Showing posts with label Zambia. Show all posts
Showing posts with label Zambia. Show all posts

Wednesday, 27 November 2019

Afro Leo

Updates for Egypt, Uganda, Zambia, Rwanda, Tunisia and Mauritius


Although it was anticipated that the cost of filing trademarks and designs in Egypt would increase, this has been placed on hold. For more information and for assistance in filing and related matters, click here.

In the recent matter of Sigma-Tau Industrie Farmaceutiche Riunite v Amina Limited, it was decided that international registrations under the Madrid Protocol which designate Zambia are valid registrations in this country and that this may be used by a proprietor of an earlier trademark to oppose subsequent trademark registrations. For more information click here and here.

The Uganda Patent Office has issued its objection to granting of patents in terms of pharmaceutical inventions when this is followed by a notification of the grant by the African Regional Intellectual Property Organisation (ARIPO), and in the event that Uganda is the state of designation. For more information click here.
Trademark owners who have registrations in Rwanda obtained before 14th December 2009 are reminded that these trademarks will have to be renewed on 14th December 2019 in order to remain valid. For more information click here.

In Mary Theresa Kakoma, as administrator of the estate of Professor George W Kakoma v Attorney General the question came before the Uganda Courts as to who owns the Uganda National Anthem. It was found that it was owned by the Government of Uganda. For more information on this case, click here.
Official fees for designs, patents and trademarks are set to significantly increase in Tunisia. For more information click here.

Mauritius has new intellectual property legislation entitles the Industrial Property Act 2019. There is no indication as to when it will come into effect as yet. For more information click here.

In the recent case of Lion Match Proprietary Limited v Lion Match Zimbabwe Limited IPT 01/16, the IP Tribunal in Zimbabwe found that even though a trademark had lapsed as a result of a harsh economic climate, it could not simply prevent another trademark from being registered simply because of this. For more information about this case, click here.

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Tuesday, 20 September 2016

Afro Ng'ombe

Zambia's New Traditional Knowledge, Genetic Resources and Expressions of Folklore Act.

A Zambian citenge depicting a village scene.
(This is the one Little Leo has with her far from home,
so this is the one that gets pictured.)
Little Leo promised you a look at Zambia’s new TK, GR and EOF bill, so here we go.  Quite appropriate timing, too as the WIPO IGC on those very topics is going on now.  (Though Zambia is not on the list of participants.)
The Protection of Traditional Knowledge, Genetic Resources and Expressions of Folklore Act, 2016 (Act No. 16 of 2016) came into force in June of this year.  [WIPO has it listed in their database as “…Folklore Act, 2006,” but that appears to be a typo as the Act itself says 2016 and references treaties that came into existence after 2006.]  The Act’s preamble indicates that the Act is meant to implement the ARIPO Swakopmund Protocol on the Protection of Traditional Knowledge and Expressions of Folklore, the TRIPS Agreement, and, like the new Industrial Designs Act, “any other relevant international treaty or convention to which Zambia is a State Party.”  Unlike the Industrial Designs Act, the traditional knowledge (TK), genetic resources (GR) and expressions folklore (EoF) act does not replace any existing law in Zambia; it is brand new.
Little Leo’s first thought upon hearing that Zambia had a law on EOFs was whether the Nyanja singer Angela Nyirenda’s recording of “Ching’ande,” a traditional Tonga song, on her album Malo Abwino would have required permission under this law.  Article 3 of the Act seem to answer that in the negative by excluding from the Act any use of expressions of folklore among traditional communities.  [Little Leo is rather happy as “Ching’ande” was the reason she purchased that album, even if she spent more time listening to ”Nimpepako Ma Key” and “Ubwinga.”  Amayenge and Mashombe Blue Jeans aside, there’s not a lot of recorded music available in Tonga.]

Permits Permits Permits

The main gist of the act is that permits are required for exploring, accessing and using TK, GR and EOFs.  Permits must be obtained from the Patents and Companies Registration Agency after a written arrangement is worked out with the community that holds the GR, TK or EOF.  The community is not allowed to authorize anyone to access or use without a permit.  (Art. 67.)
There are detailed rules laid out for obtaining and complying with permits.  (Arts. 32, 36, 40 and 45.)

