We Ariet Un Editorial

Winter • 2015 WE ARE UNITED EDITORIAL Winter • 2015 BY SOPHIE DESCHAMPS, PRESIDENT OF SACD ED WE ARIET UN N°169 EDITORIAL by Sophie Deschamps, President of SACD p.03 TRIBUNE by Pascal Rogard p.04 Authors’ rights under threat FEATURE p.06 Artists in the classroom Artists in the classroom. Take 4 Mohamed Hamidi : “Giving a boost” Find full information on ENCOUNTER p.10 François Morel www.sacd.fr “In my writing, I like to leave plenty of scope for the audience’s imagination.” Android© Iphone© LIVE PERFORMANCE p.12 French writers performed abroad INTERACTIVE CREATION p.14 Transmedia for dummies DANCE p.16 Join us on 30 years of dance Facebook SERVICES www.facebook.com/SACD.fr Avantages p.18 A pension plus a job: all change p.19 DIARY p.20 Follow us on Ahmed, Bernard, Cabu, Charb, Clarissa, Elsa, Franck, François-Michel, Frédéric, Winter 2015 festivals and shows Twitter Honoré, Michel, Mustapha, Philippe, Tignous, Wolinski, Yoav, Yohan. CULTURAL ACTIONS p.22 @SACDParis SACD Funds CONTENTS winter 2015 • Le MAGAZine • SACD 3 TRIBUNE “Without Europe, the future of cultural diversity would be traced out in dotted lines. But without Authors’ rights culture and without authors’ rights, what future would there under threat be for Europe?” BY PascaL ROGARD, CEO “Break down national barriers in matters of authors’ has either dented the dynamism of European crea- intention of soon offering its subscribers a “travel” “Creators” have quite simply disappeared. rights regulations.” This is not an order discovered tion or rendered impossible the circulation thereof option for watching programmes outside France, Does that make Europe nothing more than a market, in the archives of former President of the European throughout Europe. It is without doubt even in part proving that the programmed shake-up of authors’ emptied of any cultural ambition, in short a land of nguerand E Commission, José Manuel Barroso, but the roadmap thanks to what Mr Juncker rights is neither pertinent nor necessary. consumption where the most powerful businesses sketched out by his successor, Jean-Claude Juncker, calls “national obstacles” - the diversity of languages It is obvious that Europe must harness the resources that control distribution supply consumers with the gence gence A © for his commissioners in charge of digital technolo- throughout Europe and the organisation of funding of digital technologies to facilitate the exploitation of cheapest possible offering? That’s all? gies - the Estonian Andrus Ansip and the German based on national markets - that abundant creation works, to improve their currently insufficient availa- Such a market is a lose-lose situation. A lose situa- Günther Oettinger. (which is one of the good things about Europe) can bility on video-on-demand platforms, and to increase tion for European businesses that distribute and The rhetoric is unnecessarily aggressive. But at least thrive and express itself. the public’s access. But it must do so lucidly and res- disseminate works, that respect commitments to the message is clear: create a single digital market It would be good for everyone to recognise that these ponsibly, without destabilising the funding of creation finance and disseminate European creation, and that in Europe by destabilising, by dismantling, by brea- “obstacles” are the sign of true linguistic diversity on or undermining writers’ remuneration. will have difficulty in coping with – the often unfair - king down authors’ rights. the European continent, which no politician has yet Sadly, the European Commission has not chosen that competition from American giants on the net. A lose This is obviously startling coming from a recently dreamt of criticising, and which make it possible to route. It has set its course for a single digital market, situation for creators as they will find it even more elected President, whom one would gladly have optimise the sale of programmes and films in order a horizon beyond which it will not travel. difficult to finance their works and ensure they are believed inclined to tighten the links that have slac- to pre-finance a work. This reflects, first and foremost, an obvious lack widely exposed. A lose situation for the consumer, kened between the European Commission and the This battle that the European Commission seems to of courage by those for whom it is easy, on the one who will see diversity shrink. A lose situation for the world of creation, particularly as the very same man, want to wage against authors’ rights is all the more hand, to stress the need to develop digital services ideal that Europe offers fertile soil to the cultural Jean-Claude Juncker, declared in Paris in 2005 that senseless as authors’ rights have nothing whatsoe- offering works without, on the other, saying a single diversity that is so important to us. “culture does not lend itself to stupid regulations.” ver to do with territorial