The clash between Egyptian actors on one side and producers on the other has escalated over the activation of the “Public Performance Right” law, a proposal submitted by actor Yasser Galal, a member of the Senate, to the Culture and Media Committee last May.

While drama stars and artistic unions supported actor and MP Yasser Galal, some producers rejected the activation of the “Public Performance Right,” foremost among them Ahmed El-Sobky, who asserted in statements that “any artist who demands this right will not work with him.”

The Head of the Actors' Syndicate, Ashraf Zaki, supported Yasser Galal on Monday through a statement describing what Yasser Galal is doing as “a noble battle to establish the values of justice and preserve the dignity of the Egyptian soft power,” affirming that “any opposing voices or weak confrontations are mere confirmation of the vitality of his step and the depth of its impact.”

Ashraf Zaki, Head of the Actors' Syndicate (syndicate's Facebook page)

Meanwhile, a statement of support from the Cinematographers Syndicate for Yasser Galal on Monday read: “You are making arduous efforts, with the support and backing of the artistic unions, confirming the achievement of their goals, and working to ensure the rights of union members in public performance. Despite the misguided confrontations you have faced, you still defend an entitlement that neither harms nor serves any party at the expense of another within the artistic work system.”

Egyptian art critic Samir El-Gamal affirmed that the “Public Performance Right” is an inherent and long-recognized right in many countries, adding to Asharq Al-Awsat: “Conflict of interest is the reason for its non-activation, so official cultural institutions must intervene to settle the matter with specific mechanisms.”

Samir El-Gamal revealed that what is currently happening is irrelevant and unnecessary debate, noting that lawyer Adly El-Mawled had been fighting for this issue for over 30 years. It is unreasonable to broadcast a work hundreds of times without compensation, especially since past wages are incomparable to the current period.

Producer Ahmed El-Sobky at a meeting of the Cinema Industry Chamber (chamber's Facebook page)

A large number of artists supported Yasser Galal through their official social media accounts in his battle to activate the “Public Performance Right,” including Samah Anwar, who affirmed that it is “not a luxury but a recognition of the artist's value, and ensures a decent life for artists and their families, as in all countries of the world.”

Ahmed Amin wrote: “The (Public Performance Right) is an old law applied in most countries of the world,” adding: “I am in favor of its activation, and it will not be against investment or producers and business owners.”

Taha Desouky wrote: “The right is not new but exists throughout the world,” while producer Hani Abdullah responded in a comment: “It must be applied correctly with foundations and rules, and a meeting between producers, unions, and the Cinema Industry Chamber to discuss its application in a practical and collective manner, not individually.”

Producer Mohamed Hefzy pointed out in a post on Facebook that “there is a large gap between the two sides, and some producers do not realize that the demands of artists and authors are legitimate in principle if fair principles and mechanisms are reached to regulate the relationship between all parties.”

Part of a meeting of the Cinema Industry Chamber (chamber's Facebook page)

Hefzy called for “a serious dialogue between all parties, instead of taking unilateral steps, and consulting experts, and reviewing experiences applied in global markets, while taking into account the specificity of the Egyptian market.”

Lebleba affirmed that “this right is not a luxury but an important step towards preserving the artist's rights and appreciating his effort and creativity, as many countries have begun to take important steps towards its realization.”

Meanwhile, artist Yehia El-Fakharany affirmed in statements to Asharq Al-Awsat that “activating the law is the best thing the state can offer the artist,” noting that “after his long artistic career, he will be reassured about his children, his dignity, and his name after his departure.” El-Fakharany thanked “everyone who contributes to achieving this hope.”

Yehia El-Fakharany and Yasser Galal on the stage of the National Theater (Yasser Galal's Facebook page)

Egyptian artist Shiko affirmed on the program “El Hekaya” with Amr Adib on Monday that “activating the public performance right is a legitimate right for artists, and it should be applied in Egypt, and it has nothing to do with the producer; rather, it is an agreement between the actor and his heirs when the work is shown through any artistic intermediary.” Meanwhile, Bassem Samra wrote: “Yes to the (Public Performance Right), and no to bullying artists.”

For his part, Egyptian art critic Emad Yousry affirmed that “the law is activated all over the world, but it is not applied in Egypt,” adding to Asharq Al-Awsat: “I think the reason is the artistic intermediaries that refuse to implement it, through agreements and bargains with producers.” The art critic described what is happening as “terrorism against the rights of performing artists.”

Days ago, a statement from the Cinema Industry Chamber affirmed that “the producer is the one who produces the film and bears its responsibility, and that producers support the members of the artistic unions, but they are not obligated to deal with unified contract models prepared by any entity or body.”

The Cinematographers Syndicate, along with the “Actors' Syndicate,” the “Drama Authors Association,” and the “Association of Artists' Children,” also issued a press statement regarding what has been raised about the “Public Performance Right,” affirming their commitment to “activating the Copyright and Related Rights Law, to preserve the rights and dignity of the artist.”

The statement indicated that the statement of the “Cinema Industry Chamber” “included interpretations and interpretations aimed at dismantling the unity of workers in the drama field, especially since activating the law will not harm or conflict with producers.”