The New System

The structure of the system seems to be somewhat akin to trademark protection.  Registration is optional but will serve as prima facie evidence in court, and the Registrar will publish an Intellectual Property Journal on protected TK, GRs and EOFs.  It does not look as though there is any opposition process as in trademarks, however.  Registration does not require public disclosure of secret TK or EOF in order to register for protection.  (Arts. 15(5) and 47(3).)  The Register will also contain records of all licenses, access agreements and other contracts related to use of GR, TK and EOFs.  Access agreements must be in writing and approved by the Agency in order to be valid.
The duties in the Act are overseen by the Registrar appointed under the Patents and Companies Registration Act.  This Registrar is a very busy person indeed.  In addition to the duties required under the Patents and Companies Registration Act, the Industrial Designs Act and who-knows-what-other-acts, the Registrar is now also in charge of administering the TK, GR and EOF act.  In this case, that means also running a lot of education programs about these topics.  Luckily, both the Patents and Companies Registration Act and the TK, GR and EOF act allow the Patents and Companies Registration Agency Board to appoint assistant registrars to help out with all these duties.  [That is quite a mouthful; Little Leo thinks there must be a fun acronym for that board.]  The Agency also has the ability to transfer the TK, GR and EOF duties to another institution if it sees fit.  (Art. 9.)

Extensive Definitions

Over a tenth of the Act is definitions.  The Act contains very detailed definitions for many terms that have proven difficult to agree upon in international settings, such as “expressions of folklore,” “holder” and “traditional community.”  The definition of traditional community is worth highlighting as it illustrates the local nature of this law:
“ traditional community ” means a human population living in a distinct geographical area in Zambia which is the creator or recognised, according to customary laws and practices, as the creator and custodian of a traditional knowledge, genetic resource or expression of folklore and the words “community” and “local community” shall be construed accordingly.
Zambia has approximately 72 local languages with 7 or so that are recognized as main languages.  The languages, and the cultures with which they go, tend to be geographically segregated.  In general terms, Bemba in the north east, Kaonde and Lunda in the north west, Nyanja and Tumbuka to the east, Lozi to the west, Tonga to the south, etc.  In other words, nearly all Zambians live in distinct geographical areas.  Lusaka and the main Bomas (towns) tend to have some people from other tribes, but for the most part, geographical areas tend to be fairly homogenous in culture.
The concept of “customary laws” contained within the “traditional community” definition is another term upon which agreement is difficult internationally, but which makes sense in the Zambian context.  In Zambia, customary laws are enforced by local courts that are integrated into the full national legal system.
It is also worth noting that the definition of Expressions of Folklore includes “any form, whether tangible or intangible, in which traditional culture and knowledge is expressed, appears or manifests…”  Many discussions in this area use the phrase “traditional cultural expressions (TCE) instead of Expressions of Folklore.  It appears that the Zambian act’s use of EoF also covers TCE.

Protections Granted

The Act has five enumerated protections listed in Art. 4(1), with the authority of holders of the relevant rights to bring legal proceedings granted in Art. 4(2).  This makes sense for four of the protections, but is a little confusing with respect to 4(1)(c), which protects “an equitable balance between rights and interests of holders and users.”  That sounds like something that would also need to be enforced by users.  The other four protections are:
·       Against infringement of TK, GR and EOF
·       Against misappropriation of TK and EOF
·       Against misappropriation of GR
·       Against improper grant of IP right over TK, GR and EOF
The Act also enumerates six benefits and rights that are granted to holders of TK, GR and EOF.  (Art. 4(4).)  [The Act says the holder may “excise the following rights,” but Little Leo is pretty sure that’s a typo and should be “exercise.”]  These rights include the option of registering TK and EOF with ARIPO and with the Zambian Patents and Companies Registration Agency.  Registration opportunities extend to those with transboundary rights in accordance with Article 5.4 of the Swakopmund Protocol.
Rights granted include both economic and moral rights.  For example, “distortion, mutilation or other modification of” expressions of folklore are prohibited.  (Art. 49.)  And, holders have the exclusive right to license what they hold, which is discussed further below.
Somewhat oddly, in the middle of all this protection and right-granting, there’s a long list of principles that seems like it would better fit in a preamble.  But, hey who says laws have to be drafted in a certain order?  It is unclear what legal effect this list of principles will have or how the items on the list will play into enforcement of rights under the Act.  Perhaps it will be used to interpret other provisions of the Act by a court.  (The 12-element list can be found in Art. 5.)

