“We play so that they do not touch the INAMU.” That is the slogan of the festival thata Union of Independent Musicians (UMI) organized for this Tuesday the 23rd, National Music Day, in defense of DRINKING, before the imminent treatment of the so-called “Omnibus Law”. The concert not only supports INAMU, but also the different bodies that promote culture and the collective management of intellectual property. The event is at the Club Atlético Fernández Fierro, Sánchez de Bustamante 772, with free admission until the capacity of the emblematic Buenos Aires Abasto room is exhausted.
The grid includes the presentation of Fabiana Cantilo, Richard Coleman, Hilda Lizarazu, Fena Della Maggiora, The Chemical Wedding, Richter, Isabel de Sebastián, Sofia Viola, Barbarita Palacios, Javier Casalla, Lorena Astudillo, Sol Bassa, Juane Pelegrin and Maryta de Humahuacaamong other figures on the local scene.
”This law deals with everything that has to do with the promotion of culture in general, and the arts in particular, from the logic of the market. Then, competition is deeply encouraged and art, or artistic productions, are treated as if they were mass-produced products,” he explains. Diego Boris, one of the main promoters and former vice president of the UMI (2002-2009), one of the drafters and promoters of the draft Law for the Creation of the INAMU, also known as the Music Law, and former president of said organization in two terms (2014 -2018; 2018-2022). consulted by ROLLING STONEthe current president of INAMU, Bernabé “Buco” Cantlonavoided publicly referring to the issue, since he is holding meetings and negotiations at the institutional level.
“For example, someone manufactures glasses and optimizes costs and, then, at the same cost with which they manufacture 50 glasses, they manage to manufacture 100, then each glass will be cheaper and they will be able to sell a greater quantity. But that logic cannot be transferred to artistic productions. Nobody is going to compose more songs, nobody is going to write more books. These are situations that have nothing to do with the economy of culture, where each support that is granted triples or quadruples the investment of the artists themselves who carry out their productions. “So there is something on the basis that it is wrong,” argues Boris, who was the representative of the sector in the Commissions of Deputies. There he not only defended INAMU, but also the specific development organizations and the collective management of Intellectual Rights. At the end of his presentation he included audios of Atilio Stampone, Leopoldo Federico, “Donvi” Vitale, Mercedes Sosa, Gustavo Cerati and Luis Alberto Spinettarecorded in 2008, supporting the National Music Law.
But that is not the only thing that Boris, representing the sector, questions. “If we really wanted to improve the functioning of the organizations linked to the sector, the logical thing would be to send the project in ordinary sessions with each of the organizations and, there, debate to see what can be optimized, how to improve administration and resources, and take the time that each area of culture deserves. Theater, cinema, music, plastic arts… They try to equalize the different situations of the arts as if they were all the same. That is a second conceptual error. And the third is that the modifications they propose in each of the institutes have nothing to do with the reality of the institutes. In the case of INAMU, the original proposal was to nationalize it. Paradoxically, they proposed eliminating a public, non-state entity. Because the approval of the management is not held by the Executive Branch, but by the 24 secretariats or ministries of Culture at the government level of the 23 provinces and the Autonomous City of Buenos Aires,” he explains.
“I believe that this DNU intends to affect the best that each of the bodies for the promotion of culture have, as if it really bothers that there is a free culture. Because there is no point in declaiming the concepts of freedom if you do not have the exercise of freedom. In a country as extensive as ours and so federal, the only way, as Arturo Jauretche said, is for us to equalize and then leave. Because there they will be in the same conditions. A musician or a musician or an artistic project who lives near urban centers or who has the financial resources to carry out a project is not the same as groups or soloists 300 or 400 kilometers from the capital of a province, where they really the means of production are further away. So it is just an economic equation for artistic freedom to exist, for us, which is the most precious asset. But, beyond the particularities of INAMU, there is a conceptual error in how the promotion of culture and its relationship with the economy of culture is viewed,” maintains the musician and leader.
There is another issue that is not minor. According to an article in Télam, among the modifications proposed by the project sent to Congress is the decentralization of entities such as Sadaic (Argentine Society of Authors and Composers of Music) and Argentores (General Society of Authors of Argentina). This is regulation 11,723 that protects the rights of authors of scientific, literary, artistic or educational works. This would cause these groups to lose their status as the sole representation of each artistic field and share this task with other groups or even artists who, individually, wish to manage their copyrights.
By modifying the law, the centralized logic of the management of each company is broken so that each artist and each performer or rights holder can decide if they want to carry out the management independently or put the collection they collect in the hands of these management companies. currently does.
This also opens up the possibility of individual or collective management, since you cannot choose both. It also enables the creation of new collective management entities that will be audited and regulated by the national copyright directorate that depends on the Ministry of Justice. This establishes deadlines for the redistribution of the collection that may not be longer than one year.
“The law that Argentina has is really the envy of collective management entities around the world. It is a law that had been promoted by Homero Manzi, by Enrique Santos Discépolo, by very committed people, who managed to make societies understand that there is intellectual property that is more genuine than ownership of physical goods. Why is it more genuine? Because it is a product of creation, it is not just a product of economic exchange. If someone creates a song or a literary work or a movie script, there is clearly something of their own that is non-transferable. “So why treat physical property differently than intellectual property?” he asks.
For its part, the Argentine Association of Interpreters (AADI), on Monday the 22nd, addressed a letter to each of the Deputies requesting the complete rejection of the Intellectual Property chapter (inserted in the title “Justice”) of the Bill known as Law bus.
In addition to AADI Directors such as Susana Rinaldi -The note accompanied a video of the President of the entity-, Zamba Quipildor, Teresa Parodi o Guillermo Novellis (vocalist of La Mosca), the note was signed by thousands of musicians from all over the country. Led by León Gieco, Elena Roger, Marián Farías Gómez, Victor Heredia, Juan Carlos Baglietto, Celeste Carballo, Alejandro Lerner, Pedro Aznar, Lito Vitale, Jairo, Julia Zenko, Liliana Herrero, Hilda Lizarazu, Marilina Ross, Bernardo Baraj, Rodolfo Mederos, Miguel Cantiloamong many others.
The note states that the Project is a lethal attack on the collective management of rights “which is at the heart of national culture and which has been operating in our country for more than 100 years and whose economic sustainability does not depend at all on money.” public or financing by the State while affecting the right of Argentine interpreters.”
In the note they clarify that AADI is a non-profit civil association, which does not manage or receive public funds, and does not set the fees that are authorized by the State.
AADI denounces that “they want to erect a state office with absolute powers over collective management, to the point of giving or removing authorization to operate, and when that happens in the field of culture, then we have to think about censorship.”
AADI thus joins the challenge to the project that other cultural entities such as Argentores, SAGAI (Argentine Society for the Management of Actors and Performers), DAC (Argentine Cinematographic Directors) and SADAIC (Argentine Society of Authors and Composers of Music) have made public. ).
2024-01-24 00:08:50
#Artists #music #industry #organize #reject #Omnibus #Law #Milei #government
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