15.8%

Repertoire

197
165

198

171

163

Music
Audiovisual
Dramatic
Visual Arts

Type of Use

0.4
2013

0.5
2014

music

6.2
2015
Audiovisual

6.6

5.7
2016

2017

Visual Arts

Number 2 in the world for visual arts collections
France is the second highest collector for visual arts behind
Germany and before the UK. Visual arts societies ADAGPand SAIF respectively collected EUR29m and EUR3m.
ADAGP plays a leading role in the global campaign for
an international resale right to beneﬁt visual artists (seepage 33). The resale right represented 28.9% of visual arts
income in France in 2017. The top use was private copying,
which saw collections of EUR10m, accounting for 30.9% ofvisual arts income in 2017. Successful market penetrationof hard drives, smartphones, decoders and tablets, which
account for 87% of private copying income, has contributed
to collections growing over 178% over 5 years.

TV & RadioLive & Background
Private Copying
Digital
CD & Video
Resale Right
Reproduction
Reprography
Educational Use
Rental/Public Lending
Other

Type of Right
Performing Rights
Mechanical Rights
Other Rights

Total

CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ EUROPE / 41

CEnTRAL & EAsTERn EURopE
highest collections per GDP rates
in Europe

A DIVERSE COLLECTIONS LANDSCAPE
The sub-region of Central and Eastern Europe, including
Turkey, Caucasus and Central Asian countries, makes up
a diverse landscape for authors’ collections. For example,
Hungary, with a slightly lower GDP than Kazakhstan,collected 30 times more than the strongest economy inCentral Asia.
Collections for the region as a whole have grown steadily
over the last ﬁve years, up 11.4% to EUR424m. Poland
leads regional collections with EUR106m: Polish societies
account for one quarter of total regional collections.
Collections rose 29.6 % (15.1% in local currency) in Russia,
the second largest market, namely thanks to improved
licensing eﬃciency and a rise of the ruble.
Resistance to authors’ rights still strong
In many countries of the region, weaker economies andrelatively low consumer sales often see performing rights
and collective management comprising a large share of
local music market revenues. Resistance to authors’ rights
and legal challenges by large repertoire users is strong
and widespread. Intellectual property is often regarded
as an obstacle to economic development, including bygovernments.
Music dominates regional collections
Collections are dominated by music, 77.0% of the regional
total. TV and radio is the leading source throughout theregion (43.3%), but has been slowly caught up by live andbackground (39.1%) as broadcasters deal with a shift ofadvertising revenue to online and consumers move todigital.
Digital collections grew 61.5% in 2017 for all repertoires,
remaining a very small share of total collections in the region.
42 / CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ EUROPE

Region shows growth in 2017
(EUR million)

Collection as a % of GDp
184

178

169

180

172

166
149
159

20
21
2013

145

146

45

54

33

39

23

26

24

30

2014

2015

2016

2017

FRANCE
DENMARKFINLANDSWITZERLAND
sLoVEnIA
MonTEnEGRo
CRoATIAITALyhUnGARY

0.0526%0.0503%0.0455%0.0385%0.0378%0.0373%0.0360%0.0345%0.0345%

Breakdown of regional collections (EUR million)
Collections

Growth5 yearGrowth

327
57
30
6
4

+8.2%
+29.1%+13.2%
+3.8%
+120%

+5.8%
+96.3%-9.1%+23.3%
+158%

184
166
45
11
8
2.1
1.7
1.1
1.0
0.5
0.1
4

+7.0%
+13.5%+15.4%+61.5%-0.6%+15.7%+13.3%+884%+11.2%-37.1%+39.3%
+8.6%

+3.3%
+4.2%
+126%
+90.8%+0.9%+47.4%+37.5%+654%+32.9%+35.6%-7.1%+35.1%

Performing Rights
Mechanical Rights
Other Rights

355
44
25

+10.9%+14.4%+14.6%+4.8%+99.9%+48.6%

Total

424+11.4%+12.3%

Repertoire
TV & Radio +7.0%
Live & background +13.5%

Private Copying +15.4%
Other +24.3%

This is mainly due to the carve out international repertoire- for which collections are made by multi-territorial licensing
hubs rather than local societies - and relatively weak local
oﬀerings. Turkey accounts for over 50% of online collectionsin the region.
Private copying largely untapped
Private copying is an important stream but regional
collections still represent a small fraction (7.5%) of theEuropean total for the use. Growth is limited by a lack oflegal implementation even in EU countries like Slovenia
and Bulgaria, an outdated carrier list and resistance bypowerful users. Hungary (see p. 43) is the regional exception
thanks to historically successful collection schemes.

Music
Audiovisual
Dramatic
Literature
Visual Arts

Type of Use
TV & RadioLive & Background
Private Copying
Digital
CD & Video
Reprography
Rental/Public Lending
Reproduction
Resale Right
Mechanical Reproduction
Synchronisation
Other

Type of RighthUnGARY
hUF

LEVERAGING OLD AND
NEw COLLECTION STREAMS
Hungary has the third highest collections in Central andEastern Europe. With a century-long history of authors’
rights collections, it also has the world’s seventh highest
collections in relation to GDP. Collections are roughly
evenly divided between live and background, TV andradio and private copying.

hungarian forint 13 billion
Euro 43 million

Collections increase by 24.3% in ﬁve years(hUF million)

Licensing strategies pay oﬀ
The live and background music sector is relatively saturated.
Musical society Artisjus has a contractual mandate, updated
every 5-10 years, to collect for both authors and neighbouring rights. Tariﬀs cannot be raised higher than the
yearly average inﬂation by law. The society has successfully
encouraged new venues to license music, helping drive
growth since 2012.
TV and radio grew 8.1% but collections are held back bylicensing challenges, such as the refusal of one major
private broadcaster to renew its licence in 2017.
Digital challenges
Digital collections dropped 19.9% in 2017, despite thelicensing of two local video on demand services. The digital
sector represents a mere 2.2% of income for nationalsocieties, which only collect for the Hungarian repertoire.
The main reasons include the direct licensing of international

Collections

Growth5 yearGrowth11,978
500
457
199

+4.5%
-18.7%+13.5%+4.2%+26.6%-19.5%+37.0%+32.8%

4,516
4,021
3,900
292
249
90
27
15
2
20

+2.2%
+8.1%
+1.5%
-19.9%+38.0%+4.9%-19.9%+7.0%-53.9%+137%+13.0%+26.0%+33.2%+57.7%+54.3%+53.0%-2.0%+73.4%-60.7%+254%

Performing Rights
Mechanical Rights
Other Rights

8,309
1,554
3,269

+4.0%
+1.7%
+3.5%

+19.8%+20.0%+39.8%

Total

13,133+3.6%+24.3%

13,133
12,500Private copying a key income source
With almost 90% of all carriers imported, eﬃcient datacollections, monitoring and customs cooperation havebeen key to the success of the private copying levy.
Music is the largest category, helping total levies rise 1.5%,
however audiovisual society Filmjus saw audiovisual
private copying collections decline by 27.0% in 2017.

Breakdown of national collections (hUF million)

10,56812,14812,674+24.3%

Repertoire
Music
Audiovisual
Literature
Visual Arts

+3.6%

Type of Use
2013

2014

2016

2015

2017

Top three uses all show growth (hUF million)
4,516
4,021
3,900

3,996

Type of Right

3,191
2,928
2013

Live & BackgroundTV & Radio
Private Copying
Digital
CD & Video
Resale Right
Reprography
Reproduction
Mech. Reproduction
Other

2014

Live & background

2015

2016

Private Copying

2017
TV & Radio

repertoire, for which income is not collected by Artisjus;
low streaming subscription fees; and logistical complications
in identifying works in the local language. To address thissituation, Artisjus joined regional licensing hub Armonia
to start the multi-territorial licensing of its musical repertoire.

hungarian visual artists beneﬁt from resale rightA 2012 amendment of the Hungarian Copyright Act cut
the resale right remuneration by 20%, which, coupledwith the ﬁnancial crisis, resulted in a signiﬁcant loss inroyalties. However, visual arts society HUNGART has noted
renewed interest in Hungarian artists, new records at
auctions and a general increase in price levels andcollections since 2013.

CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ EUROPE / 43

REGION

CANADA/USA
Total 2017 collections(EUR million)

+7.3%
2017
2,129

16 members

2 countries

2016
1,985

22.2%
Canada/USA shareof global collections
Collections and annual growth(EUR million)
+7.0%

1,890

+9.4%

239
CANADA

UNITED STATES

44 / CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ CANADA/USA

LEADERS IN DIGITAL COLLECTIONS
Collections in the Canada/USA region represented 22.2%
of global collections in 2017. It is the second largest region
in volume, after Europe. The US market accounts for 88.8%
of total collections in the region, with Canada representing
11.2%. Collections in the region have experienced ﬁve
consecutive years of growth. In 2017, income rose 7.3%
thanks to solid growth in the music and visual arts
repertoires.

This growth pattern reﬂects the good standing of North
America's local economies and the ability of rights societies
in the region to consolidate revenues from traditional
streams such as performing rights on radio and TV aswell as from live and background. It also reﬂects North
America’s leading role in the digital world, and societies’ability to extract increasing revenues from the digital useof creative works.

CANADA/USA

TyPES OF USE
Digital hits 17% of regional collections
The rise in music streaming consumption partly explains thegrowth in overall music collections, as digital now represents 17.1%
of total income in the region, up 27.5% at EUR363m. Over the past
ﬁve years, digital collections have increased more than four-fold.
For the ﬁrst time, digital collections have overtaken live and background to become the second largest source of revenue in theregion.
TV and radio continue to dominate
TV and radio remains the largest income source, with a 54.7%
share. Rights societies have forged new partnerships with media
and audiovisual companies such as Netﬂix, Hulu or youTube thatare starting to pay dividends.
On the radio side, societies registered a rise in revenues fromterrestrial radio, cable and satellite radio. However, the growthrate in the TV and radio sector has been modest at 1.7% in 2017,
reﬂecting the increasing pressure on advertising revenues fromtraditional media outlets.

Regional collections ﬁve year growth(EUR million)

Breakdown of regional collections(EUR million)

2,129
1,985

+70.6%

1,762
1,248

Growth5 yearGrowthMusic
Visual Arts
Audiovisual

2,123
7
0.03

+7.2%
+16.0%-26.4%+71.3%-9.5%-97.8%

Type of Use
TV & Radio
DigitalLive & BackgroundCD & Video
Reproduction
Synchronisation
Private Copying
Reprography
Other

1,165
363
338
251
6
4
1.3
0.1
1.1

+1.7%
+27.5%+3.3%+18.9%+16.3%-53.0%-4.1%-21.6%-44.6%+29.0%+314%+47.1%+1,935%-5.2%+584%-61.1%-73.5%-74.9%

Performing Rights
Mechanical Rights
Other Rights

1,818
306
5

+5.1%
+24.1%-46.0%+52.4%+494%+27.3%

Total

2,129

+7.3%

+70.6%

Repertoire

+7.3%

2013

Collections

1,320

2014

2015

2016

2017

Largest types of use (EUR million)
1,165

904

Type of Right

Live and background
Live and background remains a steady source of income, at
EUR338m, with a 3.3% growth rate between 2016 and 2017,reflecting the efforts made by performing rights societies tocollect the proceeds from the use of music in small businesses,
bars, hotels, shopping centers and ﬁtness facilities, among others.

363
338

229
88
2013

2014

TV & Radio

2015
Digital

2016

2017

Live & background

Revenues from the sale of CD and video rose to EUR251m, up
18.9% year-on-year. The increase in CD and video collections ispartially due to the addition of data from HFA and CMRRA.
By contrast with Europe, only a small share of collections in theregion come from private copying – less than 0.1% or EUR1.3m.
This income comes exclusively from Canada.

CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ CANADA/USA / 45

CANADA/USA

REPERTOIRESCollections almost exclusively musicalMusic accounted for 99.7% of total collections in
the region, up 7.2% from 2016. The vast majority
of collections (85.4%) come from performing rights,
which grew 5.1% to EUR1,817m in 2017, whilemechanical rights accounted for 14.4% of collections
at EUR306m. Mechanical rights in the region saw
an increase, mostly due to the ongoing integration
into CISAC data of numbers from US mechanicalsociety HFA, part of the SESAC group of companies,
and from CMRRA in Canada.

In the audiovisual sector, payments for the secondary
use of works (residuals) are collected directly by
the studios and distributed to the Directors Guildof America (DGA) and the Writers Guild of America(WGA). Together, the DGA and WGA received over
USD830m in residuals for 2017, but these payments
are not aggregated into CISAC’s report. A very small
amount of audiovisual rights are collected in Canada
by CSCS.

82.9%

76.2%

23.8%

17.1%

11.6%

8.6%

TV &
Radio

Digital

UNITED STATES

3.7%

Live &
background

CD &
Video

Collections

Growth5 yearGrowth

1,165
363
338
2,123

+1.7%
+27.5%+3.2%+7.2%+29.0%+314%+47.1%+71.3%

6.4
0.07
0.03
6.6

+16.3%-21.6%-5.2%-73.5%+16.0%

-9.5%

0.03
0.03

-26.4%-26.4%-97.8%-97.8%MUsIC
TV & Radio
DigitalLive & Background
Music all uses
VIsUAL ARTs

SynchronisationcANADA

Reproduction
Reprography
Private Copying
Visual Arts all uses
AUDIoVIsUAL
Other
Audiovisual all uses

Digital music collections grow fourfold
since 2013 (EUR million)+314%

Visual arts collections over 5 years by country(EUR million)
6.6

301

6.5

6.1

244

5.3

4.6
167

92
62

68
31

20
2013

2014

UNITED STATES

46 / CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ CANADA/USA

96.3%

91.4%

88.4%

Visual arts made up for the remaining 0.3%, growing
16% at EUR7m. The bulk of visual arts collections
came from reproduction.
Virtually no collections in the drama and literaturerepertoires are reported in the region.

Top three uses by repertoire(EUR million)

Music uses by country

30

2015
CANADA

41

2016

0.6
2017

2013

0.5
2014

UNITED STATES

0.4

0.4

0.5

2015

2016

2017

CANADAUSSTREAMING ANDECONOMY DRIVE GROwTh

The US music market has ﬁnally turned a corner with twoyears of consecutive growth following over a decade of
decline. A rapidly expanding music streaming sector has
led the increase. Total collections reported to CISAC rose
9.2% in 2017, to USD2,135m.

Digital collections saw double-digit growth, led by video
streaming. Societies are maximising revenue opportunities,
such as ASCAP’s deal with youTube, which includes public
performance rights and data collaboration, and BMI’s longterm agreements with Netﬂix and Hulu.
Progress on legal issues
The legal framework is rapidly evolving with signiﬁcantvictories. A US Appeals Court ruled in favour of BMI in its
challenge of the Department of Justice's interpretationof the consent decrees on fractional licensing (societies
can only license for the share they represent in a song).
On the mechanical rate setting side, the US CopyrightRoyalty Board allowed for a 44% rate increase over a
ﬁve-year term.
The Music Modernization Act (MMA) is also an important
agent of change passed in September 2018, radicallychanging music licensing rules and rate setting procedures.
The MMA calls for the creation of a new collective licensing
organisation that will collect and administer mechanicalrights on behalf of music publishers and songwriters.

US dollar 2,135 million
Euro 1,890 million

2,135
1,955

+54.9%

1,720
1,378

In the music sector, ASCAP reported USD840m in domestic
revenues last year, while BMI had revenues of USD836m
in its 2017 ﬁscal year. SESAC, as a privately-owned for-proﬁt
company, does not disclose its annual ﬁgures. Collections
from traditional media, digital platforms and generallicensing (restaurants, bars, hotels, shopping centres andﬁtness facilities) all posted robust growth.

USD

Collections grow by 54.9% in ﬁve years(USD million)

1,480
+9.2%

Breakdown of national collections (USD million)
2013

2014

2015

2016

2017

Top three uses account for 87% of collections(USD million)

Collections

Growth5 yearGrowth

2,128
7

+9.2%
+17.8%+55.6%-22.2%

1,163
349
340
273
3
7

+4.1%
+4.9%
+26.0%+23.0%-59.7%+17.8%+15.2%+30.2%+277%+566,770%+125,459%-20.1%

Performing Rights
Mechanical Rights
Other Rights

1,841
291
3

+7.3%
+25.3%-59.7%+34.7%+2,536%+125,459%

Total

2,135

+9.2%

+54.9%

Repertoire
Music
Visual Arts

1,163

Type of Use

1,010

349
340

268
90
2013
TV & Radio

2014

2015

2016

Live & background2017
DigitalThe visual arts sector has seen strong revenues (+17.8%
to USD7m) from the licensing of rights to use images ofvisual art works in advertising, motion pictures and TV
shows. Revenues for US visual artists are limited because
they still do not include the resale right.
In the US, royalties for the use of audiovisual repertoire
are known as residuals. They are negotiated and collectedby unions and guilds – mainly the Directors Guild of America(DGA) and the Writers Guild of America (WGA) – on behalf

TV & RadioLive & Background
Digital
CD & Video
Synchronisation
Reproduction

Type of Rightof their members as a compensation for the distribution
or exhibition of works beyond their initial use.
For 2017, the DGA collected nearly USD400m, split between
TV (USD237m), feature ﬁlm (USD149m) and made-for new
media (USD8m). Residuals collected by the WGA in 2017
reached a record high of USD431m, an 11.8% increaseover 2016.
CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ CANADA/USA / 47

REGION

ASIA-PACIFIC
Total 2017 collections(EUR million)

16 countries/territories

14.2%
+0.5%

28 members

2017
1,364

Asia-Paciﬁc shareof global collections

2016
1,357

Largest collecting countries/territories
and annual growth (EUR million)
-6.8%

800

+14.6%

323
139
AUSTRALIA

Collections remained stable in Asia-Paciﬁc in 2017, rising
just 0.5% to EUR1.3bn making this the world’s third largest
collecting region. Japan, Australia and South Korea are thekey economic drivers with more than 90% of collections
originating from these three countries alone.
Australian and South Korean growth added EUR41m and
EUR23m to the regional total respectively. Japan’s slightdomestic decline turned into a more signiﬁcant fall whenconverted to euros.

+20.1%SOUTh KOREASTRONG GROWTh IN AUSTRALIAAND KOREA

JAPAN

48 / CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ ASIA-PACIFIC

Other noteworthy increases in collections came from
Hong Kong, which grew by 8.1%, Indonesia by 87.4% andTaiwan 21.8%.
In many of Asia’s smaller territories and countries, authors’societies are working to grow collections in markets challenged by powerful broadcasters and an undeveloped
copyright environment. In addition, government-backed“one-stop shop” initiatives in territories and countries such as
Malaysia and Indonesia have been introduced to streamline
collections for authors and producers. However, it is too
early to evaluate the eﬀectiveness of these initiatives.

ASIA-PACIFIC

TyPES OF USE
Digital overtakes live and background
Collections from digital in Asia-Paciﬁc grew by EUR58.7m or
23.6% to become the second largest sector in the region.
Digital has overtaken live and background for the ﬁrst timeand is now second only to TV and radio which remained stablewith a 29.9% share of total.

Collections grow by 11.3% in ﬁve years(EUR million)

Breakdown of regional collections(EUR million)

1,364
1,357

Digital collections are also contributing to growth in China.
The vast Internet population is dominated by a handful of
powerful digital services led by global giant Tencent.
Physical formats edge down
Collections from CD and video fell by EUR43.6m to record aﬁve-year decrease of 26.3%. This trend is beginning to mirrorthat seen in other regions but has begun later due to the
traditionally strong market for physical music products inJapan.
Live and background fell by 3.4% in Japan due to a backpayment from major service providers in the previous year.
Some territories and countries have seen solid growth. China
turned a 20.1% decrease in the previous year into growth of
23.9% while Thailand saw a rise of 39.1%.

GrowthMusic
Literature
Visual Arts
Dramatic
Audiovisual

1,258
101
3
0.4
0.01

+0.1%
+5.2%
+8.0%
-17.7%-6.8%+11.1%+13.1%+26.0%+4.4%

Type of Use
TV & Radio
DigitalLive & BackgroundCD & Video
Reprography
Rental/Public Lending
Publication
Educational Use
Synchronisation
Reproduction
Resale Right
Private Copying
Other

408
307
293
195
96
20
7
5
3
1.7
0.6
0.1
27

+0.1%
+23.6%-2.0%-18.3%+7.3%-19.4%-12.9%-18.8%
+1.8%
+2.8%
+8.7%
-35.6%-8.6%+9.1%+80.3%+13.9%-26.3%+7.9%-23.5%-16.8%+84.8%+22.8%+72.3%-85.2%-15.1%

875
460
29

+3.4%
-3.5%
-16.4%+21.9%-2.6%-18.4%

1,364

+0.5%

+11.3%

Repertoire

1,241
1,225
1,161
+0.5%

The major contributors of this digital expansion are Japan,
South Korea and Australia where the sector grew by 9.4%,
19.9% and 64.3% respectively. In South Korea, digital continues
to be the leading sector for collections, outpacing all otheruses for the third consecutive year.

2013

2014

2015

5 yearGrowthCollections+11.3%

2016

2017

Digital overtakes live & background(EUR million)
408
374
307
293

265
257

195

Type of Right

170
2013

2014

2015

2016

TV & Radio

DigitalLive & backgroundCD & Video2017

Performing Rights
Mechanical Rights
Other Rights
Total

CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ ASIA-PACIFIC / 49

ASIA-PACIFIC

REPERTOIRESLegislative inﬂuences impact collections
From a modest base, collections in China have more thandoubled in ﬁve years and now account for EUR27m, an increaseof 18.4% year-on-year. However, it remains a challenging
country for authors’ rights collections. Its new CopyrightAmendment Bill has been pending for six years and introduces
the concept of a resale right, an unwaivable remunerationright for audiovisual authors, and a regulatory framework for
CMOs.
Elsewhere in the region, collections for visual arts, drama andliterature are also relatively undeveloped and together bringin EUR105m. The artists’ resale right is relatively well establishedin Australia, generating half a million euros. Momentum toaddress this issue is growing, with Japan a key focus of
discussions to extend the global adoption of the right.

Japan and Australia drive digital music growth(EUR million)

The private copying levy is functioning in some regions but
is nowhere near reaching its potential. In Japan, one issue isthat many common electronic devices are currently excluded
from the levy. Japanese authors’ society JASRAC is working
with its government to revitalise the discussion and incorporate
devices such as personal computers and car navigation. In
South Korea, KOMCA is working with CISAC to lobby for the
introduction of a private copying levy scheme.

50 / CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ ASIA-PACIFIC

Collections

Growth5 yearGrowth

408
307
293
1,258

+0.1%
+23.7%
-2.0%
+0.1%

+9.1%
+80.3%+13.9%+11.1%

95
5
0.6
101

+7.2%
-19.2%-16.6%+5.2%+7.9%-44.2%+13.1%

2
0.9
0.6
3.4

+2.8%
+17.0%+8.7%+8.0%+22.8%+7.2%+72.3%+26.0%

0.4
0.4-17.7%-17.7%

+4.4%
+4.4%

0.01
0.001
0.01

-2.7%
-25.9%
-6.8%

31
44
22
37
8
19

12
32

31

29

112

105

2013
Japan
Australia

2014

16
34

46

32

144

75

157

MUsIC
TV & Radio
DigitalLive & Background
Music all uses
LITERATURE

117

2015

2016

2017

South Korea
Other

Audiovisual royalties
Audiovisual creators continue to campaign for an unwaivable
right to remuneration in the region where collections are
negligible.