restrictions pertaining to the word to vilify fraud or taking measures to counter A market, even a single market, does not engage in He still has time to go back to his earlier way of thin- dissemination of works. Bertrand Tavernier said as illegal offerings. They need to explain to us exactly politics, does not issue regulations, does not encou- king and refuse to follow the crowd that wants to turn much recently (on www.euractiv.fr): writers are the how legal and – very often free – illegal services can rage European creation. European institutions have authors’ rights into an abominable obstacle to acces- first to want their works to circulate, be broadcast survive side by side! an eminent role to play in the silence of this market. sing works. and be seen by the public; remuneration for writers It also betrays the lack of vision of those who, forget- The same applies to safeguarding authors’ rights. This negative vision of authors’ rights is sadly not new. is quite simply not responsible for territorialised ting the words of Jacques Delors (“you don’t fall in Since Beaumarchais, they have kept the freedom of Even back in the ‘80s, when the directive for TV wit- funding – this is part and parcel of the commercial love with a single market”), will have difficulty brea- expression alive and supported funding for creation. hout borders was being drawn up, European civil ser- practices surrounding the sale and the commercia- thing the magic back into the European dream, cur- The same also goes for the future of remuneration vants couldn’t find words harsh enough to combat the lisation of works. rently in a sorry state, running the risk of plunging us for creators and the integration of digital players into territorialisation of rights – pertaining to football or to This confusion is dishonest, fuelled by those who into the nightmare of an iniquitous market. cultural policies. It is essential that we continue to films. They even lobbied for the creation of a new right would like to use it to reform in depth authors’ rights You have to read all of the speeches by commissio- strive towards this goal so that Europe continues to – that of any expatriate in the Belgian capital to access and the directives surrounding them. Yet access to ners who have erased the word “creators” from their use its mind and its culture to write its History. works available in his or her country of origin. audio-visual services, including catch-up TV, could vocabulary. Meanwhile, “works” have become indis- Without Europe, the future of cultural diversity would Some 30 years later the demand is still the same. be improved and facilitated in the wake of commer- tinct “content”, the “public” and “audiences” are now be traced out in dotted lines. But without culture and Yet one cannot say that funding and commercialising cial discussions between rights holders and audio- referred to as “consumers”, “culture” and “creation” without authors’ rights, what future would there be films and audio-visual works territory by territory visual service operators. Canal+ has announced its have given way to “creative and cultural industries”. for Europe? 4 SACD • Le MAGAZine • winter 2015 winter 2015 • Le MAGAZine • SACD 5 FEATURE What THE PUPILS HAVE to say “It was really moving to meet him, especially for me. I think his visit triggered some vocations among the pupils” Fatoumata D., a 15-year-old at Missy middle school in Artists in the classroom. Take 4. La Rochelle after meeting scriptwriter Franck Philippon. Another session of Un Artiste à l’École, promoted by France’s Ministries “These are very interesting jobs that we for Education, Culture and Communication, will take place from 2 February don’t usually hear about. We got an insight to 26 March 2015. The figurehead this year is Mohamed Hamidi. A key value: into things we’re not familiar with.” transmission. BY caroLINE coLLARD A 16-year-old pupil at Lycée Hoche, Versailles, after meeting composer Béatrice Thiriet. Since 2012, when it all began, a total of forty or so artists – wri- Najat VaLLAUD-BELKacem, Fleur PELLERIN, ters or producers in the fields of Minister for Education, Higher Minister for Culture SACD audio-visuals, live performance, Education and Research and Communication © Participants in music, writing and the graphic Bertrand Tavernier at Lycée Henri IV in 2014 arts – have participated in Un ar- “Un Artiste à l’École is based on “Culture is the best rampart the 2015 programme tiste à l’École, a project invented by an idea in which I strongly believe: against exclusion and Pascal Rogard, CEO of SACD, and welcoming artists and creators incomprehension, which is why tory teacher, sometimes their phi- for both pedagogy and culture. Figurehead: Mohamed HAMIDI, organised by the association La into our schools will encourage a artistic education – administered losophy teacher).

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