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	Your opinion as an active professional in the field of immaterial cultural patrimony and traditional music in particular, would be of great help to us, as would be your collaboration in recording the present-day practices and usages in this field of activity. A summary of the results of this enquiry, as well as a résumé of our works and, eventually, the conclusions and recommendations as to the use of immaterial patrimony will be accessible to all participants (1) of this enquiry on the "law & patrimony" page of the site www.colophon.be Thanking you in advance for your collaboration, G.P.i.(1) The list of all the professionals approached in the framework of this enquiry is published at the bottom of this page and updated on the "droit & patrimoine*" page.

* The G.P.i.
Groupe Patrimoine immatériel (Immaterial Patrimony Group), is currently made up of representatives of the SABAM (Belgian society of Authors, Composers and Publishers), of
La Médiathèque (Belgian French-Speaking Community lending service), of the lawyers
Lallemand & Legros (Brussels) and the Belgian association for development education, Colophon, also producer of traditional music records.

If you encounter problems, you can download and print a PDF version of the questionnaire and send it by fax or post to:

COLOPHON asbl
25 rue Gratès -1170 Bruxelles BELGIUM
Fax : 00.32.2.675.83.27

PLEASE identify yourself:

Name of the organisation / institution / company that you represent:

Name and surname:

Office, position, profession:

Languages spoken:

Complete postal address for follow-up:

Street / n°:
City :
Postal code :
Country :
Telephone :
Fax :
Email address :

QUESTIONNAIRE

1.	In what domain of production and / or distribution of immaterial patrimony do you operate ?
		CD audio
		DVD / Films
		Concerts / shows
		Medias (written press, radio, TV,...)

2.	In the context of this activity, who are your usual interlocutors ?
		the musicians (artists, performers)
		the representatives or intermediaries (tour managers, collection agencies, producers,...)
		others and miscellaneous (composer societies, public institutions, cultural organisations,...)

3.	What kind of legal or comparable document(s) do you use to formalise this activity ?
		a contract (publishing or production)
		an authorisation, a certificate, …
		an accounting document (order form, receipt, invoice,…)
		others (give details)


4.	The type of document that you use mainly defines:
		proprietary rights (royalties, remuneration, commissions, etc.);
		moral rights (conditions of use, …);
		*proprietary and* moral rights;**
		others (give details)

5.	Does this legal framework oblige you to mention or disclose:
	5.1	- the name of the artists / performers ?
		yes
		no
		but we take this initiative :	sometimes
			systematically
			never

	5.2	- their geographical origin ?
		yes
		no
		but we take this initiative :	sometimes
			systematically
			never

	5.3	- their membership of a cultural or other group ?
		yes
		no
		but we take this initiative :	sometimes
			systematically
			never

	5.4	- information about the repertoire ?
		yes
		no
		but we take this initiative :	sometimes
			systematically
			never

	5.5	- the practice of the artists / performers ?
		yes
		no
		but we take this initiative :	sometimes
			systematically
			never

	5.6	- the date and time of the performance ?
		yes
		no
		but we take this initiative :	sometimes
			systematically
			never

	5.7	- other comments (give details)



6.	Are the artists or performers directly involved in your procedure ?
		exceptionally
		sometimes
		regularly
		systematically

7.	Is the musical practice or original repertoire modified or adapted to suit the needs of your activity ? (intervention as to duration, number of performers, etc.)
		exceptionally
		sometimes
		regularly
		systematically

8.	What means of payment do you generally use for this activity ?
		single lump sum payment ;
		royalties proportional to sales or revenue ;
		advances on royalties with a guaranteed minimum ;
		lump sum and royalties ;
		other (give details)

		payment of expenses

9.	To whom is the payment generally made ?
		to the musicians (artists, performers)
		to a professional organisation to which they belong to (institution, cultural organisation, association…)
		to a professional intermediary (tour manager, collection agency, manager, producer,…)
		others (give details)


10.	In the framework of your activity do you carry out follow-ups with your interlocutors ?
		systematically
		occasionally
		randomly
		no follow-up

11.	Do you believe it is necessary to legislate to protect immaterial patrimony and limit or monitor the way it is used ?
		certainly not
		the question is worth looking into
		absolutely
		no opinion / not concerned

12.	Would you be willing to reconsider and voluntarily adapt your professional practice according to justified recommendations ? (without constraint or legal obligation)
		no
		maybe
		certainly
		no opinion / not concerned

13.	Would you be willing :
		to participate in a more in-depth enquiry ?
		participate in a think tank ?
		spread our conclusions ?
		give us details of contributors likely to be interested in our work ?
		pass on your standard documents (examples of contracts, etc).
		other (give details)

Your comments :

By this order you will erase all your answers, even the identification !

thank you for your participation.

