Best practices for music makers

How the money works, who collects it, what to sign and what never to sign. Written for people making music on this island — not for the American music business, which works differently and would cost you money to follow.

This is a map, not legal advice

This is a plain-language map of how the systems work, so you know which questions to ask and which clauses to look at. It is not legal advice about your contract. Once there is real money or a real signature involved, that is a lawyer's job — and it is cheaper than the mistake.

Two things to confirm for yourself

Curaçao artists and producers do join Buma/Stemra — that is established practice on the island, not a theory. Buma/Stemra's own membership page is open to creators “from the Netherlands or abroad”, and there is no residency bar. If you are not affiliated with anybody, that is the single biggest gap between you and the money on this page, and it is a form. What is genuinely unsettled is Ducapro: what it is currently able to collect, and for whom. Its site shows a holding page, and an Aruban court found in 2026 that its arrangement with Buma/Stemra is non-exclusive. Ask before you rely on it for anything.

How this was checked

Every factual claim on these pages was checked against primary sources — the 1913 ordinance itself, the societies' own published terms, and each conference's own site — before publication. Several claims did not survive.

CORRECTED: the ordinance does have routes to somebody else owning your work (articles 6 and 7), so “a client can never own it” was wrong and dangerous; the ISWC code is issued by CISAC, not by your own society; the Dutch publisher share is one third, not 33.5%; photographs and film get 50 years from publication rather than life + 50; Curaçao is not a Berne party in its own right; the i-Envelope fee is now in Caribbean guilders.

REMOVED: a count of US presenting organisations that no source supports, and a European funding figure that matched no live programme — the closest one explicitly excludes live music. A named conference turned out to have been renamed, and another's “direct pipeline” to a festival is unsupported by either organisation.

REFRAMED: a sync placement pays anywhere from nothing to five figures, and one person's good outcome is not a benchmark. Where something could not be confirmed it is marked as unconfirmed rather than smoothed over.

SECOND PASS, September 2026: the corrections listed above were checked against the page itself, and three of them had never actually been applied — the publisher share was still printed as 33.5%, and both the US presenter headcount and the European funding figure were still on the page after being described here as removed. All three are now fixed: the Dutch publisher's share is one third, no reliable count of US presenters is published by anyone, and the funding paragraph now describes the STRUCTURE of these schemes rather than quoting an amount. A page that announces a correction it has not made is worse than one that never claimed the check, so this is written down rather than quietly repaired, and there is now an automated test that fails the build if this note and the page disagree again.

Also corrected in that pass: a blanket claim that showcase applications cost about twenty dollars, which contradicted this site's own itemised fee list a page away — they vary, and at several of these the real cost is delegate registration rather than the application. Every external link and every embedded video was re-fetched and confirmed to be the thing it is described as.

None of this was reviewed by Curaçao counsel. It is legal information, not legal advice.