Prior Informed Consent and Benefit Sharing

Prior informed consent and benefit sharing are sort of buzz terms in GR/TK/EOF circles.  The Zambian act pays homage to both by including the terms, although somewhat unnecessarily.  All three subject matter portions of the act allow holders of the relevant items to license access to or use of the respective materials.  As discussed above, arrangements are only allowed if approved by the Agency through the permit-granting process.  So, there is no use allowed without prior informed consent, even without the sections that require prior informed consent.  (Compare Art. 17 giving the holder the exclusive right to “authorise the exploitation” of TK and Art. 18 requiring users of TK to obtain prior informed consent.)
Benefit sharing is also required, again both through the exclusive-right-to-license provisions and through explicit benefits-must-be-shared provisions.  Benefits considered go far beyond money and can be anything the holders feel would be beneficial to them.  A non-exhaustive list appears in Article 43:
(a) the license fee;
(b) upfront payment;
(c) milestone payment;
(d) royalty;
(e) research and development funding;
(f) joint ownership of intellectual property;
(g) employment opportunity;
(h) participation of Zambian nationals, the Agency or appropriate institution designated by the Agency in the research, and development based on the genetic resource or traditional knowledge;
(i) priority to supply raw materials of the genetic resource required for the production of products derived from the genetic resource;
(j) access to products and technologies derived or developed from the genetic resource or traditional knowledge;
(k) training, both at institutional and traditional community levels, to enhance local skills in genetic resources or traditional knowledge, and their conservation, evaluation, development, propagation and use;
(l) provision of equipment, infrastructure or technological support; or
(m) any other benefits as may be appropriate in relation to the genetic resource or traditional knowledge.

Exceptions and Limitations

In addition to the inter-traditional community sharing discussed above, there is also a broad exception for education, research and experimentation.  (Art. 3(3).)  Somewhat surprisingly, there are also compulsory license provisions akin to what one might find in a patent law.  In cases where GR or TK is “not being sufficiently exploited by the holder or where the holder refuses to grant access subject to reasonable commercial terms and conditions, the Minister may, in the interest of public security or public health, grant a compulsory licence to fulfill a national need.”  (Arts. 30 and 23, respectively.)  Interestingly, “the Minister” is mentioned a number of times in the Act, but it is never specified which Minister this is.

Disputes, Remedies and Enforcement

Disputes under the Act are to be heard by the Registrar, with the option to appeal to the High Court.  (Arts. 56 & 64.)  Little Leo wonders how difficult it will be to dispute the accuracy or validity of a registration granted by the Registrar, or the fairness of an agreement authorized by the Registrar, or the validity of a permit issues by the Registrar, before the Registrar.
There are also criminal enforcement mechanisms similar to those in the Industrial Designs Act.  Contravening the Act can result in up to 4 years in prison, a fine of 400,000 penalty units (~USD$12,000), or both.
Lastly, Little Leo notes the customs authorities granted in the act, mainly because many of the things she uses in her daily life that could potentially fall under the EOF umbrella, from her hand-carved and pyrographic nsima sticks that she cooks with to the citenges she wears to bike.  Customs agents are given the authority to seize GRs or “any material incorporating traditional knowledge, genetic resources or expressions of folklore that a person intends to export without the necessary permits.”  (Art. 68.)  Those permits are really important.
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Saturday, 17 September 2016

Afro Ng'ombe

Zambia Welcomes Two New IP Acts


What better to do during cold season than sit huddled inside signing IP bills into law?  At least that seems to be the case for usually-quiet Zed with the introduction of two new IP laws this past June.  The Industrial Designs Act 2016 (Act No. 22 of 2016) and The Protection of Traditional Knowledge, Genetic Resources and Expressions of Folklore Act, 2006 (Act No. 16 of 2016) were both signed into law on June 6, 2016. [Given the large gap between 16 and 22, it seems President Lungu was busy signing quite a number of new laws.]  The updated WIPO announcement is available here.

