NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud of its partnership with the Industrial Development Corporation (IDC) as a Strategic Implementing Partner (SIP) for its Social Employment Fund (SEF). Through this collaboration, MIAF is running a national programme that is creating jobs, addressing skills gaps, and strengthening South Africa's creative industries — in line with the SEF's overarching goal to generate work for the common good and build community value through employment, social contribution, and inclusive economic participation. Operating under the banner NEFCISA (National Employment Facility for Creative Industries in South Africa), the initiative is recruiting and training participants, matching them with host organisations, and has already placed 1 500 workers across the country — surpassing its original target of 1 000. NEFCISA is delivered through a network of 20 host organisations spanning five provinces, who are actively hosting participants and contributing to work for the common good across South Africa's creative and cultural industries. Key Objectives: Support employment and entrepreneurship in the creative industries. Offer skills development and training programmes. Foster partnerships between public and private creative sectors. Promote South African creativity at both provincial and national levels Foster community development through social contribution.

ACCES
ACCES

ACCES Conference and Showcase Festival is Africa's leading music industry gathering, bringing together the people shaping the future of the continent's music business. Artists, entrepreneurs, executives, investors, policymakers and cultural leaders from across Africa and around the world come to ACCES to build partnerships, exchange ideas, discover talent and create new business opportunities. Since its launch in 2017, ACCES has become the continent's premier platform for professional exchange and music market development. Combining a high-level conference with a curated showcase festival, networking, exhibitions and industry programmes, ACCES offers a unique space where creativity meets business and where African music connects with the global industry.

Gender@Work
Gender@Work

Music In Africa Gender @ Work is a three-year training programme aimed at upskilling and increasing the participation of female professionals in the African music sector. Launched by the Music In Africa Foundation (MIAF) in April 2019, the programme is connected to the MIAF’s ACCES music conference – a pan-African event held in a different African country every year. This connection enables the programme to reach new participants in a different African country every year. The programme marks the beginning of a more concerted effort by the Foundation to support the participation and inclusion of women in all facets of its programmes and the music sector in Africa as a whole. Over the three years, the programme will aim to address gender imbalances in the sector through training, lobbying, facilitating knowledge exchange and dialogues that foster the interest of women. The broader objectives of the programme are to: Provide industry training for women on critical music industry skills, focusing on: Stage management Electronic music production and recording Music business management Technical knowledge Provide an opportunity for both professional and aspiring women to benefit from the Music In Africa network and its broad range of activities in 2019, 2020 and 2021. Provide a solution-based platform in the form of a round table at ACCES with a view to identify challenges, discuss opportunities and lobby for the interests of female practitioners. Offer participants the opportunity to benefit from programmes offered by MIAF’s partners. Increase access to educational materials. Integrate participants in the broader ACCES programme to maximise experience and exposure to the industry. Record and present training materials on the www.musicinafrica.net, including but not limited to tutorials, templates and other best-practice materials. Communicate women-based themes that support the initiatives and messages of the programme. MAIN TRAINING ACTIVITIES Training in first country (Ghana): In the first year, participants will be trained on all aspects of stage management by a team of experienced stage managers from 10 to 17 November 2019. The programme will offer robust classroom training as well as practical, hands-on training in which participants will also be given the opportunity to manage various aspects of the ACCES performance programme. Training in second country: The second training iteration will take place at ACCES 2020 when the programme will diversify its course to include music production lessons and training on other music business topics. A round-table platform will also be introduced to coincide with the ACCES programme. Training in third country: The third training iteration will take place at ACCES 2021 in a different country, offering an advanced course. HOW DO YOU GET INVOLVED?  As a participant, facilitator or trainer: The programme enrolls up to 12 trainees every year. All opportunities are advertised publicly on this website, and will be added to this page. Please keep checking this page for new calls (below under UPDATES & CURRENT OPPORTUNITIES). As a partner Please contact Claire Metais at [email protected]. APPLY The call for applications for 2020 will be announced soon. The Music In Africa Gender @ Work programme is made possible with the support of the Prince Claus Fund, Siemens Stiftung and Goethe-Institut.

Sound Connects Fund
Sound Connects Fund

For cultural and creative practitioners and organisations operating in southern Africa, access to funding remains a major challenge. The COVID-19 pandemic has also had a massive impact on government policy, spending and the economy in general, and has seen spending on culture being moved further down the list of priorities. Further, the cultural and creative industries repeatedly cite four main areas where investment is needed for growth, which are increased visibility, mobility including access to new markets, finance and support structures.

Instrument Building And Repair Project
Instrument Building And Repair Project

Experience the Vibrations African Instruments Exhibition online in 3D

Overviews

Intellectual property law in Liberia

17 Aug 2020 - 09:50

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This article looks at intellectual property (IP) law in Liberia, including its history, its challenges and the current state of IP in the country.

Musicians Union of Liberia president Sammy Gray Gboguy.

Historical context

Since the early part of the 19th century, the Liberian government has recognised IP rights as a medium of economic growth and a means of diversifying the economy.[1] The first recognition came in 1911, when the government of Liberia enacted the first copyright law (titled 'An Act Relating to Copyright'). Eighty-six years later, in 1997, the government adopted the new Copyright Act and, in 2003, an Industrial Property Act.

However, both of these laws suffered significant setbacks due to ambitious clauses that were unclear and inconsistent with the socio-economic reality in Liberia.

