What are performers’ rights :
The issue of the performers' neighbouring rights is relatively new. It emerged at the beginning of the twentieth century, particularly as a result of technical developments when recordings began to be substituted for live performances.
Performers have sought to keep control of their performances by claiming rights to protect them. These rights are fundamental: they secure not only an income for performers but also foster the maintenance and the development of creation and culture in the interest of society as a whole.
The human aspect is an essential element of the nature of performers' rights. Often, with their individual technique, personality, and talent, the performer interprets and creates something unique, enabling a work to be physically recorded, and thereby made available to the public. This explains why, in contrast to other neighbouring rights' holders, namely producers and broadcasting organisations, performers' rights like authors' rights frequently include a moral right.
Many national laws and certain international normative texts (Rome Convention of 1961, WIPO Performances and Phonograms Treaty of 1996 (WPPT) and European Directives) grant performers a number of exclusive rights to authorize or prohibit certain types of use of their performances, notably the right of fixation, the right of reproduction and distribution right, as well as the guarantee of remuneration rights, like the right to a single equitable remuneration for the use of phonograms published for commercial purposes for broadcasting or for any communication to the public and fair compensation for private copying.