scholarly journals Epistemic Communities and the “People without History”: The Contribution of Intellectual Property Law to the “Safeguarding” of Intangible Cultural Heritage

Author(s):  
Christoph Antons
2021 ◽  
Vol 4 (4) ◽  
pp. 1-116
Author(s):  
Fiona Macmillan

Abstract This work sets out to consider the fate of creativity and forms of cultural production as they fall into and between the regimes of cultural heritage law and intellectual property law. It examines and challenges the dualisms that ground both regimes, exposing their (unsurprising) reflection of occidental ways of seeing the world. The work reflects on the problem of regulating creativity and cultural production according to Western thought systems in a world that is not only Western. At the same time, it accepts that the challenge in taking on the dualisms that hold together the existing legal regimes regulating creativity and cultural production lies in a critically nuanced approach to the geo-political distinction between the West and the rest. Like many of the distinctions considered in this book, this is one that holds and does not hold.


Author(s):  
Burri Mira

This chapter examines the protection of both cultural heritage and intellectual property. The relationship between cultural heritage and intellectual property evolves in a profoundly complex setting—with many institutions and actors involved, often with very different or even divergent interests, and within a fragmented legal regime. Although intellectual property law has developed sophisticated rules with regard to a variety of intellectual property forms, it is based on certain author-centred and mercantilist premises that do not work so well with the protection of traditional knowledge (TK) and traditional cultural expressions (TCE). Nevertheless, in the fields of patent, trademark, and copyright protection, there are tools that may provide some, albeit imperfect, protection of TK and TCE. The chapter maps the mismatches and the gaps and asks whether these can be addressed in some viable way—be it through adjusting the existing rules or through the creation of new tailored models of protection.


2021 ◽  
pp. 331-343
Author(s):  
Fiona Macmillan

The laws governing intellectual property (IP) and cultural heritage, respectively, belong to different parts of the legal order. Intellectual property law, while usually depending on a discourse that either privileges certain types of cultural or innovative outputs or celebrates their importance for our collective life, grants private property rights over certain types of artefacts. Cultural heritage law, on the other hand, is about state, public, and/or community rights and interests over certain types of artefacts. As the positive legal order understands the world, the two sets of law have nothing, or almost nothing, to do with each other. However, the link between the two exists as a consequence of the overlapping application of these two regimes to certain artefacts, such as the heritage of Indigenous Peoples. In this limited context, community struggles allied with innovative legal scholarship and some welcome institutional and judicial activism have opened up a small space in the positivist framework that recognizes a relationship between intellectual property law and the protection of heritage. The use of interdisciplinary perspectives has been critical in this process, as they have also been in the subsequent development of this debate to encompass questions around the relationship between intellectual property rights and cultural heritage more generally. This short chapter examines questions of methodology opened up by this state of affairs. It reflects on a selection of the myriad subquestions and implications opened up by, respectively, the question of legal ordering and that of interdisciplinary and cross-disciplinary approaches.


Author(s):  
Mark J. Davison ◽  
Ann L. Monotti ◽  
Leanne Wiseman

2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Inggrit Fernandes

Batik artwork is one of the treasures of the nation's cultural heritage. Batik artwork is currently experiencing rapid growth. The amount of interest and market demand for this art resulted batik artwork became one of the commodities in the country and abroad. Thus, if the batik artwork is not protected then the future can be assured of a new conflict arises in the realm of intellectual property law. Act No. 28 of 2014 on Copyright has accommodated artwork batik as one of the creations that are protected by law. So that this work of art than as a cultural heritage also have economic value for its creator. Then how the legal protection of the batik artwork yaang not registered? Does this also can be protected? While in the registration of intellectual property rights is a necessity so that it has the force of law to the work produced


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