We’ll explore the Industrial Designs Act here and save the TK, GR and TCE act for another day.  (Nkombo Little Leo wakatala na wayanda koona.)

Industrial Designs Act


The Industrial Designs Act replaces the British-era Registered Designs Act from 1958 (six years before independence).   According to the preamble, the Industrial Designs Act is meant to implement Zambia’s relevant obligations for the Paris Convention for the Protection of Industrial Property, the Harare Protocol on Patents and Industrial Designs and the TRIPS agreement, as well as “any other relevant international treaty or Convention to which Zambia is a State Party.”  WIPO, ARIPO, WTO; check, check, check.  Zambia joined these three agreements in 1965,1986 and 1995, respectively.  Some things take time.

To be fair, the 1958 Act had been amended multiple times, including in 1965, 1987 and 1994.  It already provided arrangements for utilizing the Paris Convention and provisions giving designs registered under the Harare Protocol effect in Zambia.  The TRIPS Agreement provisions on Industrial Design (Articles 25 and 26) are fairly basic protection provisions and may have already been met under the 1958 Act, but Little Leo is not going to try to analyze that.  (The 1994 amendments added penalties for falsification and deception with respect to industrial designs.)

So, if most of the treaty obligations were addressed in the 1958 Act, what’s so special and shiny about the 2016 Act?  A bunch of things.

Design Registration Now Gives Design Protection


The biggest change between the 1958 Act and the 2016 Act is that registering your industrial design in Zambia now gets you industrial design protection.  Under the 1958 Act, registering your industrial design got you copyright.  [This is where Little Leo scratches her head and says, “ndapyopyongana.”  Why would registering an industrial design “give to the registered proprietor the copyright in the registered design” as it says in Art. 14 of the 1958 Act?  And if it was a copyright, and registration was required and the term was only five years, wouldn’t that violate Berne?  Ndapyopyongana maningi.]

Interestingly enough, the old rights granted sounded more like patent rights, “to make or import for sale or for use for the purposes of any trade or business, or to sell, hire or offer for sale or hire.”  (1958 Act. Art. 14(1).)  The new act’s inclusion of the right to “reproduce and authorise others to reproduce” sounds more like copyright.   (Art. 56(1)(a).)   The new act also grants the rights to exploit and assign, and the very patent-like right to “prevent any person…from making, using, offering for sale, selling or importing.”  (Art. 56(1)(b),(d) and (c), respectively.)

The term of protection is the same at five years.

Additionally, beyond the rights outlined in the rights section, there are new offences provisions that protect holders of design rights.  Art. 89 makes it on offence for a person to “make a die, block, machine or instrument…”  Now, theoretically, this means a die, block, machine or instrument that will make goods that infringe a design right.  And that’s what Art. 89(1)(a) appears to do, “knowing that it is likely to be used for, or in the course of committing an offense against a design.”  However, Art. 89 then continues, “or (b) whether or not it is likely to be used for, or in the course of, committing an offence against design.”  Italics added.  Ndapyonpyongana alimwe.

New Protection Eligibility Requirement


The language for protection requirements has changed, but it is unclear how meaningful this difference will be.  Compare the 1958 Act and 2016 Act language:

1958 Act Art. 7(2) “new or original”

2016 Act Art. 15 “new and has individual character”

Individual character is explained in Art. 18 as “the overall impression [the design] produces on an informed user differs from the overall impression produced on such a user by an earlier design”

The 2016 Act also clarifies that the tests are measured globally, not just to Zambia.  (Art. 17.)

Opposition Period Introduced


The new act introduces an opposition period for designs, giving the public at least two months to file a written notice of opposition.  (Art. 43.)

New Exceptions and Limitations


The 2016 Act specifies exceptions beyond the innocent infringement defense and compulsory licenses available in the 1958 Act, both of which are still there.  (Arts. 66 and 81, respectively in the 2016 Act.)  Art. 59 limits design rights to industrial and commercial activities.  It then goes on to also specifically exclude acts done for scientific research, experimental use, teaching and testing.  Furthermore, Art. 61 specifies that use of a registered design is not infringement if the use is done for private and non-commercial purposes, for evaluation, research, teaching or in repairing a “complex product.”

