100 Years of Copyright
Concerts, DJ sets, films, lectures, and discussions
Oct 18–21, 2018
Film and Discourse program: Admission free, Oct 19, from 5 pm, Oct 20, from 2.30 pm, Oct 2, from 3 pm
Music program: from 8 pm, Oct 21, from 7 pm, evening ticket 10€/13€, festival pass 30€
100 Years of Copyright illuminates the development and status quo of music as intellectual property in a global context. Alongside concerts, DJ sets and performances, a wide-ranging discourse program addresses questions relating to authorship and legal claims, sampling and other copying techniques. The focus will be on the relationship between the ethics and aesthetics of music production and distribution.
As the debate on the recently negotiated EU copyright reform shows, copyright is currently a hotly contested issue: On the one side there are those who have based their business model on the exploi-tation of rights—publishers, record labels, and production companies. On the other side the repre-sentatives of the digital economy are developing their strategies. The creators of music often find themselves caught between the two. However, music consumers also lose out when copyright and artistic freedom are played out against one another.
On Friday Music and Copyright, Money and Morals will focus on the development of copyright since the emergence of the modern culture industry and its current status for the conditions of creative work. Alongside a keynote from Aram Sinnreich, amongst others the dub producer Mad Professor and Helen Smith, Chairwoman of the European Independent Music Companies Association (IMPA-LA), will discuss who actually earns money with copyright and what use it is for performers and producers in an age of decentralized authorship.
At the weekend, under the title Copyleft or Copywrong?, the various conditions of use for musical material will be discussed. In her keynote Larisa Kingston Mann, aka DJ Ripley, will question copy-right’s role for an autonomous creative praxis using the example of Jamaican musical culture.
Sunday will begin with a debate on the legality of musical sampling. Contributions by legal experts and philosophers will explain what law and ethics have to say about this long-established practice of creative transformation. Furthermore, the author and DJ Jace Clayton, aka DJ /Rupture, the legal expert Marisella Ouma, and the artist Geraldine Juárez will address the question of what deter-mines the circulation of music and access to culture today—legal frameworks, the trade in pirate copies, or simply affordable Internet connection.
With his festival program within the context of the HKW’s long-term project 100 years of Now, Detlef Diederichsen, Director of the HKW’s Department of Music and Performing Arts, explores music and the music industry’s operating systems of the last 100 years, tracing the leitmotifs of pop history from unexpected perspectives. In 2016 he conceived Singing War (with Holger Schulze) and Pop 16. This was followed in 2017 by Free! Music (with Björn Gottstein) and No! Music (with Martin Hoss-bach). So far 2018 has seen 100 Years of Beat.
Talks, keynote speeches, and panels with Ananay Aguilar, Joe Bennett, Lionel Bentley, Jace Clay-ton, Tonya Evans, Geraldine Juárez, Martin Kretschmer, Mad Professor, Larisa Kingston Mann, Eberhard Ortland, Marisella Ouma, John Street, Aram Sinnreich, Helen Smith and Anjali Vats, moderated by Andrea Goetzke and Heiko Hoffmann
Concerts, DJ sets, and performances with Sister Nancy, Den Sorte Skole, Mad Professor, Dennis Alcapone, Mark Ernestus & Tikiman, DJ Ripley, Daniel Haaksmann, Gang do Eletro, People Like Us, Ekki Maas presents General Salty and his Original Rubber Band, Hans Nieswandt, Dennis Loesch´s The Picture Band, amongst others.
The entire discourse program will be conducted in English without translation.
Link to the complete discourse program for further information
100 Years of Copyright is part of 100 Years of Now. Supported by the Federal Government Commis-sioner for Culture and the Media due to a ruling of the German Bundestag. Haus der Kulturen der Welt is supported by the Federal Government Commissioner for Culture and the Media as well as by the Federal Foreign Office.