Top three uses by repertoire (EUR million)

Broadcast tariﬀs provide opportunity
for further growth
Authors’ societies across the region are negotiating withpowerful broadcasters to raise historically poor tariﬀ rates.
In China, most broadcasters resist paying any licence despite
the existence of an oﬃcial tariﬀ. In Indonesia, the governmentset tariﬀ had to start at a low level to encourage payments.
In Hong Kong, a low TV tariﬀ was inherited from the 1970s.
Despite strong resistance from broadcasters, CISAC members
are working to bring rates closer into line with international
standards. The revision and proper enforcement of thesetariﬀs would provide great beneﬁts for creators’ remuneration
throughout Asia-Paciﬁc.

Reprography
Educational Use
Other
Literature all uses
VIsUAL ARTs
Reproduction
Reprography
Resale Right
Visual Arts all uses
DRAMATIC
Live & Background
Dramatic all uses
AUDIoVIsUAL
TV & Radio
Private Copying
Audiovisual all uses

JApAnCONTINUES TO LEAD ASIA-PACIFIC COLLECTIONS
Collections in Asia-Paciﬁc are economically dominated by
Japan, a market driven overwhelmingly by local repertoire.
Following solid growth in 2016, collections were ﬂat in2017, accounting for JPy101bn (EUR800m) or 58.7% of theregional total. Japan is the world’s fourth largest collecting
country behind the US, France and Germany, providing
8.4% of the global total.
Exporting culture is a big government priority. Japanese
animation ﬁlm exports are an important source of music
income. J-Pop is also another valuable export, mainly inAsia.
TV and radio leads collections
With more than 200 active TV, radio, cable and satellite
stations, this sector makes up almost one third of thecountry's collections total. Growth has been supported
by incremental increases built into the long-term tariﬀ
agreements with commercial broadcasters.
Live and background use grew by 1.7% in 2017, helped inparticular by a healthy live and concert sector. Backgroundmusic income is low (less than 1% of total collections) due
to inadequate awareness among outlets and venues,
and historically low licensing tariﬀs. The music authors’society, JASRAC, has launched an awareness campaign
to help address this potential.
Cinema licensing is an area of potential growth for musicin foreign ﬁlms. The sector is looking to improve the tariﬀ
rate, which is currently a small lump-sum that gives noconsideration to the success of the ﬁlm.

JPY

Annual collections 2013
to 2017 (JPY billion)
105

-0.7%
104

+0.3%
103

-1.1%
103

Japanese Yen 101 billion
Euro 800 million

-1.9%
101

Breakdown of national collections (JPY billion)
Collections

Growth5 yearGrowth

101
0.1
0.1

-1.9%
-13.4%
+0.0%

-3.5%
+2.0%
+25.4%

33
21
22
20
2
0.8
0.1
0.1
0.0
1.3

+0.3%
+1.7%
-17.3%+15.1%-15.1%-8.3%+0.0%+63.6%-32.3%+10.1%+2.0%+7.7%-30.7%+37.3%-25.3%-18.7%+21.3%+38.5%-85.7%-15.6%

Performing Rights
Mechanical Rights
Other Rights

64
34
3.4

+2.8%
-8.8%
-12.7%+8.2%-18.0%-23.9%

Total

101

-1.9%

-3.5%

Repertoire
Music
Dramatic
Visual Arts
2013

2014

2016

2015

Type of Use

2017

TV & radio sector leads uses (JPY billion)
33
32

33

20

22
21
20

TV & RadioLive & BackgroundCD & Video
DigitalRental/Public Lending
Publication
Reproduction
Synchronisation
Private Copying
Other

Type of Right
6
2013

2014

TV/RadioLive & background

2015

2016

2017

CDs & Video
DigitalDigital still behind physical media

Copyright extension nears completion

Japan has seen an enduring consumer demand for physicalformats. Many domestic artists still aggressively promote
their physical catalogue, using special campaigns and oﬀers
to keep sales buoyant. Digital collections in 2017 grew bymore than 15% due mainly to music streaming, led by Appleand a number of large local services. Unlike many regions,digital has yet to overtake packaged media.

Top of the legislative priorities for authors in Japan is thebill to extend the copyright protection term from 50 to 70
years plus life of the authors. This was originally linked
to the stalled Trans-Paciﬁc Partnership (TPP) but has since
been promoted in connection with a renegotiated TPP11
agreement. The bill passed the Diet in July 2018, and willtake eﬀect when TPP11 comes into force.
CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ ASIA-PACIFIC / 51

InDonEsIA

IDR

COLLECTIONS GROw TENFOLD IN FIVE YEARS
Indonesia is a rapidly-growing market for creative content,with Asia’s third largest smartphone user base (after China
and India), a fast-growing smartphone and broadband
penetration and a growing live sector.

Collections near double
year-on-year (IDR billion)

Licensing deals are in place with Apple, Spotify, Deezer
and some local music streaming platforms, the majorityof which are bundled with telecom company products.
The telecom market is dominated by three major players
which are increasingly moving into added value content
services. In the video on demand sector, Netflix andAmazon are already well established. Income to authors
from youTube has grown signiﬁcantly after an enhanced
agreement signed in 2014 and a large back payment
boosted numbers in 2017.
Improved collection eﬃciency
The live and background sector grew 7.4% from a smallbase, popular Karaoke accounting for a large share. With
many users such as The Body Shop and McDonald’s being
part of larger chains, local CMOs have been eﬃcient indriving wider licensing agreements. Music in cinemas also
increased following negotiations with the largest provider
which operates 80% of the country's movie theatres.
52 / CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ ASIA-PACIFIC

+907%
41

Collections to creators reported to CISAC in Indonesia
grew by 92.7% to IDR40.6bn (EUR2.7m) in 2017 and haveincreased tenfold since 2013. This makes Indonesia,
rising from a small base, the fastest percentage growthcountry in the region. CISAC member society Wahana
Musik Indonesia (WAMI) collects alongside two othernon-member societies.
Digital income is the key driver of this growth for WAMI,
increasing 171.6%. Digital now makes up nearly threequarters of all collections in the country.

Indonesian rupiah 41 billion
Euro 2.7 million

2112+92.7%Breakdown of national collections(IDR billion)

8
4

2013

2014

2015

2016

2017

11
3
0.6
2013

2014

Live & background

2015

2016

Growth5 yearGrowthMusic

41+92.7%+907%

Type of Use
DigitalLive & BackgroundTV & Radio

30
11
0.1

+172%
+7.4%
-59.5%+5,016%+219%-40.9%

Performing Rights

41+92.7%

+907%

Total

41

+92.7%+907%

Repertoire
30

Digital extends lead overlive & background (IDR billion)

Collections

2017

Type of Right

DigitalBroadcast collections expected to return to growth
TV and radio was the only sector to signiﬁcantly decrease,falling by more than half. There are 12 national and 50 local
terrestrial TV stations, as well as 12 cable companies, andall have been involved in longstanding negotiations.
These are now complete and collections are expected torise in the future. There are no collections from radio in
the country although discussions are well under way tocorrect this.

Collections in Indonesia have substantial growth potential,with 80% of all collections currently coming from Java island,
while other islands hold more than 40% of the population.
In addition, the government had set many low public performance tariﬀs via their national CMOs to acclimatise users
to paying for creative works. WAMI is now campaigning toincrease rates to internationally competitive levels.

AUsTRALIAAUD

VIDEO ON DEMAND hELPS GROwTh
Collections for all creative repertoires in Australia grew by
13.4% in local currency to reach AUD476m and have risenby 29.1% over ﬁve years. Aside from a slight decline in
TV and radio collections, Australia saw growth in every
type of use and in both performing and mechanical rights
categories in 2017.

Collections grow by 13.4%
year-on-year (AUD million)
476
378

369

Music collections for the video on demand sector are anotable highlight and generated substantial income formusic creators. A 2017 study from Roy Morgan Research
estimates that more than one in three Australians now havea Netﬂix subscription. Additionally, local music society
revenue from the video on demand sector alone rose
69.9% to AUD14.1m for Australia/New Zealand.

+29.1%

420

396

Breakdown of national collections (AUD million)+13.4%

Digital collections more than double in ﬁve years
Digital music collections are the predominant driver ofgrowth in Australia and New Zealand, leaping by 62.6%.
Over ﬁve years, this sector has more than doubled toaccount for 23.2% of the total for these countries, around
twice the percentage share of digital globally. Australia
is seeing a spectacular music streaming boom, with four
million paid subscribers according to national music society,
APRA AMCOS.

Australian Dollar 476 million
Euro 323 million

2013

2014

2016

2015

127

111

110

73
64
43

Reprography
TV & Radio

2016

333
140
3

+16.7%+6.1%+14.8%+36.1%+15.2%+32.7%

142
127
110
73
5
1.1
0.8
0.5
17

+6.1%
-1.6%
+62.6%+9.6%+4.2%+19.6%+7.6%+48.2%+4.1%+15.2%+14.6%+156%+12.7%-51.1%+32.5%+84.2%+147%+10.9%

Performing Rights
Mechanical Rights
Other Rights

243
233
0.5

+13.6%+13.1%+48.2%+37.5%+21.3%
+147%

Total

476

+13.4%+29.1%

Type of Use

123

2015

5 yearGrowthMusic
Literature
Visual Arts
142

2014

GrowthRepertoire

2017

Digital more than doubles in ﬁve years(AUD million)

2013

Collections

2017

DigitalLive & backgroundTV and radio collections steadyNew copyright amendmentsCollections for all repertories from TV and radio declined
1.6%, accounting for 26.7% of Australia’s total collections.
The gradual shift from terrestrial to pay TV is continuing.
While there was a signiﬁcant cut in revenue caused bya write-oﬀ of licence fees from one of the commercial
television networks entering administration, it was morethan compensated for by a sharp increase in video on
demand which falls under digital revenue.

A rise in the number of big concerts helped to stimulate
live and background collections by 9.6% to make up
15.2% of Australia’s total.
Visual arts society Viscopy merged with literary society
the Copyright Agency, which already manages reprography,
Australia's largest collecting sector, perhaps paving theway for future visual arts collections. In 2017, reprography
grew by 6.1% to reach 29.7% of total.

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

Type of Right

At the end of 2017, the Australian government introduced
a new copyright amendment following consultation withauthors’ rights campaigners. The bill ensures that searchengines and social media platforms are exempt from safe
harbour protection, an important outcome for the creative
sector.

CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ ASIA-PACIFIC / 53

REGIONLATIN AMERICA& ThE CARIBBEAN
51 members
Total 2017 collections(EUR million)+22.7%

24 countries

2017
609

6.4%
Latin American shareof global collections

2016
496

Largest collecting countries
and annual growth (EUR million)+38.9%

253+18.1%

180+11.5%

74

MEXICO

ARGENTINA

BRAZILThE WORLD’S FASTEST-GROWING REGION
Collections on behalf of authors in Latin America and the
Caribbean grew faster than any other region, increasing by
22.7% to EUR609m. This represents a signiﬁcant turnaroundfrom the 6.4% decrease seen the previous year. It remains
the fourth largest region for collections, with 6.4% of the global
share.
Brazil is the largest and the second fastest-growing country
in the region (see p.58). Collections here rose by 38.9%,
followed by Argentina and Mexico, which grew by 18.1% and11.5% respectively. Together, these three countries make up
more than 80% of total regional collections.

54 / CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ LATIN AMERICA & THE CARIBBEAN

TV and radio remains the region’s largest sector for collections
with 49.7% of the total. It increased by 25.4% to reach EUR303m
with growth registered in the majority of countries.
Mexico TV payments
In Mexico, a 23.2% increase in TV and radio collections was
driven by the regularisation of payments for cable TV andsatellite systems. In Chile, negotiations to launch a new rate
for national TV faced some challenges that held up payments
for the ﬁrst quarter of the year. Monthly payments have resumed
following ongoing discussions with regional TV broadcasters.