The compulsory license options have been adjusted.  Those desiring a compulsory license must now wait until three years after the registration date.  (Art. 81)  Under the 1958 Act, compulsory licenses could be issued immediately.  (Art. 17.)   However, the conditions for receiving a compulsory license are now broader.  Under the 1958, the only reason for a compulsory license to be issued was if the design was not being applied in Zambia.  Under the 2016 Act, a compulsory license may be issued (a) if Zambian demand is not being met, (b) if refusal to grant a license is “prejudicial to the country’s establishment and development of industries or commercial activities,” (c) if a license on reasonable terms and conditions could not be obtained, (d)  in interest of public health or safety, (e) if there is IP abuse, or (f) for a national emergency.

Morality Clauses Strengthened


The exclusion of designs that violate law or morality has been greatly strengthened and expanded.  In the 1958 Act, this was covered by a savings clause buried in the Miscellaneous section of the Act (Art. 57) allowing the Register to refuse designs “the use of which would, in his opinion, be contrary to law or morality.”  The 2016 Act specifically says in Art. 16 that such designs “shall not be registered and shall be excluded from being protected.”  It also broadens the list of what’s covered to include contrary to well established natural laws, public order, principles of humanity and environmental conservation.  The Register also has the leeway to choose to refuse a design that would “encourage offensive, immoral or anti-social behaviour.”  (Art. 31(1)(b).)

New Destruction and Forfeiture Remedies Introduced


Interestingly enough, the 1958 Act does not describe the types of remedies available to a right-owner whose rights are infringed, though it does describe the remedies against groundless threats for infringement.  Being a Commonwealth country, remedies in Zambia were probably known and handled under common law rather by statute.  This seems to likely still be the case for remedies such as damages and injunctions.  However, the 2016 Act does specifically introduce forfeiture and destruction remedies. (Art. 65.)

Stronger Employee Rights


Employees are given stronger rights in their designs.  Under both the 1958 and 2016 Acts, designs done by employees for their employers belong to the employers.  However, in the 2016 Act, employees can receive equitable remuneration for designs that prove more valuable than either party imagined.  (Art. 45(1).)  The Act also clarifies that designs made by employees but not as part of their duties to the employer belong to the employee.  (Art. 45(3).)

Law Matches Other Changes


The 2016 Act brings the design law into conformity with other changes that have happened in Zambia’s IP structure since the last amendments in 1994.  For example, the law now acknowledges that design registrations are handled by the Patents and Companies Registration Agency that was established in 2010.   The creation of that agency consolidated registration duties with the new agency’s register, rather than under a specific Register of Designs.  Additionally, the registration records may now be kept electronically.  (Art. 10.)

Can’t Blame the Examiner


There is a new explicit non-warranty and non-liability clause for the decisions of the examiners.  (Art. 9.)  Presumably, this means if a court later decides that a registered design should not have been protected or if a design is registered which infringes someone else’s rights, the examiner who registered the design in question would not be liable for reliance on said registration.

Foreign Applicants Must Use Patent Agent


Foreign applications must be done through a registered Zambian patent agent.   (Art. 38.)

Criminal Penalties Enhanced


Lastly, maximum criminal penalties for contravening any provision of the act have increased from 15,000 penalty units and three years in prison (Art. 51 of 1958 Act.) to 400,000 penalty units and four years in prison (Art. 58 of 2016 Act.)  The current value of a penalty unit (per S.I. Number 41 of 2015) is 30 ngwe, or about 3 U.S. cents, meaning the current max fine is just under US$12,000.  That’s a rather hefty amount for a country with average incomes estimated at about 1/10 that (per World Vision) and average salaries barely over that (per Average Salary Survey).
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Thursday, 1 September 2016

Afro Ng'ombe

IP and African Music Industries: An Interview with Phil Chard - part 3


Zambian Music Copyright Protection Society,
interesting agreements?
Welcome back for part 3 of our interview* with Phil Chard.  We left off discussing artists’ respect for their craft.  Today, we’re going to get into how artists interact with copyright law.  A brief recap of where we were last time is at the top in grey. (Part 1; Part 2)

Little Leo:  It sounds like you’re also saying in some ways the artists don’t respect their craft, that they’re not taking it seriously.

