We’re the only creature trying to understand where we come from.
We’re an NGO whose mission’s to make sure that the intellectual right of actors and dancers is protected. To that end, we collect and distribute the royalties legally generated for the exhibition to the public of their creative work.
• We also provide assistance services to our members and promote activities aimed at strengthening culture, creativity and art.
We want to continue being an institution of regional reference, recognized for the pursuit of excellence, for its quality services and for its transparent management.
At the vanguard. We’re passionate, with very different professional backgrounds, with a creative and humanistic vision of work.
We don’t settle for less, we pursue excellence. We create and enjoy a collaborative and relaxed environment. We’re protagonists of the cultural history.
We promote an honest communication within the context of an efficient and transparent management.
We make our best effort to be close of our members and to pay attention to their needs.
It’s not only about what we do. It’s also about who we are.
Argentina is a pioneer in the protection of intellectual property rights: since 1933, Law No. 11.723 recognizes money payment to performers for the communication to the public of their performances.
It was only in the late ‘60s with the appearance of the commercial TV that the intellectual rights entered the agenda of the labor-union sector, especially because the “TV repeats” of plays had started to affect the generation of new sources of work.
The Actors Labor Union intervened immediately and got that the TV channels pay a fee to the actors for these repeats. This meant a huge precedent in favor of the artists’ protection. Moreover, in the Cinema Collective Convention of 1975, it was explicitly established that:
the contract by and between the producer and the actor can’t invalidate, on any clause, the right as performer provided for in section 56 of Law No. 11.723
At the same time, musical performers had a big push for the defense of their rights, this helped the actors join the Argentinean Organization of Performers (AADI) and that’s how they started to manage their rights together with the musicians’ rights.
Thus, in the ‘80s, AADI brought legal actions against cinemas and TV channels claiming payment for their rights, these actions have enormous importance within the case law, even nowadays. These precedents are probably the first ones in the world in favor of the right of the actors over the communication to the public. This also shows the Argentinean long tradition toward the protection of its cultural agent.
The performer is entitled to payment from the maker for the recording with private purposes, as well as the actor charges the producer for its performance. In the event that the repetition or the communication to the public of the disc generates the right of a special payment there is no reason to deprive the actor of this payment when the film reaches its final destination, i.e. communication to the public
• Sentence of the case "Clemente Lococo"
The price or the salary paid to the actor for the artistic work carried out is one thing, but the intellectual right arising once the actors have finished their work is another. This is what causes the reasonableness of receiving payment for the greater value acquired by the play with the passage of time.
• The judgein the case Canal 7 (1987)
While it is true to say that the judicial triumphs had an enormous importance, in fact they didn’t get to start a system of sustainable and regular management for the collection of rights. Later on, the actors abandoned AADI to start their own path.
This was how on July 27, 2006, in the core of the labor union, SAGAI’s organizational meeting was held and its first authorities were elected.
After this, the Executive Decree 1914/06 recognized SAGAI as the only collective management entity authorized to manage the intellectual rights of actors and dancers, for the purpose of making effective the legal regulations protecting intellectual property. This effectiveness, due to the volume of the uses, would be impossible to achieve by the performers isolated.
During a five-year period -2009 to 2014-, SAGAI entered into agreements with most of the media reaching 90% of the TV, cable and cinema companies of the country.
90% COMPANY ACKNOWLEDGE
At the same time, the management was extended to other users, such as hotels and commercial establishments, this extension contributed to the increase of the collection and to the consolidation of the rights. We also got important case law precedent of our own which are available in the section of legal documents.
The experience gained over the years by our team made SAGAI count with a solid system capable of adjusting to new forms of exploitation of the audiovisual content. A system based on the highest quality standards certified by ISO 9001:2008.
The royalties’ distribution process has also evolved since the first distribution in 2010 until now. Given that we are dealing with one of the most critical and sensitive processes faced by the managing entities, SAGAI’s main goal is to work with the most transparency and professionalism possible.
However, SAGAI isn’t only in charge of the collection and distribution of the economic rights, it also plays an active role within the artistic community through social and cultural programs.
Through our Foundation we grant subsidies, scholarships and a wide offer for professional training. Furthermore, members are entitled to several benefits such as 20% reimbursement on medicine buys and free accounting advice.
SAGAI is an active social actor in the scene of cultural management in our country; it carries out actions with NGOs, unions, management entities and public organizations. We also publish the cultural magazine Arlequín and the web channel enfoco.tv.
We’re inspiration and motivation. We’re vanguard.