FORUM+ - Volume 24, Issue 3, 2017

Aan creativiteit wordt tegenwoordig overal lippendienst bewezen. De creatieve industrie is een groeimarkt die van overheidswege wordt gestimuleerd, de ‘creatieve klasse’ wordt bewierookt in beleidsstukken van planologen en stedenbouwkundigen, en in de vacatures van zelfs het meest banale kantoorwerk staan ‘creativiteit’ en ‘out-ofthe- box’-denken bij de taakomschrijving.

Authors’ rights in the context of the arts is a thorny question. Ellen Loots outlines the complexity of existing legal systems and the tense relationship between moral rights and authors’ rights in relation to the dynamics of the creative industry. Only by making it clear how the creative industry functions, can progress be made in improving the protection of the rights of both authors and consumers.

Authors’ rights in the context of the arts is a thorny question. Ellen Loots outlines the complexity of existing legal systems and the tense relationship between moral rights and authors’ rights in relation to the dynamics of the creative industry. Only by making it clear how the creative industry functions, can progress be made in improving the protection of the rights of both authors and consumers.

In the show De Warme Winkel speelt De Warme Winkel (original working title: Plagiaat) two generations of De Warme Winkel actors – three of the “originals” and three trainees – make an attempt to dance Pina Bausch’s Café Müller almost 40 years after the original production. But why are these untrained dancers trying to put on an iconic piece of dance theatre dating from the late seventies in an expensive copy of the original stage setting? What does the show say about nostalgia, the longing for authenticity and the transience of lyric expression?

Two artists in a temporary studio make use of a photocopy machine and a pile of old newspapers to create a constant stream of newly assembled images. This is the starting point of Elective Affinities, a multiyear project created by Jasper Rigole and Egon Van Herreweghe, which has so far appeared in four editions. A visual dialogue arises during the process, in which the artists respond to each other’s suggestions by adding images, altering existing assemblies or by responding to threads that have opened up during the process. Jasper Rigole selected four assemblies from previous editions for this picture portfolio and comments briefly on the project.

In this contribution Matthias Heyman takes a look at some facets of artistic property in jazz. These range from the quotation of other people’s compositions in the artist’s own improvisations to “borrowing” existing chord progressions in order to write new pieces. He makes it clear that the boundaries of intellectual property in jazz are exceptionally fluid, and are particularly difficult to regulate.

When R&B artiste Beyoncé Knowles insouciantly plagiarized a fragment of Anne Teresa De Keersmaeker’s renowned Rosas danst Rosas in a video clip, the dance world was outraged. The question of artistic property rouses tempers in the contemporary dance world as well. Timmy De Laet sets out in search of the conflicting interests and differing visions that play a role in the discussion of authors’ rights as applied to choreography. It seems that the letter of the law offers the creative artist less of a handhold than the dancing body. The argument tends, in consequence, to be settled on the dance floor rather than in the courts.