Fast forward to 2016 and, with the government recognising the challenges with existing IP law, officials adopted a new act that repealed both the Copyright Act of 1997 and the Industrial Property Act of 2003. The new act amalgamated two old offices into one, establishing the Liberia Intellectual Property Office (LIPO).[2]

After its creation, LIPO became a semi-autonomous government agency comprising a central administrative arm with two distinct departments. It also features a separate leadership and is charged with the mandate, under the authority of policy direction of the Ministry of Commerce and Industry, to protect the IP rights of creators in and outside Liberia.

The new Liberia Intellectual Property Act

Unlike the old laws, the 2016 Intellectual Property Act called for the filing of international applications under the Madrid Protocol and the Swakopmund Protocol on the Protection of Traditional Knowledge and Expressions of Folklore within the framework of the African Regional Intellectual Property Organization (ARIPO).[3]

The new act mandated LIPO to ensure that foreign nationals’ copyrighted works enjoy the same privileges given to Liberian IP rights holders, and that these should be administered in line with international IP conventions or treaties of which Liberia is a signatory.[4]

Under the new act, the government of Liberia granted protection to copyrighted material including, but not limited to, musical works, sound recordings, literary works, artistic works, dramatic works, as well as works created by individuals, corporations, the government and international bodies.

For a creator to own IP rights in Liberia, he/she has to be Liberian, a resident of Liberia, or the owner of a work published for the first time in Liberia. For foreign creators, the work has to be registered not less than 30 days from the date of production.

The act also provides room for fair use, which permits the unlicensed use of copyrighted material in specific circumstances, such as parody, satire, criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship or research. However, for copyrighted material to qualify or meet the conditions of fair use, the act requires the following reproduction conditions to be met: private reproduction meant for personal use, temporary reproduction, reproduction for teaching, reproduction for library use or aurally impaired persons, and short-lived recordings by broadcasters.

Interestingly, the act does not provide protection for intangible ideas, procedures, methods of operation, mathematical concepts, principles, or mere data. Other copyright-exempt documents include any official legislative, judicial or administrative communication, including the laws of Liberia; and any official translation, news of the day, political speeches and speeches delivered in legal proceedings.

Furthermore, the act protects the moral and economic rights of literary or musical authors for their lifetime and 50 years after their death. It also mandates that the economic and moral rights of the author can be transferred to another person in the author’s will. In the case of joint authorship, the law requires that the last surviving author inherit the economic and moral rights of the said work until his/her death.

On the issue of piracy and IP infringement, the 2016 law calls for a fine of $1 500 to $2 500 and one to two years' imprisonment for first- and second-time offenders.[5]

Challenges with the 2016 Intellectual Property Act

Although Liberia’s IP Act is ostensibly up to date, there still exist a few loopholes, such as the issue of the applicability of international IP treaties, such as the Banjul Protocol.[6] In addition, there is a provision in the act that exempts an employee of LIPO from being liable in civil or criminal proceedings regarding any action taken while performing his/her duties, even if there is a sign of conflict of interest.

The act does not make provision for the establishment of a collection society – a non-profit entity charged with the responsibility of collecting and distributing royalties and other remuneration on behalf of artist. Despite this, in 2019, LIPO and the Ministry of Commerce and Industry signed an administrative regulation for the establishment of the Copyright Society of Liberia (COSOL).[7]

The current state of copyright in Liberia

While Liberia’s IP law can be regarded as one of the most modern in West Africa, its implementation has been far from ideal. This, in part, has resulted in a booming black market for musical works in the country. In fact, since the introduction of the IP Act in 2016, not a single case of piracy or infringement has been taken to court by LIPO.

There may be cause for cautious optimism, however. In February 2019, the director-general of LIPO, P Adelyn Cooper, made an impassioned plea to artists and said that her team would do more to “stop piracy'', while the president of the Musicians Union of Liberia (MULIB), Sammy Gray Gboguy, said piracy and the protection of IP were key priority areas for the union.[8]

Resources and citations:

[1] World Intellectual Property Organisation. 'Liberia': https://www.wipo.int/directory/en/details.jsp?country_code=LR.
[2] Government of Liberia. 'An Act to Establish the Liberia Intellectual Property Office, 2014': https://www.wto.org/english/thewto_e/acc_e/lbr_e/WTACCLBR10_LEG_10.pdf.
[3] Government of Liberia. 'An act adopting a new copyright law of the republic of Liberia': http://www.moci.gov.lr/doc/Liberia%20IP%20Law%202016.compressed.pdf.
[4] Spoor Fisher. 'New IP Act in Liberia': https://www.spoor.com/en/News/new-ip-act-in-liberia/.
[5] Government of Liberia. 'An act adopting a new copyright law of the republic of Liberia': http://www.moci.gov.lr/doc/Liberia%20IP%20Law%202016.compressed.pdf.
[6] J. Ralph Lincoln. 'Liberia: Piracy, Copyright Law Vs. Economic Growth - the War Within' (2013) for All Africa: https://allafrica.com/stories/201308230573.html.
[7] Daily Observer. 'Liberia: Major Step Toward Royalties for Liberian Creators' (2019): https://www.liberianobserver.com/news/major-step-toward-royalties-for-liberian-creators/.
[8] David A Yates. 'LIPO DG Vows Protection for Creative Sectors' (2019) in The Liberian Observer: https://www.liberianobserver.com/news/lipo-dg-vows-protection-for-creative-sectors/.

Disclaimer: Music In Africa's Overviews provide broad information about the music scenes in African countries. Music In Africa understands that the information in some of these texts could become outdated with time. If you would like to provide updated information or corrections to any of our Overview texts, please contact us at [email protected].

Editing by David Cornwell

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