LATIN AMERICA & ThE CARIBBEANUSES AND REPERTOIRESLive and background returns to growth
Collections from live and background make up 38.5% of theregional total and grew by 16.4%. Brazil and Argentina
remain the two largest contributing countries in this sector.
Brazil has grown by 29.1% to extend its lead this year andprovides 35.3% of the region’s collections against Argentina’s
30.6%.
Many smaller countries also saw rapid expansion with live
and background collections growing by more than 50% in
both Ecuador and Barbados and by over 340% in Saint Lucia.

Breakdown of regional collections(EUR million)

Collections grow by 22.7%
year-on-year (EUR million)
609
530

498

Collections

Growth5 yearGrowth

538
51
20
0.4
0.003

+23.6%+13.6%+25.4%-8.4%-82.3%+22.9%+18.7%+17.3%-21.6%-74.8%

303
234
51
14
2.1
1.0
0.4
0.02
3.5

+25.4%+16.4%+47.5%+34.0%-20.6%+38.8%-0.2%-64.9%-20.3%+7.8%+27.2%+759.8%+23.9%-58.1%+460%-14.9%

Performing Rights
Mechanical Rights
Other Rights

586
8.2
15

+22.2%+49.0+32.0%+22.1%+21.2%+30.4%

Total

609+22.7%+22.3%+22.3%

496

490

Repertoire
Music
Audiovisual
Dramatic
Visual Arts
Literature+22.7%

2013

2014

2016

2015

2017

Type of Use

Colombia increased by 8.2% as local society SAyCO worked
to reduce the number of unidentiﬁed performances, for whichroyalties cannot be paid. In Mexico, stepped-up infringement
measures from authors’ society SACM and the Mexican Instituteof Industrial Property helped collections grow by 16.0%.
In Peru, the effects of severe weather caused by natural
phenomena, such as “La Niña” in the early part of the year,
aﬀected live events and contributed to a 4.6% decline in live
and background collections.

Strong growth in top three uses
(EUR million)
303

281

234
184

TV & RadioLive & Background
DigitalSynchronisation
CD & Video
Private Copying
Reproduction
Resale Right
Other-64.5%

Type of Right

Synchronisation collections on the rise
Income from the use of music used as a soundtrack in ﬁlms,
commercials and games is a small but growing sector.
Collections grew by 34.0% to reach EUR14m. This represents
an increase of 24% since 2013. More than 90% of thesecollections were made in Argentina which expanded by 36.6%.
Brazil and Uruguay were other strong performers in the region.

51
6
2013

2014

TV & Radio

2015
Digital

2016

2017

Live & background

CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ LATIN AMERICA & THE CARIBBEAN / 55

LATIN AMERICA & ThE CARIBBEANUSES AND REPERTOIRES
Private copying shows potential
Private copying is an important potential income
stream allowing authors to receive a small
remuneration from the sale of digital devices
and media that facilitate the copying of theirworks. In Latin America, this right only exists in thelegislation of two countries and is not working
eﬀectively. Societies in the region are working
to address this.

Private copying case study:
Paraguay (EUR thousand)Colombia gains audiovisual remuneration rightCollections from the audiovisual repertoire grewby 13.6% in the region to reach EUR51m. The
majority of this growth came from Argentina.
In Mexico, collections declined by 11.1%, a falllargely attributed to the economic downturn inthe country.
Legislative progress means the outlook foraudiovisual collections in Latin America and the
Caribbean is positive. In June 2017, the Colombian
Senate passed the Pepe Sánchez Law.
This modiﬁed the author’s rights law of 1982 by

Top three uses by repertoire(EUR million)

715

Collections

Growth5 yearGrowth

255
213
51
538

+27.5%+15.6%+47.3%+23.6%+5.5%+28.0%+759%+22.9%

48
1.6
0.07
51

+15.2%+5.0%+22.3%+31.4%+13.6%+18.7%

200.2
20+27.0%+16.4%+25.4%+17.3%+19.1%+17.3%

0.4
0.02
0.01
0.4

-0.2%
-64.9%-14.9%

MUsIC

177

2013

In Paraguay, the only country in which collections
are made, private copying increased by 38.8%
to just under EUR1m. All of these collections
were in the musical repertoire. There is similarpotential in other countries, such as the Dominican
Republic, where the law exists but is not yet
functioning.

992

TV & RadioLive & Background
DigitalMusic all uses

219
152
2014

2015

2016

2017

AUDIoVIsUAL
TV & RadioLive & Background
Digital
Audiovisual all uses

Argentina leads audiovisual collections(EUR million)
45

ARGENTINA
mEXICO

5.4

URUGUAy

0.3 0.5%

88.8%

10.7%

adding a right to remuneration for screenwriters and directors
from the public broadcast of their works.
The new legislation was based upon that already successfully
operating in France, Spain, Chile and India. It follows the
successful adoption of the similar Ricardo Larraín law in Chile
the previous year.

56 / CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ LATIN AMERICA & THE CARIBBEAN

DRAMATIC
Live & BackgroundTV & Radio
Dramatic all uses
VIsUAL ARTs
Reproduction
Resale Right
TV & Radio
Visual Arts all uses

-8.4%

+983%
-21.6%LATIN AMERICA & ThE CARIBBEANUSES AND REPERTOIRESMusic growth boosted by digital
Music collections grew by 23.6% in this region in 2017. The
growth of Latin American music in the last ﬁve years has
been one of the most striking features of the global music
sector. This growth has reversed nearly two decades ofdecline in a market historically blighted by piracy.
Digital collections have been a small but fast-growing
contributor to this growth, increasing faster than in otherregions in 2017. Digital grew by 47.3% to reach EUR51m,
with Brazil, Colombia, Panama, Peru and Uruguay all morethan doubling their collections. This helped to more evenly
distribute the share of digital in the region. Mexico's digitalincome remained stable despite having previously been
boosted by a youTube agreement that triggered a signiﬁcantretroactive payment in 2016.

Digital collections more evenly distributed(EUR million)
2.5

5.2
1.0
2.9

Another factor is the general lack of cooperation frommany users of works. By way of example, Mexican visualarts authors’ society SOMAAP estimates that up to 80% of
its licensing activity requires legal action for collections to
be made.

12

3.7
2.6
24

24
COLOmbIA
OThER
ARGENTINAbRAZILmEXICO

2016

Visual arts under-represented
While collections in the dramatic repertoire grew by 25.4%
to EUR20m, visual arts and literature collections bothdecreased in Latin America, albeit from a very small base.
This was caused by absence of a functioning resale rightin most countries and a weak legal framework under which
CMOs need to operate.

7.1

2017

Latin America leads growth in the music sector in 2017
LATIN AmERICA+23.6%+15.7%AFRICA+7.2%

CANADA/USA+5.2%

EUROPE
ASIA-PACIFIC+0.1%

CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ LATIN AMERICA & THE CARIBBEAN / 57

bRAZILSURGING AUDIOVISUAL CONSUMPTION hELPS GROwTh
Brazil is the largest collecting country in Latin America
and the Caribbean, making up more than 40% of theregional total. In local currency, Brazil grew by 29.8% withcollections reaching BRL911m. Audiovisual uses of music
are the country's main driver of growth.
Digital growth
Digital collections are rising sharply, growing more than
threefold but still accounting for only 4.8% of all collections.
All the major international digital music service providers
are now licensed in Brazil with the market now switching
to streaming via platforms such as Spotify, Apple Music,
Deezer.
Opportunities for digital growth continue to increase
following a landmark retroactive licence with youTube
and a new licence agreement with Netflix. Around 25
Brazilian Netﬂix series are reportedly in production and theservice is estimated to have over eight million subscribers
in the country. Negotiations are also underway with
Facebook and Amazon, and local authors’ societies
ABRAMUS and UBC expect to see the share of digitalcollections driven closer to European levels.
Broadcast and cable TV
TV and radio collections for all repertoires rose 28.5%, with
consumers shifting from traditional broadcast channels to
pay TV and video on demand. Around 250 local production
companies are supported by government incentives, andcable operators are required to dedicate 20% of theirprime-time schedule to Brazilian-produced content. Muchof this local programming also features Brazilian music,
further increasing the beneﬁt to domestic authors.

Collections grow by 29.8%
year-on-year (BRL million)

BRL
911

+52.8%
738

702
634

596

Brazilian Real 911 million
Euro 253 million

Breakdown of national
collections (BRL million)+29.8%

Collections

Growth5 yearGrowth

909
1.3
0.7

+29.9%-6.1%-8.9%+53.2%-23.8%-11.1%

562
299
44
1.0
0.7
0.3
5

+28.5%+20.6%
+341%
+211%
-8.9%
-31.0%-11.0%+31.2%+102%+1,472%-29.9%-11.1%-67.2%-64.0%

2017

Performing Rights
Mechanical Rights
Other Rights

907
3.1
1.0

+29.7%+26.1%+211%+53.1%+31.0%-29.7%

Digital

Total

911

+29.8%+52.8%

Repertoire
2013

2014

2015

Music
Dramatic
Visual Arts

2017

2016

Largest types of use (BRL million)

Type of Use
562

428
299

TV & RadioLive & Background
DigitalSynchronisation
Reproduction
CDs & Video
Other

148
44
3
2013

2014

TV and radio

2015

2016

Live & background

Cinema licensing agreement ends two decadesof discussion
Following a 20-year court case, a new settlement withmovie theatres will extend music licensing to virtually all
cinemas in Brazil. Previously, it was estimated that only halfof them were licensed as no agreements were in place.
Live and background makes up almost one-third of Brazilian
collections and grew 20.6% in 2017. This sector was driven
by a buoyant music concert and festival economy.

58 / CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ LATIN AMERICA & THE CARIBBEAN

Type of Right

For audiovisual authors, their eﬀorts to introduce a right toremuneration have advanced with the formation of two new
CMOs. Diretores Brasileiros de Cinema e do Audiovisual(DBCA) and Gestão de Direitos de Autores Roteiristas(GEDAR) represent directors and screenwriters respectively.

ARGEnTInAGROwTh IN ChALLENGING ECONOMIC CLIMATE
Argentina is Latin America’s second largest country interms of collections, accounting for 29.6% of the regional
total. Collections grew by 35.7% in local currency to reach
ARS3.4bn (EUR180m).
This growth has been driven by steady improvements incollection policies among domestic CMOs. When converted
to euros however, the growth rate nearly halves to 18.1%,
reﬂecting the impact of high inﬂation, currency depreciation
and a challenging economic environment.
Digital music up strongly
Collections from digital use of creative works more thandoubled to ARS133m. This amount has risen exponentiallyover the last ﬁve years, virtually all accounted for by digitalmusic, with collections by SADAIC. Although the major
digital service providers were licensed from the outset,
digital still makes up just 3.9% of Argentina’s total collections.
Digital overtook CD and video for the ﬁrst time in 2015
and that sector fell a further 15.1% this year. It now constitutes
just 0.7% of total collections.
TV and radio is the largest sector, making up 47.4% of
Argentina’s total. It is followed by live and background at
39.8% with both growing strongly and increasing 33.3%
and 32.0% respectively. The only other signiﬁcant contributor
is synchronisation at 7.4% of the total and up more thanhalf in 2017 with increased licensing of repertoire foradvertising.
Visual artists’ resale rightPressure is mounting for Congress to introduce the resaleright which allows artists to obtain a small percentage ofthe resale price of their works. Local authors' society SAVA
has arranged artist events and panel discussions whereinternational experts have added their voice to this campaign.