Phil:  To a certain extent, it’s true.  There’s a culture here, a microwavable culture.  Everyone is trying to get the next big hit, the next big headline, the next trending topic, with no real consideration to the long-term ramifications of what they’re doing.  And it gets frustrating.  Even large organizations, they’ll rather have a quote-unquote Twitter celebrity do an absolutely pointless interview than have people that actually produce quality editorial content do that stuff.  And it seeps down to the consumer because now the consumer is like “why should I spend 30 minutes of my time watching this good interview, when I can watch a listicle that’s 3 minutes, that tells me nothing but is entertaining.”  So, it now devalues the content across the board.

Phil (cont.): There’s so many other things, like artists will complain about piracy, and people not paying for their music, but they’ll go and download or illegally steal someone’s content.  Just last week, we had an interview we did with an artist called HHP.  I’ve known HHP for quite some time.  He respected the fact that whenever he’d do major events he’d always see me there.  And I’d always be flying in to cover these events.  He was impressed by the fact that I was always there.  He was asking me, “Dude, are you based here?”  I’m like, “No, I’m flying in and out; I’ve got a day job.  This is what I do on the weekends because I care for the culture.”  He had just got out of rehab.  He had suffered a bout of depression; he had attempted suicide.  He went on the radio and spoke about it.  And then they put him on meds and he wasn’t happy with the side-effects of the meds, so he went to rehab to wean himself off the medication.  And he was going to deal with the depression naturally.  So he met me after he just got out of rehab, and he was like, “come to my house tomorrow; I’m going to give you the best interview you’ve ever had.”

So we go to his house.  We spent like the whole day with him.  It was actually a great experience.  Then during the interview, he goes on a rant about disrespectful young artists that are talking out of turn, that basically feel the need to mention older artists’ names and saying “I’m now better than this artist.”  That, “now I make more money than this artist.”  And he was like, “That’s extremely disrespectful and in my culture we don’t do that.”  And he had some very choice words, some very apt words, and that section of the interview went viral.

People started taking it out of context, which kind of annoyed me because that’s the last thing I wanted to do.  I’d actually held onto that interview for a couple of weeks because I was weighing it, “if I release this, there’s a good and there’s a bad.”  And I didn’t want any negative energy to come over him because I respect this man as an artist.  But, all that being said, this interview goes extremely viral.  I keep getting these pings off other websites and other blogs, downloading the video and re-uploading it as their own.  Now I’m playing whack-a-mole on Facebook, reporting all these cases, and on YouTube.

And then last week, an artist who had actually complained about people illegally downloading his music, takes this interview, samples it in a song, and then he hosts it on another blog.  And this artist, I’ve interviewed him several times.  He knows me and he knows my number.  His producers know me.  Not one of them thought to contact me and at least just get permission and ask, “Hey, Phil, we’ve got your content; we want to use it in a song.  Would you mind if we use it?”  And it’s a free song; I’m not going to charge them for it.  The least I would do is say, “Ok, that’s great guys, use the sample, but at least give me the exclusive so I can host it on my site so it’s mutually beneficial to both of us.”  But now another website is benefiting from my content and I am just stuck holding my hands doing nothing.

That’s a common thing that they do.  They’ll complain about downloads but they’ll blatantly sample an American song.  You find, Cassper Nyovest was also  ranting about people not respecting his music.  But there’s a Childish Gambino song called “Heartbeat”; there’s a melody bar-for-bar, they stole that whole melody and he used it in one of his songs ("Style Se Legit").  He’s got another song called “Mama I Made It,” that’s a carbon copy of a Drake song, beats, melody, rhyme pattern, everything.  His breakout hit, “Doc Shebeleza, the chord progression was a direct carbon copy of a Lex Luger beat.  Lex Luger’s a producer for Rick Ross.  So, there’s just a culture of mediocrity, that’s what we call it here.

