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As is seen in the Copyright and Royalties Chart, tracking the export of royalties since 2002, the primary recipients of royalties are England and the USA. Regional recipients receive much lower levels of royalties, re?ecting the music played in Barbados but also, in the case of Jamaica, the fact that many songwriters and publishers are actually members of English and American CMOs. There are a number of issues including the extent of use of local and regional music, which must be addressed regionally, which affect the level of royalties earned locally and regionally: • The regional taxation regime, withholding taxes on royalties earned within CARICOM are subject to 15% taxation. This places regional rightsowners at a disadvantage as more favourable non-resident withholding tax rates afforded citizens in countries, which bene?t from double taxation treaties with rates lower than the 15% rate, which exists amongst CARICOM territories. • The need for regional countries to sign double taxation treaties with more treaties, which afford lower withholding tax rates on incoming foreign royalties. Nonetheless, COSCAP has licensed digital monitoring software, which allows it to independently monitor local airplay on radio, television and the Internet. Licensing COSCAP collects from a wide variety of music users. Licensing fees are based on a schedule of tariffs, which are based on the type of music, the size of the audience and admission fees if any among other parameters. As is seen in the chart below, the largest single source of revenue from public performance, which does not include broadcast are permits (single events). These include major live events such as Crop Over and the Reggae Festival in addition to smaller events such as fairs and corporate events. Other signi?cant sources of revenue include shops, restaurants and hotels. International Relations Copyright COSCAP is a member of the International Federation of Societies of Composers and Authors (CISAC) and the Caribbean Copyright Link (CCL). In 2010, CISAC membership consisted 229 authors’ societies from 121 countries and it indirectly represents around 3 million creators and music publishers within all the artistic repertoires: music, drama, literature, audio-visual, graphic and visual arts. These organisations, according to the rights administered are linked through reciprocal agreements, which allow them to represent each others repertoire in the respective territories. CISAC was founded in 1926 and is a non-governmental, non-pro?t organisation (www.cisac.org). COSCAP currently has reciprocal and international agreements with 36 agencies in the USA, UK, Europe, Africa, Asia, Latin America and the Caribbean CCL is the regional is the regional umbrella body of CMOs and it was the genesis of Gv??VWF??w3?v?&?B??FV??V7GV?&?W'G??&v??6F????t???&Vv?????VWF??r?b?VG2?b??FV??V7GV?&?W'G??n??6W2?b6&?&&V?6?V?G&?W2??rt?????7FW&???WfV??VWF??r????FV??V7GV?&?W'G?f?"6&?&&V?6?V?G&?W2??r44??2&VV?7F?fV?v?&???rv?F?7F?V???FW'2F?&?Vv??WBF?R6&?&&V?&???F??rF?RW??6????b6???V7F?fR??vV?V?B?F??2?2??6?VFVB?VWF??rv?F?F?R?V?&W'2?bF?R6&?&&V?'&?F67F??rV?????4%R??6??7V?FF???2??f&??W2?6??G2?B?VWF??w2v?F?f&??W2??7???W'2?Bv?fW&??V?B&W&W6V?FF?fW2?wwr?62??????WB??&V?FVB&?v?G2??FW&?2?b&V?FVB&?v?G2?4?44?26??6R#R?BfW'?6??6R&V?F???6??v?F?F?R??FW&?F????fVFW&F????bF?R????w&??2??GW7G'???e????e?&W&W6V?G2F?R&V6?&F??r??GW7G'?v?&?Gv?FRv?F??fW"?C?V?&W'2??sR6?V?G&?W2?Bn???FVB??GW7G'?76?6?F???2??C?6?V?G&?W2??G2??FW&?F????6V7&WF&?B?2&6VB?????F???B?2???VBF?&Vv?????n??6W2??''W76V?2????r???r????B??66?r?4?44&W&W6V?G2??F?RV?v?6?7V???r6&?&&V??W?6WB???6?F?R&?v?G2?b?G2?V?&W'2???&R&V6V?F??4?44?2&V6??R?V?&W"?bF?R?&W&??F???W&?6?fVFW&F????b7F?'2?BW&f?&?W'2?d???R??d???Rv2f?V?FVB????"B?VWF??r?b6?6?WF?W2&W&W6V?F??r7F?'2?BW&f?&?W'2?B?G2?V?&W'6????6?VFW2??7B?F???W&?6?6?V?G&?W2?7???B?'GVv??F?&?Vv??G2?V?&W'6???bd???R?F?W&R&R??2F?v?&?6???&?&F?fV?F?&?Vv??WBF?R&Vv???VGV6F??r?BG&????rW&f?&?W'2?????R?6????f??V?R#???V'???&6?#??wwr?7&VF?fV??GW7G&?W6W?6??vR?6????p???