ARS
Argentine Pesos 3,370 million
Euro 180 million

Collections grow by 35.7%
year-on-year (ARS billion)
3.4

+208%

2.5

Breakdown of national collections(ARS billion)

1.9
1.4
1.1

Collections

Growth5 yearGrowth

2,192
848
330
0.5

+34.5%+35.1%+45.7%+37.1%

+203%
+223%
+210%
+168%

1,599
1,341
248
133
25
0.3
24

+33.3%+32.0%+56.9%+122%-15.1%+2.4%+13.8%

+237%
+171%
+238%
+1,469%+8.5%+144%+37.2%

Performing Rights
Mechanical Rights
Other Rights

3,025
97
248

+32.4%+134%+56.9%

+205%
+251%
+238%

Total

3,370

+35.7%+208%+35.7%

Repertoire
2013

2014

2015

2016

Music
Audiovisual
Dramatic
Visual Arts

2017

Type of Use

Growth in leading uses
(ARS billion)

1.6
1.3

TV & radio
Live & Background
Synchronisation
Digital
CDs & Video
Reproduction
Other

Type of Right
0.5
0.5
2013
TV & Radio

2014

2015

2016

2017

Live & backgroundA new bill is currently being prepared to present to thegovernment by SAVA with the support of CISAC.
Audiovisual growth continues
The audiovisual sector makes up 25.2% of Argentina’s
collections and 88.8% of audiovisual collections in theregion. Income grew by 35.1% in 2017, collected by local

societies ARGENTORES and DAC. Collections have morethan tripled in 5 years, helped by identiﬁcation of newusers, increasing tariﬀ rates and collecting outstanding
back payments.

CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ LATIN AMERICA & THE CARIBBEAN / 59

REGION

AFRICA
Total 2017 collections(EUR million)

37 members+11.4%
201775

31 countries

0.8%
Overall African shareof global collections

2016
68

Largest collecting countries
and annual growth (EUR million)+26.3%

38-14.1%AFRICA SEES PROGRESS
Africa is a vast hub of the world’s creative repertoire, yetthere is an enormous mismatch between the output andinﬂuence of its creators, and the income they derive fromtheir works.

20
African societies achieved EUR75m in reported collectionsin 2017, continuing a steady increase but still less than 1% of
total global collections. Music accounts for the overwhelming
majority of collections (91.5%).

+498%

5

MOROCCOALGERIA

SOUTh
AFRICA60 / CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ AFRICA

Societies are making key progress with new countries
increasing collections for digital (Senegal) and private
copying (Morocco), and striking new licensing deals withmajor users. The Cape Verdean Society of Music (SCM)

distributed payments to its artists for the ﬁrst time in April
2018.
The dramatic increase in mobile and smartphone penetrationin Africa promises access to a fast-growing consumer base.
However weak copyright enforcement, endemic piracy andhighly dominant regional telecom operators continue to limit
collections, and depress royalty rates for creators.
Of the 31 African countries whose societies report collections
to CISAC, the top three make up more than 80% of thecontinent’s total collections - South Africa (50.5%), Algeria(26.0%) and Morocco (7.2%).

AFRICA

TyPES OF USE
TV and radio leads collections
TV and radio accounts for 38.2% of collections at EUR29m in 2017.
This is despite strong resistance from broadcasters and high levelsof unlicensed use by radio stations. A 2017 survey covering CISAC
societies in 22 countries found that of 2,580 radio stations, onlyaround 40% were licensed to broadcast music.
Live and background, 21.2% of collections, is the second largest
source of income in the region at EUR16m. One exception to thispattern is Algeria, where digital accounts for 43.8% of all collections,followed by private copying at 27.2%. Another is Ivory Coast, where
live and background accounts for over two thirds of collections(see p. 65).
when collected, digital drives growthSouth Africa is by far the largest collector of digital income (seep.64). In total, 17 countries collect for digital in the region, mainly
representing small amounts from ring back tones.
In Senegal, the shift in collective management operations fromstate-managed BSDA to the autonomous SODAV caused income
to drop sharply in 2016. In 2017, growth in digital collections helped
Senegal increase its overall total by more than ﬁvefold. Collections
under the newly established society were even one third higher
than in 2015, mainly thanks to digital, their largest and fastest growing
source of collections.

Collections grow by 11.4% year-on-year(EUR million)

Breakdown of regional collections(EUR million)

75

70+34.1%

68

Collections

Growth5 yearGrowthMusic
Literature
Dramatic
Audiovisual
Visual Arts

69
4
1.1
0.8
0.03

+15.7%-8.6%-35.6%-44.4%+284%+40.2%+4.9%+5.7%-53.6%+159%

Type of Use
TV & RadioLive & Background
DigitalPrivate Copying
Reprography
CD & Video
Mechanical Reproduction
Rental/Public Lending
Reproduction
Other

29
16
12
11
3.2
2.6
0.2
0.1
0.0
1.5

+9.6%
-4.7%
+11.1%+27.6%+2.9%+166%-17.3%-0.8%+1,171%+103%+10.5%+11.7%
+122%
+103%
+9.8%
+190%
-50.4%+3.2%+158%+94.8%

48
18
9

+4.8%
+18.2%+41.0%+17.4%+51.5%+170%

75+11.4%+34.1%

59

56

Repertoire+11.4%

2013

2014

2015

2016

2017

Largest types of use (EUR million)
29
26

16

14

12

2016

2017

Performing Rights
Mechanical Rights
Other Rights

Live & background

Digital

Total

6
2013

2014

TV & RadioType of Right

2015

Training and infrastructure
CISAC’s 37 authors’ societies in Africa are building partnerships
with the African Regional Intellectual Property Organisation (ARIPO)
and l’Organisation Africaine de la Propriété Intellectuelle (OAPI) todevelop training programmes focused on capacity building andadvocacy at policy level.
Societies are exploring a common database and digital licenceplatform, drawing expertise from a scheme carried out by theirLatin American counterparts.
CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ AFRICA / 61

AFRICAREPERTOIRESMusic dominates African collections
Music income collected continues to grow yearon-year. In 2017, it saw 15.7% growth. Music now
represents 91.5% of total regional collections.
The second highest repertoire is literature, which
represents 5.9% of African collections: collections
have dropped 8.6% to EUR4m. Two thirds ofliterature collections come from South Africa anda little under a third from Algeria (25.6%). The main
sources of income are reprography (72.2%) and TV
and radio (21.8%).
Other repertoires
Collections for visual arts, dramatic and audiovisualrepertoires account for less than 3% of regional
collections. Societies collected EUR35k for visual
arts, up 284% from 2016 ﬁgures, helped by South
African collections for reprography.
Dramatic and audiovisual collections both declined.
The dramatic repertoire is supported by collections
in Algeria (72.2%), South Africa (14.5%) and Burkina
Faso (9.9%).
Audiovisual collections primarily come from Algeria(63.4%), Burkina Faso (19.9%) and Ivory Coast (13.0%).

Growth in leading repertoires 2013-2017

music+40.2%

Literature+4.9%

Dramatic+5.7%

Collections

Growth5 yearGrowth

28
16
12
69

+13.4%-4.0%+11.1%+15.7%+10.9%+11.8%+122%+40.2%

3
1
0.2
4.5

+2.9%
-30.7%-30.9%-8.6%+9.7%+26.1%+12.8%
+4.9%

0.7
0.2
0.2
1.1

-30.5%-47.9%-42.7%-35.6%+11.7%
-9.7%
+1.2%
+5.7%

0.5
0.1
0.1
0.8

-50.9%-44.3%-34.2%-44.4%-56.4%-56.4%-59.6%-53.6%

0.03
0.01
0.003
0.03

+1,171%
+9.4%
+120%
+284%

+158%
+70.5%MUsIC
TV & RadioLive & Background
DigitalMusic all uses
LITERATURE
Reprography
TV & Radio
Private Copying
Literature all uses

South Africa leads 2017
TV & Radio collections (EUR million)
6

DRAMATIC
Private Copying
TV & RadioLive & Background
Dramatic all uses

24
23

AUDIoVIsUAL
6
Other
7

9

TV & Radio

Private Copying
TV & Radio
Mechanical Reproduction
Audiovisual all uses

Live & backgroundRestof Africa

62 / CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ AFRICA

Top uses by repertoire (EUR million)

South
AfricaVIsUAL ARTs
Reproduction
TV & Radio
Reprography
Visual Arts all uses

+159%

AFRICAREPERTOIRES
Private copying: potential for all repertoires
In Africa, private copying has the potential to sharply
increase the income of creators. It is already the highest
source of collections for the audiovisual and dramatic
repertoires.
Only a few countries - Algeria, Burkina Faso, Ghana,Morocco and Tunisia - have working private copying
schemes enforceable by law. Morocco joined the list in
2017: private copying not only became the country's
leading source of income (78.2%), it saw collections growsixfold in under a year.
Algeria and Ivory Coast are leading advocates of strong
private copying legal regimes, working with CISAC topromote the issue at conferences at the MASA festival
in Abidjan and at the Salon de la Créativité in Algeria.
In 2018, Madagascar and Niger were set to start collecting
for private copying and authorities in Senegal and Ivory
Coast have committed to further improving private
copying levy legislation.

Leading countries for private copying
collections (EUR million)

0.2
0.5

Digital collections in 2017
(EUR million)

8.6

ALGERIA

0.5

1.9

SOUTh AFRICA

0.5
0.4

7.5

IVORy COAST

0.5

NIGERIA

0.5

SENEGAL

0.5

OThER

0.3

4.2

5.3
TUNISIAGhANA
bURKINA FASO
mOROCCOALGERIA

2016

2017

CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ AFRICA / 63soUTh AFRICAADVANCES IN DIGITALSouth Africa is the largest source of collections in Africa,
with 50.5% of the regional total. In 2017, societies collected
ZAR573m, up 16.6% on 2016. Total reported income
collected for creators has grown 41.2% over the last ﬁve
years.
Music leads collections
TV and radio are the largest sources of income, making
up more than half of South African collections. Music is theleading repertoire, representing an overwhelming 91.1% ofcollections. Local repertoire has historically been promotedin the broadcast sector, but a key change in August 2017
saw the country's public broadcaster, the South African
Broadcasting Corporation, end a short-lived policy thatmade the use of 90% local content mandatory. This does
not appear to have had a signiﬁcant impact on the market,
partly because of improved local production.
Live and background on the riseLive and background continues to be South Africa’s second
highest revenue stream. Despite experiencing the eﬀects
of the economic dip, the successful licensing of big music
providers, such as chain stores, helped collections growan additional ZAR5.4m in 2017.
Digital shows promise
Digital, reported to CISAC for the ﬁrst time for this reportby new CISAC member CAPASSO, amounted to ZAR29m,
accounting for 5.1% of the country's collections. The
mechanical rights licensing agency, which has a mandate
from SAMRO to oﬀer a joint performance rights licencefor, among other uses, online, brings new insight into
South Africa’s previously unmeasured online collections.
CAPASSO licenses all digital platforms and video on demand
services. In addition to major international DSPs, local
64 / CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ AFRICAZAR

Collections grow by 16.6%
year-on-year (ZAR million)

428

466

573

+41.2%South African Rand 573 million
Euro 38 million

491

406

+16.6%

2013

2014

2015

2016

Breakdown of national collections (ZAR million)

share

Use
338
139
48
29
18
0.4
0.4

5 yearGrowth

522
48
2
0.4

+19.7%-4.6%-46.7%+1,073%+44.1%+16.8%+10.6%
+201%

338
139
48
29
18
0.4
0.4

+10.2%+4.0%-3.8%+28.8%+38.3%+30.0%-54.9%-91.4%

Performing Rights
Mechanical Rights

454
119

+3.1%
+134%

+27.2%
+144%

Total

573

+16.6%+41.2%Music
Literature
Dramatic
Visual Arts

Share of collections by use (ZAR million)

TV & RadioLive & Background
Reprography
Digital
CD & Video
Reproduction
Other

GrowthRepertoire2017

Collections

Collections

59.0%
24.3%
8.4%
5.1%
3.1%
0.1%
0.1%

Type of Use
TV & RadioLive & Background
Reprography
Digital
CD & Video
Reproduction
Other

Type of Right

streaming music services, such as Simfy Africa, are growing.
Telecommunication companies remain strong playerswith the leverage to hold down licensing rates.
Copyright changes could impact creators
Revenue collected by DALRO for the visual arts, literatureand dramatic repertoires remains small. Over 90% of the
CMO’s collections come from reprographic licensing inhigher education institutions.

