Nicht abgerechnete Lizenzgebühren für Eigenproduktionen

Definition

Australian copyright law grants creators exclusive rights to reproduce, perform, communicate and adapt their works, and allows them to license or assign those rights directly or via collecting societies.[4][5] Fine arts schools routinely generate original material: student compositions, arrangements, devised theatre pieces, choreography, visual designs and recordings of performances. Unless there is a structured process for clarifying ownership (e.g. between school, staff and students), registering works with relevant societies where appropriate, and issuing licences when external festivals, partner schools, local councils or media outlets use these materials, such usage often occurs informally and royalty‑free. The statutory education licences administered by Copyright Agency and Screenrights ensure rightsholders are paid when schools use third‑party works, not when third parties use school‑created works.[1][3][4][5] As a result, fine arts schools frequently forgo licence fees for: (a) external rebroadcast or online streaming of concert recordings; (b) repeat performances of commissioned works by community ensembles; and (c) the use of school‑created materials in teacher training, textbooks or promotional content by third parties. Benchmarking against the scale of national education copying payments (over AUD 60 million per year to copyright owners[1][3]) and typical small‑scale commissioning fees suggests that even a modest fine arts school that could reasonably command AUD 300–1,000 per external use (e.g. for a commissioned work or recorded performance) will commonly miss 10–30 such opportunities per year through lack of systems, implying unrecovered revenue of around AUD 10,000–30,000 annually.

Why This Matters

The Pitch: Fine arts schools in Australia 🇦🇺 lose grob geschätzt AUD 10.000–30.000 jährlich an nicht eingetriebenen Lizenzgebühren für Aufführungen, Aufzeichnungen und Streaming ihrer Eigenproduktionen. Automation of rights registration, contract templates and outbound licensing workflows converts these into predictable revenue.

Affected Stakeholders

School Principal, Head of Performing Arts, Head of Music, Creative Arts Coordinator, Business Manager/Bursar, Legal/Contracts Officer (if present)

Related Business Risks