Beyond the Routine: IP Management Challenges in Olympic Figure Skating Music
This IP Management👉 Strategic and operative handling of IP to maximize value. Letter explores the complex copyright👉 A legal protection for original works, granting creators exclusive rights. challenges behind music use in Olympic figure skating. It shows that athletes must secure multiple licenses for composition, recording, synchronization, and global broadcasting, often from fragmented rights holders. The lack of centralized information, combined with time pressure and international legal differences, turns music selection into a strategic IP management task. The analysis highlights how collecting societies and clearing platforms can reduce complexity, while also pointing to structural gaps in the current system. It further discusses alternative approaches such as royalty-free music, direct artist agreements, and commissioned compositions. Ultimately, the case demonstrates that IP management directly impacts performance and reveals opportunities for more efficient, system-level solutions.
Background material on the IPBA Connect platform
Here you can find digital IP lexicon 🧭diplex pages by IP subject matter experts:
IP Challenges on Social Media by Maria Boicova-Wynants
Smart Licensing Check by Andreas Jacob
Common Challenges and Pitfalls in License Compliance by Tomas Geerkens
Operational IP Strategy by Per Wendin
Here are the relevant 🔎IP Management Glossary entries:
A Global Stage Meets Fragmented Rights
The Milano Cortina Winter Olympics highlighted a challenge that is often underestimated outside the intellectual property👉 Creations of the mind protected by legal rights. community: the use of music in figure skating is not a simple artistic choice, but a highly complex copyright management exercise. Athletes do not merely perform to music; they perform within a layered ecosystem of rights that spans live performance, broadcast, and global distribution.
The case study developed within the CEIPI Master of Intellectual Property Law and Management clearly illustrates that each piece of music used in Olympic figure skating may require multiple licenses due to fragmented ownership structures. This fragmentation transforms what appears to be a creative decision into a strategic and operational challenge in IP management.
The core issue is not the existence of copyright protection itself, but the way rights are distributed across multiple stakeholders, jurisdictions, and types of use. In this environment, athletes become de facto IP managers, often without the infrastructure or expertise to navigate such complexity.
The Multi-Layered Licensing Landscape in Olympic Figure Skating
The use of music in Olympic figure skating involves several distinct layers of rights, each corresponding to a different type of exploitation. These layers must be cleared individually, even though they relate to the same underlying artistic work.
At the most fundamental level, the musical composition itself is protected. This includes the melody and lyrics, typically owned by composers and music publishers. For the performance in the ice rink, a public performance license is required. This license is often administered by collecting societies, which grant permissions on behalf of composers and publishers.
However, the complexity increases significantly when considering the recorded version of the music. The sound recording is a separate protected subject matter, usually owned by record labels or producers. The use of this recording requires a master use license, which must be negotiated directly with the rights holder unless covered by specific agreements.
In addition, synchronization rights become relevant. Although figure skating routines are not traditional audiovisual productions in the classic sense, the broadcast and recording of the performance effectively synchronize the music with a visual performance. This creates the need for synchronization licenses, especially when performances are distributed through television, streaming platforms, or highlight clips.
Finally, broadcasting rights introduce another layer. Olympic events are transmitted globally, which means that licenses must cover multiple jurisdictions. Each country may have its own legal framework, and collecting societies operate within national boundaries. This results in a patchwork of territorial rights that must be aligned.
The rights holders involved therefore include composers, lyricists, publishers, performing artists, record labels, and collecting societies. In some cases, additional stakeholders such as remix artists or producers may also hold rights, particularly when medleys or adapted versions are used.
Fragmentation, Time Pressure, and the Reality for Athletes
While the theoretical structure of copyright licensing👉 Permission to use a right or asset granted by its owner. is well established, its practical application in the context of Olympic figure skating is far from straightforward. Athletes face a set of operational constraints that turn licensing into a high-risk process.
One of the most significant challenges is the identification of all relevant rights holders. There is no universal registry that provides complete and reliable information about ownership structures. Databases such as Songview or similar platforms can offer partial insights, but they are often incomplete or outdated. As a result, athletes and their teams must engage in time-consuming research, often with uncertain outcomes.
Fragmented ownership further complicates the process. A single piece of music may involve multiple publishers, multiple composers, and multiple recording rights holders. When medleys, remixes, or edited versions are used, the number of stakeholders increases even further. Each of these parties may have different licensing practices, response times, and contractual requirements.