South Africa’s Copyright Alliance, including all authors’societies, has been raising concerns on proposed changes
to copyright legislation that would signiﬁcantly weaken
creators’ rights and further empower large users ofcontent in the guise of a misguided “fair use” provision.
In 2017, it was estimated that the impact on educational
uses could potentially reduce DALRO’S revenue by two
thirds.

IVoRY CoAsT
NEw INCOME STREAMS FOR CREATORS
Ivory Coast is the fourth highest collector in the African
region. Income has risen more than 60% since 2013, reaching
XOF2.5bn in 2017 thanks to growing live and backgroundand digital collections. Music represents the vast majority
of collections.

Collections grow by 60.8% in ﬁve years(XOF million)

Awareness campaigns impact collections
Live and background represents more than two thirds oftotal collections. New payments have been secured
thanks to negotiations with major users such as bars andimprovements in contracts. Communication agencies,
which tended to overuse music due to a very low blanket
licence fee, have seen their tariﬀs triple. As part of a BURIDA
campaign, venues have been urging event organisers to
pay for the music they use. Despite growing awareness,
attempts to license movie theatre operators for musicuse have so far been unsuccessful.
TV and radio stiﬂed by negotiations
TV and radio collections have fallen in recent years withstrong resistance from operators and broadcasters:
satellite broadcasters, who claim not to operate in the
country, currently refuse to pay licence fees. The switch
to digital terrestrial television in 2018 is expected to bring

CFA Franc 2,489 million
Euro 3.8 million

2,489+60.8%
2,070
1,548

Laying the groundwork for success
In July 2016, Ivorian law was amended to extend collective
management to include neighbouring rights. Capitalisingon this key legislative change, in January 2018, Ivoriansociety BURIDA signed an agreement with music monitoring
service BMAT making it easier for BURIDA to monitor uses
and collect for authors. The national society is now pressing
the government to implement an eﬀective private copying
scheme to counteract the eﬀects of piracy and provide a
new source of income for creators.

XOF

1,670

1,665

+20.3%Breakdown of national collections (XOF million)
2013

2014

2016

2015

2017

Live & background dominates collection(XOF million)

1,723Collections

Growth5 yearGrowth

1,723
357
346
63

+7.3%
-9.1%
+4,476%-0.4%+39.7%+71.3%+837%-8.3%

Performing Rights
Mechanical Rights

2,426
63

+20.9%-0.4%+64.0%
-8.3%

Total

2,489

+20.3%+60.8%

Type of Use
Live & BackgroundTV & Radio
Digital
CD & Video

1,234

Type of Right
357
346

208
37
2013

2014

Live & background

2015

2016
TV & Radio

2017
Digitalnew income, coinciding with the launch of 10 channels
and a tariﬀ rise for the national broadcaster. Several newcommercial radios have agreed to a licence based on
their income.
Ring back tones driving digital
Digital is a small but fast-growing sector, driven by ringback tones. New agreements were secured with mobile
phone operators in 2017 and successful litigation resulted

in the collection of back payments dating back to 2012.
However, telecommunication companies’ hold on musicstreaming tends to keep revenues low. Streaming services
based outside the country have yet to generate collections
for local creators.

CISAC GLOBAL COLLECTIONS REPORT 2018 ❙ AFRICA / 65

TABLES OF COLLECTIONSALL REPERTOIRESCOLLECTIONS FOR ALL REPERTOIRES IN EUR mILLIONRANKCOUNTRY/TERRITORY

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

UnITED sTATEs
FRAnCEGERMAnY
JApAn
UnITED KInGDoM
ITALY
AUsTRALIAbRAZILCAnADAnEThERLAnDs
sWITZERLAnD
spAIn
ARGEnTInA
DEnMARKKoREA, REpUbLIC oF
sWEDEnbELGIUM
AUsTRIA
poLAnD
FInLAnD
RUssIAn FEDERATIon
MEXIConoRWAYpoRTUGALIsRAELCOLLECTIONSGROWTHGLOBAL SHARERANKCOUNTRY/TERRITORY

1,890
1,203
925
800
743
591
323
253
239
235
231
224
180
145
139
136
136
114
106
101
98
74
63
44
43

+7.0%
+2.6%
+13.9%
-6.8%
+4.9%
-2.7%
+14.6%+38.9%
+9.4%
+0.5%
-2.9%
+3.1%
+18.1%+26.5%+20.1%+18.8%+3.9%+15.1%+2.1%+18.4%+29.6%+11.5%+36.4%
+5.0%
+5.8%

19.7%
12.6%
9.7%
8.4%
7.8%
6.2%
3.4%
2.6%
2.5%
2.5%
2.4%
2.3%
1.9%
1.5%
1.4%
1.4%
1.4%
1.2%
1.1%
1.1%
1.0%
0.8%
0.7%
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

hUnGARYCZECh REpUbLIC
soUTh AFRICAChInA
RoMAnIA
IRELAnDhonG KonG
ChILE
CoLoMbIA
TURKEYALGERIApERU
CRoATIAsLoVEnIA
sInGApoRE
TAIWAn, ChInEsE TAIpEIURUGUAYsLoVAKIAsERbIAMALAYsIA
LIThUAnIALATVIA
EsTonIA
MoRoCCoLUXEMboURG

66 / CISAC GLOBAL COLLECTIONS REPORT 2018

COLLECTIONS

43
41
38
27
27
27
26
26
25
21
20
18
17
16
15
13
11
10
9.6
6.7
6.4
6.3
6.1
5.4
5.2

GROWTHGLOBAL SHARE+4.3%+11.8%+26.3%+18.4%+30.0%
+7.6%
+8.1%
-2.2%
+7.9%
+0.5%
-14.1%
+7.4%
+3.5%
+8.6%
+1.1%
+21.8%
+9.2%
+2.9%
+8.4%
-43.8%-7.2%+15.7%+18.9%
+498%
+2.0%

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

TABLES OF COLLECTIONS

mUSIC
COLLECTIONS IN EUR mILLIONRANKCOUNTRY/TERRITORY

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

UnITED sTATEs
FRAnCEGERMAnY
JApAn
UnITED KInGDoM
ITALYbRAZILCAnADA
AUsTRALIA
nEThERLAnDs
spAIn
DEnMARKKoREA, REpUbLIC oF
sWEDEnsWITZERLAnD
ARGEnTInAbELGIUM
AUsTRIA
poLAnDMEXICoFInLAnD
noRWAYRUssIAn FEDERATIonpoRTUGALhUnGARY

COLLECTIONSGROWTHGLOBAL SHARERANKCOUNTRY/TERRITORY

1,884
886
806
799
678
458
252
239
226
190
175
136
132
127
127
117
111
87
79
68
67
62
58
39
39

+7.0%
+2.1%
+7.2%
-6.8%
+5.0%
+0.6%
+39.1%+9.4%+18.0%+5.1%+3.6%+27.9%+23.0%+20.4%+0.3%+17.1%+3.7%+15.2%-2.2%+13.8%+8.3%+37.2%+33.9%
+5.5%
+5.2%

22.6%
10.6%
9.7%
9.6%
8.1%
5.5%
3.0%
2.9%
2.7%
2.3%
2.1%
1.6%
1.6%
1.5%
1.5%
1.4%
1.3%
1.0%
1.0%
0.8%
0.8%
0.7%
0.7%
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

IsRAELsoUTh AFRICACZECh REpUbLICChInAIRELAnDhonG KonG
ChILE
CoLoMbIA
RoMAnIA
TURKEYpERU
ALGERIA
CRoATIAsInGApoRE
TAIWAn, ChInEsE TAIpEIsLoVEnIAURUGUAYsERbIAsLoVAKIA
MALAYsIA
MoRoCCo
EsTonIA
LIThUAnIALATVIAICELAnD

COLLECTIONS

35
35
34
27
27
26
25
25
21
21
18
17
16
15
13
12
9.4
9.4
7.5
6.7
5.4
5.2
5.2
5.1
4.8

GROWTHGLOBAL SHARE+3.5%+29.6%+8.7%+18.4%
+7.6%
+8.1%
-2.4%
+8.7%
+4.1%
+0.5%
+7.4%
-8.8%
+3.2%
+1.1%
+21.8%+11.2%
+5.9%
+8.1%
+2.4%
-43.8%+567%+19.2%-3.1%+19.4%+41.3%

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

CISAC GLOBAL COLLECTIONS REPORT 2018 / 67

TABLES OF COLLECTIONSTABLES OF COLLECTIONSAUDIOVISUAL

DRAmA

COLLECTIONS IN EUR mILLIONCOLLECTIONS IN EUR mILLIONRANKCOUNTRY/TERRITORY

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

FRAnCEsWITZERLAnD
ITALY
ARGEnTInAGERMAnY
spAIn
poLAnDnEThERLAnDs
UnITED KInGDoM
RUssIAn FEDERATIon
bELGIUM
FInLAnD
IsRAELMEXICoRoMAnIAsLoVEnIA
CZECh REpUbLICGREECE
AUsTRIApoRTUGAL

68 / CISAC GLOBAL COLLECTIONS REPORT 2018

COLLECTIONSGROWTHGLOBAL SHARE

234
68
48
45
42
34
22
17
16
16
14
11
7.7
5.4
5.3
4.0
3.3
3.1
2.9
2.1

+4.5%
-11.2%-31.8%+17.6%+1,184%+0.0%+21.2%-20.6%-1.1%+25.6%+9.2%+53.4%+17.7%-11.1%

38.3%
11.1%
7.9%
7.4%
6.9%
5.6%
3.6%
2.8%
2.7%
2.6%
2.3%
1.9%
1.3%
0.9%
0.9%
0.7%
0.5%
0.5%
0.5%
0.3%

+5.8%
+19.4%-1.3%+17.6%+6.8%

RANK

COUNTRY/TERRITORY

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

ITALY
FRAnCERUssIAn FEDERATIon
ARGEnTInA
spAIn
sWITZERLAnD
poLAnDbELGIUM
URUGUAYpoRTUGALALGERIAUKRAInE
LUXEMboURG
bELARUs
JApAn
LIThUAnIAbRAZILGREECEChILELATVIA

COLLECTIONSGROWTHGLOBAL SHARE

67
52
23
18
11
9.2
4.7
3.6
1.3
1.1
0.8
0.8
0.5
0.5
0.4
0.4
0.4
0.4
0.3
0.3

+2.8%
-4.5%
+17.4%+26.9%
+5.3%
+3.2%
+5.0%
-0.3%
+44.3%-3.2%-32.9%+7.9%+10.5%-8.2%-17.7%+1.3%+0.5%-19.8%+3.6%-37.4%

34.1%
26.5%
11.7%
9.0%
5.5%
4.7%
2.4%
1.8%
0.7%
0.6%
0.4%
0.4%
0.3%
0.2%
0.2%
0.2%
0.2%
0.2%
0.2%
0.1%

TABLES OF COLLECTIONSTABLES OF COLLECTIONSVISUAL ARTSLITERATURE

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

GERMAnY
FRAnCEUnITED KInGDoM
nEThERLAnDs
ITALY
sWEDEnDEnMARKUnITED sTATEs
bELGIUM
AUsTRIA
FInLAnD
spAIn
AUsTRALIACZECh REpUbLIC
RUssIAn FEDERATIon
noRWAYJApAnsWITZERLAnD
hUnGARY
CAnADA

