The chain table is composed of various sections. It involves composers and (composing) musicians. It also includes programming venues and festivals. Some (online) broadcasters are also connected as well as representatives of intermediaries, rights organizations, professional education and the jazz archive.

The members unanimously noted that there is limited and even less and less attention to the jazz/world/contemporary genres by responsible governments, funds, broadcasters and institutions.
They believe that there should at least be improvement in this, as it strongly determines the earning potential of working people:

• There are no ensembles that receive structural OCW-rich grants.
• At the Performing Arts Fund there are schemes, to be shared with several music genres, for: text and composition; making and producing; programming stages and festivals; internationalization; multi-year subsidies festivals and productions. The five other state cultural funds can sometimes be appealed to from music.
• The number of specialized venues has decreased, it is 39 venues including several festivals. However, there is a large, mostly unsubsidized and poorly supported, so-called 3rd circuit.
• At the national public broadcaster, NPO Radio 4 was renamed NPO Classical this year, making jazz hard to hear, if at all. A protest book was published and a protest march held against this in June 2023. However, there is still a digital theme channel NPO Soul & Jazz with non-stop music.
• There is no focused attention on television. Composers and musicians believe that given the diversity in our country, about 25% of the NPO music offerings on radio and TV should consist of jazz/world/impro.
• There is a national online concert station, linked to NOS until 2009, now a private initiative. In the recent auction of airwave frequencies for national commercial radio broadcasters, the jazz station Sublime fell by the wayside.
• Streaming revenues are small.
• Provincial and local governments plus broadcasters there tend not to have specific policies.
• The Dutch Jazz Archive is on its own after the disappearance of government support in 2012. In late July 2023, they launched a call campaign with the goal of recruiting more friends and donors.
• Positive is the table about the efforts of copyright organizations such as Sena with the National Stage Plan and and Buma/Stemra with BumaCulture plus specifically inJazz. But this is basically done with the composers’ and musicians’ “own” money, it is not an external financial incentive.

Starting with integral picture of (income/earnings models in) the sector

The chain table is of the opinion that it must first offer insight into the fair as well as the complete professional practice of composers and (composing) musicians in jazz/world/contemporary. This involves an outline of the development of this music, the state of the various components of the professional practice and the various sources of income/earning models.

In relation to this better picture of the revenue/earning models, fair payment for the various activities including the copyright aspects within them should also receive attention.