The professionals approached

Accords Croisés (France / F), ARC Music (United Kingdom / UK), Arion (F), African Music (Burkina Faso / BF), Asphalt Tango Production & Records (Germany / D), BBC Radio 3 (UK), Bazar Musique (BF), Best Radio (Grèce), British Council - Performing Arts Dpt (UK), Buda Musique (F), Caprice (Suède / S), CENEDIM (Mexique / M), Choice Music & Connecting Cultures Records (Netherlands / NL), Choice Music Medien Germany (D), Cinq Planetes (F), CNI - Compagnia Nuove Indye (Italy / I), Cobalt (F), Colophon (Belgique / B), Concerts Sweden (S), Conseil Francophone de la Chanson (B), Contre Jour (B), Coop Breizh (F), Crammed Discs / Ziriguiboom (B), Creon Music (F), Czech Radio 3 – Vltava (Czech republic / CZ), Daqui (F), Deutschland Radio Berlin (D), Disques Arion (F), Disques Chant du Monde - CNRS Musée de l'Homme (F), Disques Inédits (F), Diva - Musiques des Mondes (F), Divano Production (B), Drone Music AB (S), Dunya Foundation (NL), EFWMF (B), Elefteriades Productions (Liban), EMI Hemisphere (UK), Emma Productions (F), Espace Senghor / Centre Culturel d'Etterbeek (B), Etnisk Musikklubb (Norway / N), Faso Ambiance (BF), Felmay S.R.L. (I), Festival Couleur Café (B), Festival d'Art de Huy (B), Festival Les Escales (F), Festival Musicale Del Mediterraneo - Echo Art (I), festival of World Cultures (Irlande / IR), Festival Voix des Femmes (B), Fiesta des Suds (F), Finnish Folk Musik Association (Finland / FL), Finnish Musik Information Centre (FL), Folquébec (Canada / C), Fonti Musicali (B), Freemuse - The World Forum on Music and Censorship (Denmark / DK), Frémaux & Associés (F), Fundarpe (Brésil / BR), Gega New LTD. (Bulgarie / BU), Harmonia Mundi France (F), Haus Der Kulturen Der Welt (D), Institut de Cultura de Barcelona (Espagna / E), Institut du Monde Arabe (F), Iris Music (F), ISA (BR), Jeunesses Musicales CFR Belgique (B), Kaustinen Folk Music festival (FL), Keltia Musique (F), King Records (Japon / J), La Cigale (F), La Maroquinerie (F), La Médiathèque (B), Label Bleu (F), Larrikin (Australie / AE), Le Chant du Monde (F), Le Chant Du Monde / Harmonie Mundi (F), Le Divan du Monde (F), Le Sentier des Halles (F), Le Theâtre de la Ville (F), Le Triptyque (F), L'Empreinte Digitale (F), Les Alizés (F), Les Ateliers d'ethnomusicologie (Suisse / CH), Les Nuits Atypiques de Langon (F), Les Suds à Arles (F), Les temps Chauds (F), Les Tombées de la Nuit (F), Les Voix Andalouses (F), Long Distance (F), Lusafrica (F), Lyrichord (Etats-Unis / USA), Mali K7 SA : Mali Music (Mali / MA), Mondomix (F), Marabi Productions (F), Music & Words (NL), Music Gallery India PVT LTD (India / IN), Musiques Metisses (F), Naive (F), Network medien GMBH (D), Night & Day (F), Nocturne (F), Nonesuch (USA), Nubenegra (E), Ocora Radio France (F), Oliver Sudden productions INC. (C), Oriente Musik (D), Pan Records (NL), Piranha Musik Produktion & Verlag (D), Playa Sound Sunset France (F), Pôle Régional des Musiques Actuelles de la Réunion (F), Putumayo World Music (NL), Radio Suisse Romande (CH), Rainforest World Music Festival (Malaysia / MY), Rasa Centre for World Music (NL), Real World Records (UK), Rencontres de Saint-Chartier (F), Rencontres Tricontinentales (F), Riksonsertene (N), Roskilde Festival (DK), Rounder records (USA), Rtbf Le Monde est un village (B), Rykodisc (UK), San Francisco World Music Festival (USA), Saydisc records (UK), Sharp Wood Productions (NL), Smithsonian Folkways (USA), Songlines - The World Music Magazine UK), Stern's Music (UK), Sunset (F), Syllart Productions (F), TFF Rudolstadt (D), The Danish Folk Council (DK), Topic Records (UK), Trama Promocoes Artisticas LTDA. (BR), Triple Earth (UK), Tropical Music GMBH (D), Tumi Music (UK), Universal Music France (F), VRT Klara (B), VRT Radio 1 (B), Wereldculturencentrum Zuiderpershuis VZW (B), Wind Records (Taiwan / TW), World Circuit (UK), World Connection BV (UK), World Network - Network Medien Gmbh (D), Xango Music Distribution (NL), Zone Franche (F), et D. Demolin (BR), P. Kersalé (F), J-Y. Laffineur (B), H. Lecomte (F), B. Madelson ( UK ).