COLLECTIONS IN EUR mILLIONCOLLECTIONSGROWTHGLOBAL SHARERANKCOUNTRY/TERRITORY

77
32
21
16
10
8.8
8.2
6.1
5.4
4.7
4.3
3.4
2.2
1.6
1.0
1.0
1.0
1.0
0.6
0.5

+34.6%+16.8%+15.3%
-9.6%
+1.2%
+0.2%
+6.1%
+15.5%-3.2%+81.4%+85.5%+1.0%+16.0%+183%+4,898%+1.5%+0.0%-19.5%+5.0%+23.2%

37.1%
15.2%
10.2%
7.7%
4.8%
4.3%
3.9%
2.9%
2.6%
2.3%
2.1%
1.7%
1.1%
0.8%
0.5%
0.5%
0.5%
0.5%
0.3%
0.2%

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

AUsTRALIA
UnITED KInGDoM
sWITZERLAnD
FInLAnD
AUsTRIAnEThERLAnDs
ITALY
KoREA, REpUbLIC oF
soUTh AFRICACZECh REpUbLIC
bELGIUM
hUnGARYpoRTUGALALGERIAsLoVAKIAsLoVEnIA
LATVIAIsRAEL
LIThUAnIA
bURKInA FAso

COLLECTIONSGROWTHGLOBAL SHARE

95
27
26
19
19
12
7.7
6.2
3.2
2.2
2.1
1.5
1.3
1.2
1.1
0.6
0.5
0.4
0.3
0.1

+7.2%
-0.5%
+4.7%
+32.3%+4.8%-13.9%+24.8%-18.6%
+3.3%
+1.0%
+6.5%
+14.2%+3.6%-29.9%+1.6%-15.3%+27.5%+5.7%+10.8%+10.0%

42.0%
11.9%
11.6%
8.4%
8.4%
5.1%
3.4%
2.7%
1.4%
1.0%
0.9%
0.7%
0.6%
0.5%
0.5%
0.2%
0.2%
0.2%
0.1%
0.0%

CISAC GLOBAL COLLECTIONS REPORT 2018 / 69

TAbLES OF COLLECTIONSCOLLECTIONS PER CAPITA BY COUNTRY/TERRITORY (EUR)wORLD AVERAGE: 1.87
RANK

COUNTRY/TERRITORY

COLLECTIONS PER CAPITAREGIONRANKCOUNTRY/TERRITORY

COLLECTIONS PER CAPITAREGION1sWITZERLAnD

27.33

EUROPE26

hUnGARY

4.35

EUROPE

2

DEnMARK

25.07

EUROPE27

poRTUGAL

4.30

EUROPE

3

FInLAnD

18.41

EUROPE

28

CRoATIA

4.24

EUROPE

4

FRAnCE

17.93

EUROPE

29

ARGEnTInA

4.07

LATIN AmERICA AND ThE CARIbbEAN

5

ICELAnD

14.07

EUROPE30

CZECh REpUbLIC

3.89

EUROPE

6nEThERLAnDs

13.71

EUROPE31

honG KonG

3.47

ASIA-PACIFIC

7sWEDEn13.50

EUROPE32

LATVIA

3.24

EUROPE

8

AUsTRALIA

13.14

ASIA-PACIFIC

33

sAInT LUCIA

3.20

LATIN AmERICA AND ThE CARIbbEAN

9

AUsTRIA

12.94

EUROPE34

URUGUAY

3.19

LATIN AmERICA AND ThE CARIbbEAN

10

bELGIUM

11.94

EUROPE35

poLAnD

2.79

EUROPE

11

noRWAY

11.89

EUROPE

36

KoREA, REpUbLIC oF

2.69

ASIA-PACIFIC

12UnITED KInGDoM

11.26

EUROPE37

sInGApoRE

2.62

ASIA-PACIFIC

13

GERMAnY

11.19

EUROPE38

MonTEnEGRo

2.53

EUROPE

14

ITALY

9.76

EUROPE

39

LIThUAnIA

2.25

EUROPE

15

LUXEMboURG

8.64

EUROPE

40

sLoVAKIA

1.91

EUROPE

16

sLoVEnIA

7.90

EUROPE

41

MACAU

1.83

ASIA-PACIFIC

17nEW CALEDonIA (FRAnCE)

7.19

ASIA-PACIFIC

42

bARbADos

1.79

LATIN AmERICA AND ThE CARIbbEAN

18

AnDoRRA

6.59

EUROPE43

TRInIDAD AnD TobAGo

1.63

LATIN AmERICA AND ThE CARIbbEAN

19

CAnADA

6.52

CANADA/USA

44

ChILE

1.42

LATIN AmERICA AND ThE CARIbbEAN

20

JApAn

6.31

ASIA-PACIFIC

45

sERbIA

1.36

EUROPE

21

UnITED sTATEs

5.80

CANADA/USA

46

RoMAnIA

1.36

EUROPE

22

IRELAnD

5.51

EUROPE

47

bRAZIL

1.21

LATIN AmERICA AND ThE CARIbbEAN

48

MACEDonIA,

0.79

EUROPE

23

IsRAEL

4.96

EUROPE

24

spAIn

4.81

EUROPE25

EsTonIA

4.60

EUROPE70 / CISAC GLOBAL COLLECTIONS REPORT 2018

ThE FoRMER YUGosLAV REpUbLIC oF

49

RUssIAn FEDERATIon

0.68

EUROPE50

soUTh AFRICA

0.67

AFRICATAbLES OF COLLECTIONSCOLLECTIONS AS % OF GDP BY COUNTRY/TERRITORYwORLD AVERAGE: 0.015%
RANK

COUNTRY/TERRITORY

COLLECTIONS
AS % OF GDP

REGIONRANKCOUNTRY/TERRITORY

COLLECTIONS
AS % OF GDP

REGION

1

FRAnCE

0.053%EUROPE

26

CZECh REpUbLIC

0.022%EUROPE

2

DEnMARK

0.050%EUROPE27

spAIn

0.019%EUROPE

3

FInLAnD

0.045%EUROPE

28

AnDoRRA0.019%EUROPE4sWITZERLAnD

0.038%EUROPE

29

JApAn

0.019%

ASIA-PACIFIC

5

sLoVEnIA

0.038%EUROPE30

noRWAY

0.018%EUROPE

6sAInT LUCIA

0.038%LATIN AmERICA AND ThE CARIbbEAN

31

MACEDonIA,

0.016%EUROPE

7

MonTEnEGRo

0.037%EUROPE

ThE FoRMER YUGosLAV REpUbLIC oF

8

CRoATIA

0.036%EUROPE32

CAnADA

0.016%CANADA/USA

9

ITALY

0.035%EUROPE33

LIThUAnIA

0.015%EUROPE

10hUnGARY

0.035%EUROPE

34

pARAGUAY

0.014%LATIN AmERICA AND ThE CARIbbEAN

11

nEThERLAnDs

0.032%EUROPE

35

RoMAnIA0.014%EUROPE

12UnITED KInGDoM

0.032%EUROPE

36

bosnIA AnD hERZEGoVInA

0.014%EUROPE

13

ARGEnTInA

0.032%LATIN AmERICA AND ThE CARIbbEAN

37

IsRAEL

0.014%EUROPE

14

bELGIUM

0.031%EUROPE38

bRAZIL

0.014%LATIN AmERICA AND ThE CARIbbEAN

15

AUsTRIA0.031%EUROPE39

ALGERIA0.013%AFRICA

16sWEDEn0.029%EUROPE40

soUTh AFRICA

0.012%AFRICA

17

GERMAnY

0.028%EUROPE

41

sLoVAKIA

0.012%EUROPE

18

AUsTRALIA

0.028%

ASIA-PACIFIC

42

bARbADos

0.012%LATIN AmERICA AND ThE CARIbbEAN

19

EsTonIA

0.026%EUROPE43

TRInIDAD AnD TobAGo

0.011%LATIN AmERICA AND ThE CARIbbEAN

20

sERbIA

0.026%EUROPE44bURKInA FAso

0.011%AFRICA

21

LATVIA

0.024%EUROPE

45

UnITED sTATEs

0.011%CANADA/USA

22

poRTUGAL

0.023%EUROPE46

IVoRY CoAsT

0.011%AFRICA23

poLAnD

0.023%EUROPE

47

ChILE

0.010%LATIN AmERICA AND ThE CARIbbEAN

24

ICELAnD

0.023%EUROPE

48

KoREA, REpUbLIC oF

0.010%

ASIA-PACIFIC25

URUGUAY

0.022%LATIN AmERICA AND ThE CARIbbEAN

49

GEoRGIA0.010%EUROPE50

pERU

0.010%LATIN AmERICA AND ThE CARIbbEAN

CISAC GLOBAL COLLECTIONS REPORT 2018 / 71

Membershipby region
121 countries - 239 members
SOCIETYEUROPE
48 countries
107 members

AAS
ABYROY
ACS
ACUM
ADAGP
AIPA
AKKA-LAAAKM
ALBAUTOR
ALCS
AMUS
ARMAUTHOR NGO
ARTISJUSASDAC
ATHINA-SADA
AUPO CINEMA
AUTODIAAZDG
BILDRECHT GMBH
BILDUPPHOVSRÄTT
BONO
BUMA
DACIN SARA
DACS
DAMA
DHFR
DILIA
DIRECTORS UK
EAUEVA
FILMAUTORFILMJUSGAI UZ
GCA
GEMA
GESAC

SOCIETYCANADA/USA
2 countries
16 members

AMRA
ARS
ASCAP
BMI
CARCC
CMRRA
CSCS
DGA
DRCC
SARTECSESAC INC.
SOCANSODRAC
SPACQ
VAGA
WGA

STATUSREPERTOIRE

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

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

STATUSREPERTOIRE

M
M
M
M
M
M
M
A
M
A
M
M
M
A
M
A

72 / CISAC GLOBAL COLLECTIONS REPORT 2018

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

COUNTRY/TERRITORYAZERBAIJANKAZAKSTAN
UNITED KINGDOMISRAELFRANCESLOVENIALATVIA
AUSTRIAALBANIA
UNITED KINGDOMBOSNIA AND HERZEGOVINAARMENIAHUNGARY
MOLDOVA, REPUBLIC OFGREECEUKRAINEGREECEAZERBAIJAN
AUSTRIASWEDENNORWAYNETHERLANDSROMANIA
UNITED KINGDOMSPAINCROATIACZECH REPUBLIC
UNITED KINGDOMESTONIABELGIUM
BULGARIAHUNGARYUZBEKISTANGEORGIAGERMANYBELGIUM

SOCIETYSTATUSGESTOR
HDS-ZAMPHUNGART
IMRO
IVARO
KAZAK
KODA
KOPIOSTOKUVASTOKYRGYZPATENT
LATGA
LIRA
LITA
LITERAR-MECHANA
MCPS
MESAM
MSG
MUSICAUTOR
NCB
NCIP
OFA
OOA-S
OSA
PAM CGPICTORIGHTPROLITTERIS
PRS
RAO
RUR
SABAM
SACD
SACEM
SACEMLUXEMBOURGSAIF
SANASTOSAZASREPERTOIRE

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

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

COUNTRY/TERRITORYCZECH REPUBLICCROATIAHUNGARYIRELANDIRELANDKAZAKSTAN
DENMARKFINLANDFINLANDKYRGYZSTANLITHUANIANETHERLANDSSLOVAKIA
AUSTRIA
UNITED KINGDOMTURKEY
TURKEYBULGARIA
DENMARKBELARUSSERBIACZECH REPUBLICCZECH REPUBLIC
MONTENEGRONETHERLANDSSWITZERLAND
UNITED KINGDOMRUSSIAN FEDERATIONRUSSIAN FEDERATIONBELGIUM
FRANCEFRANCELUXEMBOURG
FRANCEFINLANDSLOVENIA

