1. Lecture 10; artist rights and organisations

3.  BUMA/STEMRA/SENA: Take care of the repartition of money of authors rights in music

4.  (Since 1913) BUMA arranges the payment of the composers and arrangers for live music and live broadcasts:  Performance Rights: for creating artists  For composers/arrangers ▪ Concerts, live performances, discothecs, Shopping Malls etc.

5.  (Since 1936) STEMRA deals with recordings:  mechanical productionright  also for creating artists  For composers/arrangers ▪ Cd´s, recordings etc.

6.  (Since 1993) SENA: deals with the artists rights of the performing artists:  Naburige rechten: the playing of your performance anywhere: broadcasts on radio, horecagelegenheden, schools, etc.  For musicians ▪ Everywhere except in private gatherings: ▪ omroepen, horecagelegenheden, discotheken, warenhuizen, scholen etc.

8.  Authors right is obtained automatically when you create something original and creative.  Mention of © is not necessary  To prove it existed on a certain date (not the ownership!): register the date through:  Belastingdienst: Free, but only on paper  Benelux Bureau voor de Intellectuele Eigendom (BBIE)  Notary  Commercial companies  To send it to yourself in an sealed envelope, by registered mail (aangetekend) doesn’t do the job.

9. Mentioning name Mentioning name and equal sharing Mentioning name and non commercial use Mentioning name, non commercial use and equal sharing Mentioning name and no adaptations Mentioning name,.non commercial and no adaptations

10.  How to earn a living as a arts entrepreneur  Income by earnings  Income through activities  Income by other means  Subsidies  Sponsoring  Donations

11.  Foundation or a local/regional/country government  Have a non-commercial target  Pay you money

12.  Companies  Have a commercial goal  Want to benefit from sponsoring  Pay you in money or “in natura”

13.  Several goals:  Not only money, but also image, communications, publicity etc.  Giving on a voluntary base  The mayority of the money has to be spend on the cause (25 % rule)  A donor doesn’t get influence

14.  Subsidies  More formal  Structured applying  Rules are clearer  Non commercial approach  Sponsoring  Mostly informal  Can be very different  No rules  Presentation even more important  Commercial approach

15.  More than 600 funds in the Netherlands  Groot Fondsenboek  Fondsendisk  Internet

16.  Aim: support of projects which help making a better and more liveable society.  Budget 30.000.000 E  Procedure  Online formular plus project plan

17.  Aim: Culture and Nature  Budget 26.800.000  Procedure: lots of funds under one umbrella: Committee decides which fund is applicable

18.  Aim: stimulate cultural entepreneurship  31.000.000 Euro per jaar

19.  Gemeente Utrecht:

20.  Provincie Utrecht  Twice a year a round  Max 7.500 € per project  Always look at the goals they formulate

21. Fonds Podiumkunsten Performing Arts Funds 4 year funding 2 year funding Project funding Individual funding 60 milion p.y.

22.  http://www.fondspodiumkunsten.nl/toekenni ngen/tweejarige_projectsubsidie/ http://www.fondspodiumkunsten.nl/toekenni ngen/tweejarige_projectsubsidie/  http://www.fondspodiumkunsten.nl/toekenni ngen/vierjarige_subsidie/periode_2009- 2013/muziek http://www.fondspodiumkunsten.nl/toekenni ngen/vierjarige_subsidie/periode_2009- 2013/muziek

23.  Fill out form  Write a letter  Budget estimation  Add promotion/demo material

24.  What is a budget estimation?  How do you calculate is?  How much do you have already?  How much do you need?  For what do you need it?

25.  Look at amounts given to others: read year- accounts  Look up average in the Groot Fondsenboek

26.  Spreekuur VSB  Spreekuur Prins Bernhard Fonds

27.  Think about your offer  Find a company that you think can benefit from your project  Find the right person  Make personal contact

28.  Sponsorcontract  Rights and obligations  Money and goods vs communication  Communication through association

29.  Growing competition  From function to image  Importance lifestyles  Way to distinguish

30.  Sponsoring is used for:  communication  to certain target groups  In a better, efficient, faster, cheaper, distinctive way  Sponsoring is part of communication

31.  What will we organize?  How much does it cost?  Where do we go for financial support?

32.  There are different forms of organisation: for- profit or non-profit  Choice for certain form has consequences for possibilities  Besides regular income you can also get money or other things from subsidy, donations or sponsoring