Time pressure is another critical factor. Figure skating programs are developed months in advance, but licensing negotiations can take weeks or even months. Delays in responses from rights holders may force athletes to change their music at short notice, disrupting training routines and artistic preparation. This creates a direct link between IP management and athletic performance.
International complexity adds yet another dimension. Olympic performances are not confined to a single jurisdiction; they are broadcast globally. This means that licenses must be valid across multiple territories, each with its own legal and institutional framework. Differences in copyright law, collective management systems, and licensing practices increase uncertainty and administrative burden.
The Role of Clearinghouses and Collecting Societies
Given these challenges, intermediaries such as clearinghouses and copyright collecting societies play a crucial role in making the system operational. Their function is to reduce transaction costs, improve transparency, and facilitate access to rights.
Collecting societies provide blanket licenses for certain uses, particularly public performance in venues. These licenses allow event organizers to cover a wide repertoire without negotiating with each individual rights holder. However, their scope is limited. They typically do not cover synchronization rights or the use of specific sound recordings in broadcast contexts.
Clearinghouses and specialized platforms attempt to bridge this gap. Platforms such as ClicknClear aggregate rights information and offer streamlined licensing processes for sports organizations. By centralizing data and standardizing procedures, they reduce the complexity faced by athletes and federations.
However, these solutions are not yet comprehensive. Gaps remain, particularly in relation to global broadcast rights and synchronization licenses. Moreover, the effectiveness of these platforms depends on the participation of rights holders. If key stakeholders are not included, the system cannot deliver full coverage.
There is therefore an ongoing discussion about structural reforms. One proposed solution is the negotiation of master licenses at the level of international federations or the International Olympic Committee. Such licenses could cover all athletes and all relevant uses, significantly reducing administrative burden and uncertainty. This approach would shift the responsibility for IP management from individual athletes to institutional actors, aligning with the scale of the event.
Strategic Alternatives to Classical Music Licensing
Given the complexity of traditional licensing models, athletes and organizers increasingly explore alternative approaches to music selection. These alternatives aim to reduce legal risk👉 The probability of adverse outcomes due to uncertainty in future events. while preserving artistic freedom.
One option is the use of royalty-free music. Such music is typically licensed under standardized terms that allow broad use without the need for individual negotiations. While this simplifies the process, it may limit artistic expression, as the repertoire is often less well known or less emotionally impactful.
Another approach is the direct negotiation with independent artists. By working with creators who control both composition and recording rights, athletes can obtain comprehensive licenses more efficiently. This model reduces fragmentation and enables tailored agreements that fit the specific needs of the performance.
Artificial intelligence-generated music represents a more recent development. In some cases, AI-generated compositions can be used without complex licensing requirements, depending on the legal framework and the ownership of the generated content. This creates new opportunities, but also raises questions about originality, authorship, and long-term legal certainty.
Finally, there is the possibility of commissioning original compositions. This approach provides full control over rights, as the music can be created specifically for the performance with clear contractual arrangements. While this may involve higher upfront costs, it can significantly reduce legal complexity and provide a unique artistic identity.
All these alternatives share a common objective: to align artistic choices with manageable IP structures. In this sense, music selection becomes a strategic decision that integrates legal, economic, and creative considerations.
IP Management as a Hidden Performance Factor
The case of Olympic figure skating demonstrates that intellectual property management is not an abstract legal concern, but a practical factor that directly influences performance outcomes. The need to secure multiple licenses, identify fragmented rights holders, and navigate international legal systems creates a level of complexity that athletes cannot ignore.
At the same time, the case highlights a broader insight: IP systems are often designed around industries with established structures, such as music production or film. When these systems intersect with global, multi-layered events like the Olympics, gaps and inefficiencies become visible.
For IP professionals, this creates an opportunity to provide value beyond traditional legal services. By designing more efficient licensing frameworks, supporting centralized solutions, and advising on strategic alternatives, they can help bridge the gap between legal complexity and practical usability.
Legal Disclaimer
This case study is intended for educational and informational purposes only. It does not constitute legal advice. The analysis reflects general principles of copyright law and may not account for specific jurisdictional differences or contractual arrangements. For advice on specific situations, qualified legal counsel should be consulted.
