Justifications for the collective management of performers' rights :

Justifications for the collective management of rights are well known:

- multiple users of works or protected recordings: places where music is communicated, broadcasters... to whom one must add persons liable for certain rights to remuneration and who are not directly users (for instance systems of private copying where manufacturers and importers of media and recording material are liable for these rights)

- multiple uses of works or protected recordings : this is, for instance, the case for radio or television programs in which lots of works and protected recordings are used daily

- multiple rightholders concerned by the same exploitation : this is particularly the case for performers

- different categories of rightholders who have the same rights for a single type of use : this is the case when the right to a “single and equitable” remuneration is granted at the same time for the benefit of performers and phonograms producers for the broadcasting and communication to the public of phonograms published for commercial purposes as in article 12 of the Rome Convention of 1961 or article 15 of the WPPT of 1996, or when the right for private copying is granted at the same time to authors, performers and producers on blank recording media or on recording material.

Another element, specific to performers and related to their daily position as workers, comes on top of these classic ones, this being the possibility of obtaining through collective management, the defense of rights which they can not individually exercise because of the economic imbalance between them and their interlocutors, audiovisual or phonographic producers, broadcasting organisations...

A certain number of authors (notably musical) are encountering the same difficulties more and more.

For the same reason, professional unions were created to represent performers in the negotiation of their work conditions or remuneration.