Copyright Review Commission Report - ICT Law and Regulation ...

12.3 COPYRIGHT IN MUSIC EDUCATION AND GENERAL PUBLIC AWARENESSDuring the course of public hearings and interaction with stakeholders, the CRC became aware of a general lack ofknowledge of copyright and its use in the music industry. Capacity building and the development of a knowledge basewould be a positive contributor to the growth of the industry.12.4 RECOMMENDATIONSThe dti should lead an intergovernmental committee in a renewed effort to consolidate past attempts to integrategovernment interventions in the music industry. A new Music Industry Task Team should be established to facilitategrowth and economic development. In this regard, players within the copyright regime should not be let off the hook. Allgovernment-sponsored efforts should be specified in terms of measureable outcomes and subject to monitoring andevaluation. Beneficiaries of sponsorship should be held accountable.12.4.1. At the level of WIPO, the dti has to ensure that its officials are informed of the developmental imperatives thatface the music industry and are able to represent the country effectively.12.4.2. All the recommendations of the MITT should be implemented with renewed vigour.12.4.3. Incentives by the South African Government for the production, marketing and export of South African musicneed to be intensified and expanded beyond the music industry hub of Johannesburg. This should be done bysponsoring, skilling and educating local independent producers in partnership with local government.12.4.4. The Department of Communications should be brought on board to take into account the effect of the newtechnologies on the music industry and play an effective part in the transition, and the promotion of access toknowledge and art.12.4.5. Collecting societies, particularly SAMRO, should adopt a developmental approach to membership recruitment,which may require that the society goes all out to recruit every active creator and performer in the country,viewing copyright not only as an individual right, but as a national resource empowered by national legislation.12.4.6. Collecting societies should adopt creative business practices by monitoring and adopting new local trends inmusic, and including these for membership recruitment and collection. For example, ABRAMUS in Brazilfocused on live concerts, gospel and country music as growth niches, while continuing the long-term battle ofgetting on board broadcasters and other infringers of copyrights. They have been able to show growth andprovide monthly payments to members.12.4.7. The CRC recommends that schools and tertiary institutions involved with music education in particular and artsin general should be encouraged to develop unit standards and/or modules that deal with copyright issues intheir programmes. This should be done in collaboration with the South African Qualifications Authority. the dtishould engage the national Department of Education in this regard. Emphasis should be placed on developing aknowledge base in the following areas: Copyright as it relates to copyrighted music material, in tuition and in practice;- 89 -