Everyone is very happy with the status quo.  They’re very happy middle of the road.  No one is trying to be exceptional.  And if they do try to be exceptional, they pull you back into the pack very quickly.  You don’t want to be the odd one out.  That’s when they start casting you out.  “Oh, you said this, ok, you’re not getting invited to this event anymore.  Oh, you bothered to talk about this, ok, you’re not getting this exclusive anymore.”

L:  Bringing it back to the copyright issues a bit, I definitely hear it, it’s clear you do, too: the artists complaining about infringement with downloads, but then turning around and doing it themselves.  How much do you get the impression that artists actually understand copyright or are familiar with it?

P:  They understand it when it directly affects them.  I don’t know if you caught the #CreditTheCreator hashtag that went viral about three weeks ago.  {See also #CreditThePhotographer.} 

L:  I think I missed that one.

P:  Basically what had happened, there’s a photographer called Austin Malema.  Austin Malema was invited to the SAMAs, the South African Music Awards, to take photos backstage.  He was doing it on his own capacity, he wasn’t hired by the SAMAs.  He just got a pass and was taking them for himself.  One of the photos he took, he took a photo of a celebrity called Pearl Thusi , and he posted it on his Instagram page and he tagged her.  She then liked the photo and reposted it.  When she reposted it, she didn’t give him credit, and she says, ‘I don’t know who took this photo, but I love it.”  He got irate, “but you know who took it because you liked it and you saw it on my page.”  Her argument was that “you could have just have easily taken that photo from someone else so I can’t really verify that you took it.” 
There were obviously some conversations behind the scenes that led to this.  After he explained that it was his photo, she still refused to credit him.  He got very irate and sent a takedown notice to Instagram.  Instagram took down the photo.  She then retaliated and said, “since you asked Instagram to take down the photo from my page, I will ask you to take your photo of me from your page.” 
And then people who are familiar with how intellectual property works were like, “That’s not how it works because you were in a public venue and he’s not using this photo for commercial gain.  It’s just for his page.  If you don’t credit him, that’s a loss of revenue because there’s an investment he’s made in getting to the venue, paying for the equipment, etc.”  And then the argument raged on where artists were on the side of “Why are you taking photos of me?  If you don’t want me to repost your photos, don’t take photos of me.”  And we were like “That’s not how it works because you were in a public space.  If you’re in a public space, we have the right to take photos of you as long as it’s not incriminating.  And if we’re not selling the photos, then it’s fair use.”  Artists clearly didn’t understand that concept and they’re like. “Well we’re the celebrities; we have rights to those photos.” 
There’s also a photographer called Michelle Hunder.  She’s from Australia.  She caught wind of this and she sent me an article.  She had the same issue with a rapper from America called Danny Brown.  He did the same thing.  He put a photo up of hers.  Her editor then got hold of him and said, “Thanks for posting the photo but do you mind just crediting the photographer because that’s the only way she’s going to get credit.”  And then he threw a rant and said, “No, I’m just going to take the photo down.”  And then that was that.

L:  So much fighting just over credit, not even remuneration or anything like that.

P:  That’s it.  Even me, I’m a photographer.  I’ll see it so many times.  I’ll take a photo of an artist.  I’ll tag them.  They’ll repost it.  They won’t credit me.  And they’ll ruin the photo with filters.

L:  I wanted to switch to some other areas of IP.  We started getting a little into rights of publicity with the artists saying “well that’s of me, so take it down.”  And you’ve already touched on the public place sort of aspect.  You also talked a bit about brands and artists knowing their brands and taking brand ownership.  How often do you see artists and people in the industry using the legal tools that are available to them for brand ownership, things like trademark registrations and that?

P:  It’s hard to determine because a lot of that stuff is behind the scenes.  I’m trying to think of a copyright infringement case that actually went through.  Off-hand, I really can’t think of any copyright infringement cases that have been filed.

L:  Well we had the recent one with TIGO that you guys talked about on the African Hip Hop Blog [at 5:30 mark].

P:  Yes.

L:  MTN’s had a couple issues.