SOCIETY

SCAM
SDADV
SETEM
SGAE
SGDL
SIAE
SOFAM
SOKOJ
SOPE
SOZA
SPA
SSA
STEF
STEMRASTIM
SUISA
SUISSIMAGETALITEOSTOTONO
UACRR
UCMR-ADAUFFICIO GIURIDICOUFWUPRAVIS
VDFS
VEGAP
VEVAM
VG BILD-KUNST
VISDA
ZAIKS
ZAMP - MACÉDOINESTATUS
M
P
M
M
A
M
M
M
M
M
M
M
M
M
M
M
M
M
M
M
M
M
A
A
P
M
M
M
M
M
M
M

ZAMP ASS. OF SLOVENIA M
M
ZAPA
P
ZPAP

REPERTOIRE

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

COUNTRY/TERRITORY
UNITED STATESUNITED STATESUNITED STATESUNITED STATESCANADACANADACANADA
UNITED STATESCANADACANADA
UNITED STATESCANADACANADACANADA
UNITED STATESUNITED STATESSTATUS WITHIN CISAC
M = member

A = Associate

p = Provisional

REPERTOIRESMU = music

D = Drama

AV = Audiovisual

L = Literature

AGp = Visual ArtsnR = No Repertoire

L
AV
AGP

COUNTRY/TERRITORYFRANCEANDORRATURKEYSPAINFRANCEITALY
BELGIUM
SERBIAGREECESLOVAKIAPORTUGALSWITZERLANDICELANDNETHERLANDSSWEDENSWITZERLANDSWITZERLAND
ISRAELFINLANDNORWAYUKRAINE
ROMANIAHOLY SEE (VATICAN CITY STATE)FINLANDRUSSIAN FEDERATIONAUSTRIASPAIN
NETHERLANDSGERMANY
DENMARKPOLAND
MACEDONIA, THE FORMERYUGOSLAV REPUBLIC OFSLOVENIAPOLANDPOLAND

Membershipby region
121 countries - 239 members

ASIA-PACIFIC
16 countries/territories
28 members

LATIN AMERICA& THE CARIBBEAN
24 countries
51 members

AFRICA
31 countries
37 members

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORY

SOCIETYSTATUSREPERTOIRECOUNTRY/TERRITORY

AMCOS
APG- JAPANAPRA
ASDACSAWGACSCA
CASH
COMPASSCPSNFILSCAPAACIMHABRAMUS
ACAM
ACCS
ACDAM
ADAVISADDAF
AEI- GUATEMALA
AGADU
AMAR
APA
APDAYCAPSAVARGENTORESARTEGESTION
ASSIM
ATN

BBDA
BCDA
BGDA
BMDA
BNDA
BUBEDRA
BUMDA
BURIDA
BUTODRACAPASSO
CMC
COSOMA
COSON

A
A
M
M
M
P
M
M
A
M

M
M
M
A
M
A
M
M
M
M
M
M
M
M
A
M
M

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

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

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

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

ANCO
CNRCMSE
CRSEA
IMPF
NGO-UACRROAZASAASTATUS
P
P
A
A
M
P
A

REPERTOIRE

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

AUTORARTEAUTVISBSCAPCOSCAP
COTT
CREAIMAGEN
DAC
DASC
DBCA
DIRECTORES
ECCO
GEDAR
JACAP
LATINAUTOR
REDES
SACIM, EGC
SACM

HONDURASBRAZILCOSTA RICA
TRINIDAD AND TOBAGO
CUBA
CUBA
BRAZIL
GUATEMALAURUGUAY
BRAZILPARAGUAYPERU
PERU
ARGENTINAECUADORBRAZILCHILE

COSOTACOSOZADALROGHAMROMASA
MCSNNASCAM
ODDA
OMDA
ONDA
OTDAV
RSAU
SACERAU

BURKINA FASOCONGOGUINEA
MOROCCO
NIGER
BENIN
MALI
IVORY COAST
TOGO
SOUTH AFRICACAMEROON
MALAWINIGERIA

New CISAC members as of June 2018
SOCIETY

JASPARJASRAC
KOMCA
KORRA
KOSA
MACA
MACP
MCSC
MCT
MOSCAP

AUSTRALIAJAPAN
AUSTRALIA
AUSTRALIA
AUSTRALIA
AUSTRALIA
HONG KONG
SINGAPORE
NEPAL
PHILIPPINESCOUNTRY

MOLDOVA, REPUBLIC OFETHIOPIARUSSIAN FEDERATIONBELGIUM
UKRAINECZECH REPUBLICBELGIUM

P
M
M
P
M
M
M
M
M
P

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

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

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

AGP
AGP
M
M
M
AGP
AV
AV
AV
AV
M
AV
M
NR
AV
M
M

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

JAPAN
JAPAN
KOREA, REPUBLIC OF
KOREA, REPUBLIC OF
KOREA, REPUBLIC OF
MACAU
MALAYSIACHINA
THAILANDMONGOLIAVENEZUELA
BRAZILBELIZEBARBADOS
TRINIDAD AND TOBAGO
CHILE
ARGENTINA
COLOMBIA
BRAZILMEXICOSAINT LUCIABRAZIL
JAMAICAURUGUAY
COLOMBIA
EL SALVADORMEXICOTANZANIA, UNITED REPUBLIC OFTANZANIA, UNITED REPUBLIC OF
SOUTH AFRICAGHANA
MAURITIUS
NIGERIANAMIBIADJIBOUTIMADAGASCARALGERIA
TUNISIARWANDA
EGYPTSACVENSADAICSAGCRYT
SASUR
SAVA
SAYCE
SAYCO
SBACEM
SCD
SGACEDOM
SICAM
SOBODAYCOM
SOCINPROSOGEM
SOMAAP
SPAC
UBC

SACS
SADIA
SAMRO
SCM-COOPERATIVASOCILADRA
SODAV
SOMAS
UNAC-SAUPRSZAMCOPSZIMURA

P
M
A
M
M
M
M
P

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

M
M
M
P
M
P
M
P
M
M
M

M
M
M
M
AGP
M
AGP
M

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

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

NEPAL
TAIWAN, CHINESE TAIPEIINDONESIANEW CALEDONIA (FRANCE)KOREA, REPUBLIC OFVIETNAM
AUSTRALIA
INDONESIAVENEZUELAARGENTINAMEXICOSURINAME
ARGENTINAECUADORCOLOMBIA
BRAZILCHILE
DOMINICAN REPUBLICBRAZIL
BOLIVIA
BRAZILMEXICOMEXICOPANAMABRAZILSEYCHELLESANGOLA
SOUTH AFRICA
CAPE VERDECAMEROONSENEGAL
MOZAMBIQUEANGOLAUGANDAZAMBIA
ZIMBABWE

Societies no longer CISAC members
as of June 2018:

REGIONEUROPE
AFRICAEUROPEEUROPEEUROPEEUROPEEUROPEMRCSNMÜSTPAPPRISACENCSACK
VCPMC
VISCOPY
WAMI

Societies having changed membership status as ofJune 2018: mASA is now a provisional member.

LATINAUTOR (URUGUAy, NO REPERTOIRE), UFW (FINLAND, L, D), GAI UZ (UZbEKISTAN, mU,
AV, D), UACRR (UKRAINE, mU, D), VISCOPy (AUSTRALIA, AGP), SADIA (ANGOLA, mU), ASDAC(REPUbLIC OF mOLDOVA, mU, AV, D, L, AGP), SETEm (TURKEy, AV).

CISAC GLOBAL COLLECTIONS REPORT 2018 / 73

Methodology
The CISAC Global Collections Report is based on domesticcollections reported to CISAC by its member societies
i.e. revenues collected by every society for the use of therepertoires it represents within its own country, or on amulti-territorial basis in some cases (e.g. digital licensing
in Europe).
Figures shown in this report exclude revenues received fromsister societies to avoid any double counting. Collections aregross collections i.e. before any deduction for administrative,
cultural or social purposes.
In this 2018 edition, collection data from 2013 to 2017 may
partially diﬀer from previous reports. This restatement is due
to a revised methodology in the declaration to clarify someincome ﬂows, speciﬁcally when a society is mandated tocollect revenues on behalf of other societies in the same
country for a speciﬁc type of use.
Collection trends are also impacted by the ﬂuctuating
number of CISAC members. When societies join CISAC
and declare their income, it will automatically increase
revenues in their countries.
The following tables show amounts and growth rates as
like-for-like comparisons before and after restatement.

74 / CISAC GLOBAL COLLECTIONS REPORT 2018PREVIOUSLY REPORTED DATA (EUR million)
Year

Music

Audiovisual

Visual Arts

Dramatic

Literature

Total

2013
2014
2015
2016
Repertoire
2017
Annual growth
5yr growth

6,746
6,909
7,497
8,006
8,336
+4.1%
+23.6%

475
499
574
578
611
+5.7%
+28.6%

122
142
181
174
208
+19.5%+70.4%

187
195
191
190
196
+3.2%
+4.9%

191
190
198
208
227
+9.0%
+18.7%

7,721
7,934
8,642
9,156
9,578
+4.6%
+24.1%RESTATED DATA (EUR million)
Year

Music

Audiovisual

Visual Arts

Dramatic

Literature

Total

2013
2014
2015
2016
Repertoire
2017
Annual growth
5yr growth

6,497
6,661
7,352
7,863
8,336
+6.0%
+28.3%

474
488
577
572
611
+6.8%
+28.9%

124
141
183
175
208
+19.0%+67.5%

187
192
191
189
196
+3.7%
+4.7%

191
186
202
215
227
+5.2%
+18.4%

7,473
7,668
8,505
9,015
9,578
+6.2%
+28.2%

METhoDoLoGY

The currency used throughout the report is the euro. Thisis for consistency and comparison purposes with previous
years, as well as because almost 40% of global collections
declared to CISAC are reported in euros, twice as many ascollections reported in US dollars.
The exchange rate of the euro is taken at its average 2017 rate.
All ﬁgures for previous years are converted into euros using
the rate of the year in question. year-on-year comparisons
are therefore made on a ﬂoating currency basis. Taking into
account the variations of value between diﬀerent currencies
shows author's right collections in the context of the evolving
international economic situation. It may in certain cases givea diﬀerent picture from reporting on a constant currency basis,
where only volume variations would be reﬂected.
The focuses on speciﬁc countries are expressed in local
currency to show the evolution of collections in that country,
independent of variations of the currency compared toeuro. In this case, currency is expressed with its three-letter
ISO code (ex: USD for the US dollar).
For the sake of clarity, collections ﬁgures have been rounded
up to the nearest million or thousand, except when said
ﬁgures are too small to be signiﬁcant, in which case one
decimal has been added. Percentages are calculated using
the actual unrounded ﬁgures.

CISAC GLOBAL COLLECTIONS REPORT 2018 / 75

Credits
CIsAC wishes to thank the following:
Front cover: ©cifotart
photos credits:
Inside pages: Jean-michel Jarre, Composer and Artist (CISAC President - France)© Peter Lindbergh (p.6) - Eric baptiste - CEO, SOCAN - Chairperson of the CISAC
board © Steve Carty Photographer (p.7) - Gadi Oron (CISAC Director General - Paris)©Petar Glebov/PIXSELL (p.8).
Translation/editing: Emmanuel Legrand, marco Foley/652South, hélène Caruyer,
Paz Juan Gutiérrez.
published by the Communications Department of CIsAC – november 2018.
Graphic design: Olivier Noël, ON.
printing: ICA-38230 Tignieu-Jameyzieu, France - Nov.2018

Bellefaye!
The film industry & audiovisual database76 / CISAC GLOBAL COLLECTIONS REPORT 2018+33 1 40 37 85 23

www.bellefaye.com

NOTESCISAC GLOBAL COLLECTIONS REPORT 2018 / 77

NOTES78 / CISAC GLOBAL COLLECTIONS REPORT 2018

NOTESCISAC GLOBAL COLLECTIONS REPORT 2018 / 79

NOTES80 / CISAC GLOBAL COLLECTIONS REPORT 2018

TUE. 4 - FRI. 7 JUNE 2019
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CISAC

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