Orchestras | FIM Recommendations for a safe return to work
I. Preamble
1. The covid-19 outbreak has led governments to close all live performance venues and prohibit open-air concerts as soon as their countries were hit by the pandemic. Three months later, these measures have brought the music sector to its knees. Where financial support has been made available for musicians, orchestras or ensembles, it is generally limited in size, scope and duration. In many cases, musicians are not eligible to any support.
2. There is a common desire of musicians, employers and audiences to re-open concert halls as soon as possible, to allow the artistic activity to resume.
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Covid-19 | Response of musicians’ unions
Last updated: 13 November 2020
You will find hereafter national reports by musicians’ unions on the situation in their respective countries re. the Covid-19 crisis, its consequences on the music sector and the response that they have developed in support of musicians whose jobs and revenues are impacted by this crisis.
Click on a country to display information
EU | Status and working conditions in the creative sector
According to the Commission, this study, commissioned from the European Expert Network on Culture and Audiovisual (EENCA), comes within the scope of objectives for the New European Agenda for Culture adopted in 2018. Among the aims is helping the Member States ensure fair remuneration for workers in the creative sector through social dialogue and the implementation of an ecosystem favourable to such workers.
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Belgium | ONB sentenced for breaching musicians’ neighbouring rights
In a joint press release issued on 20 October 2020, Belgian unions CGSP Culture & Media, CSC-ACV Transcom and SLFP-VSOA welcomed with satisfaction the court decision ordering the distribution by the Belgian National Orchestra (ONB) of video recordings unauthorized by musicians to be stopped.
Negotiations had taken place between the orchestra management and unions over the amount of remuneration to be paid to musicians in exchange for the transfer of their exclusive rights. After the failure to reach an agreement, the ONB decided unilaterally to make several video recordings available to the public without the prior authorisation of the musicians and their unions, for a lump-sum remuneration arbitrarily fixed at €600.
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Argentina | Demise of María Laura Vigliecca
The Argentinian union SADEM and the Latin American group of FIM are in mourning after the demise of María Laura Vigliecca, member of SADEM’s management and president of OSDEM (Obra social de músicos).
A long-time trade unionist and a committed feminist, María Laura participated in several FIM meetings in Latin America, bringing her energy, experience and exceptional charisma. In October 2018, her presence at the FIM regional conference dedicated to the rights of female musicians (Montevideo) significantly contributed to the success of this event.
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EAEA-Pearle* press release re. EU recovery plans
Brussels, 14 October 2020
European Social Partners of the Live Performance Sector call for a coordinated action plan to secure the recovery and sustainability of the European cultural sector
PEARLE*- Live Performance Europe representing over 10 000 organisations and the EAEA – European Arts and Entertainment Alliance, representing more than 150 unions, guilds, and associations and over 600 000 performers, technicians and staff in the music, performing arts and live sector – are calling on the EU institutions and national governments to adopt a coordinated approach including short-term support measures and long-term investment to save the European cultural sector amid a resurgence of the Covid-19 pandemic across Europe.
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FIM Vice President Roméo Dika in danger
Since he left the Presidential political party, Cameroonian musician Roméo Dika – also president of musicians union SYCAMU and FIM Vice President – has been the subject of serious intimidation in his country. Today, he fears for his safety and that of his family.
As well as freedom of expression, freedom of opinion is an essential value in Democracy. Like the entire trade union movement, FIM is deeply attached to the protection of this fundamental freedom and wishes to express here its most profound concern.
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Revenues from audio streaming: the figures don’t add up
The figures published by the industry are clear: since 2012, the music streaming market has been progressing continuously. This growth is accelerating year after year, in a spectacular way. In the United States, streaming-generated revenues for 2019 exceeded the total recorded music market for 2017 (RIAA data). The trend is the same on the British market, where figures for 2019 set new records: for the first time, the annual number of streams exceeded 100 billion (BPI data).
As the streaming economy develops, the questions grow as to the way in which revenues are divided between the various sector players.
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Opera Australia | International support for the MEAA campaign
Throughout the world, live entertainment is undergoing serious constraints, following government decisions taken in response to the Covid-19 pandemic. These constraints have brought about a drop in resources and serious disorganisation of programmes, in particular where symphony orchestras or operas are concerned.
In the face of such an unprecedented situation, it is essential for all stakeholders to work together to come up with suitable strategies, in order both to protect jobs and the missions of these institutions, over the short, medium and long terms.
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UK | Fix streaming to Keep Music Alive
The Covid-19 crisis has hit music performers hard. Gigs have been cancelled, festivals and performances postponed, and recording studios closed. It has brought into sharp relief the fact that musicians are sustained primarily by income generated by the live side of the music business and that streaming royalties are woefully insufficient.
It would take 53 million Spotify streams to break even on a € 24,000 loss, a figure that is unattainable for most musicians. In the UK, one in five respondents to an MU survey said they were considering leaving music altogether.
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