P:  If I’m not mistaken both MTN in South Africa and Nigeria, there’s some pending aspects on payments.  Those are definitely the big ones.  There’s another network provider that also has an issue with callback tones.  In most instances, that’s when artists recognize that their copyrights are being infringed upon.  When their music is being distributed and they aren’t seeing any remuneration for it. 
There’s something going on in Zambia.  The Zambian music rights association [ZAMCOPS]is basically shifting all its artists.  There’s a guy from Zambia who came down and we were discussing the scene.  He showed me a deed of assignment that’s been issued by ZAMCOPS, which already struck me as odd because I’m like, “why would they be issuing deeds of assignment for works?”  One of the clauses basically states that upon signing this contract all artists are surrendering all mechanical and performing rights to their works to the bearer, the bearer being ZAMCOPS.  Thereafter, I already knew exactly what they were doing.  Then I asked him, have there been any artists who have seen their music being distributed without their knowledge?  And he said, “Yes, there’s actually a couple of artists who have their music on iTunes, which they never put on iTunes. " And when they checked, it says under copyright from the Zambian Music Copyright Protection Society.  And they’ve never received payment for this.  Basically, an organization purporting to be for the rights of the artists is stealing their content, stealing their rights, distributing their content, and not remunerating them for it.

We’ll break here for today.  Join us next time, when we delve further into contractual agreements and get into trade secrets a bit.
 
*The conversation has been edited for clarity and reading ease; it is not an exact transcript.

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Tuesday, 26 November 2013

Afro Ng'ombe

Zambia’s CD and DVD Holograms Criticized

A few months ago, Zambia officially began requiring authenticating holograms on physical media like DVDs and CDs.  The program appears to be similar to the Nigerian Hologram Scheme put in effect about 6 or 7 years ago.  The idea is that the government will affix legal copies of media with a special hologram sticker that allows everyone to see that the product is not a pirated copy.  The Zambian program is only a few months old but has already dealt with its share of criticism.

The Zambian government began promoting and educating about the hologram program many months before introduction of the actual holograms on discs.  President of the Zambia Association of Music criticized the program as “archaic” because it addresses only physical copies of media and does nothing to address sharing digital files.  Traders who sell music and movies it the markets criticized the program for not allowing enough time for them to sell off their old products.  Traders who only learned about the program when government officials visited were concerned the government has not done enough to educate the population about the holograms.  Others are concerned that the requirement to obtain holograms from the government will harmfully delay the release of new products.  Despite the criticisms, the Zambian government says the hologram program is helping to curb piracy.

Afro Leo is a bit stunned by these developments.  On the one hand, a hologram program does seem a rather old-fashioned way to address piracy.  Even in 2008, the Nigerian program seemed a little outdated.  On the other hand, legitimate music purchasing options are important, and it isn’t always easy for a consumer to know what’s pirated or not in a market stall.  This little Leo was surprised to learn that Mondo Music, the label she most frequently purchased when living in Zambia, had gone out of business due to piracy.  10 years ago, Mondo Music had most of the biggest artists in the country and legitimate copies of their albums were available at major retailers in shopping centers across the country.

Perhaps Zambia shouldn’t give up on the hologram scheme yet.  It is very new and the holograms themselves did cost the country quite a bit – One billion kwacha.  But Mr. Zulu of the Zambia Association of Music is correct that addressing only physical infringing copies is not enough to ensure a thriving music industry.

Hat tip to Lusaka Times for information in several articles, starting with the most recent government support of the hologram program: http://www.lusakatimes.com/2013/11/22/hologram-project-flop-police-confiscating-pirated-dvds-cds-kapeya/

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Monday, 8 July 2013

IPcommentator

A review of African official IP websites: no.53: Zambia

It seems like yesterday when this Leo began the review of the intellectual property office websites across Africa. Now we are one away from the last country. On review of Zambia, we find an impressive up-to-date website where we learn that the Patents and Companies Registration Agency (PACRA) has opened a new office in Choma. Click here to read more amongst others.


IP-related news from Zambia
The Intellectual Property Unit (IPU) of the Zambian Police seems to be doing its job as the force is reported to have intercepted a truck loaded with fake sanitary towels. To read all about this, click here.




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