Protection of Sámi intangible cultural heritage and intellectual property rights and its relation to identity politics in a postcolonial Norway

Author(s):  
Gro B. Ween
Pravovedenie ◽  
2020 ◽  
Vol 64 (1) ◽  
pp. 124-137
Author(s):  
Benedetta Ubertazzi ◽  
◽  

The Convention for the Safeguarding of the Intangible Cultural Heritage (hereafter known as the Convention) was adopted within the framework of UNESCO in October 2003. Article 2 of the Convention establishes that intangible cultural heritage (ICH) must be compatible with sustainable development. Sustainable development in relation to culture consists of three intertwined dimensions: society, environment, and economy. Chapter 6 of the Operational Directives for the Implementation of this Convention establishes a framework related to “environmental sustainability”. The framework consists of three pillars. The first pillar relates to “environmental impacts in the safeguarding of intangible cultural heritage”. The second pillar relates to “knowledge and practices concerning nature and the universe”. The final pillar concerns “community-based resilience to natural disasters and climate change”. Through analysis of the Convention, the Convention’s Operational Directives and elements of intangible cultural heritage inscribed on the Representative List of the Convention, this article will provide case studies where, in line with these pillars, intellectual property rights, particularly geographical indications, aim to support environmentally friendly practices. In so doing, this article will also seek to show that intellectual property rights can recognise communities as bearers of knowledge about nature and as essential actors in sustaining the environment. Indeed, this work will suggest that although intellectual property rights, if not carefully drafted, can pose risks for environmental sustainability, when correctly adopted they have the capacity to empower communities. Thus, the aim of this work is to show how intellectual property rights can be tools to facilitate safeguarding and sustainability for both intangible cultural heritage and the environment.


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


Arsitektura ◽  
2017 ◽  
Vol 14 (2) ◽  
Author(s):  
Abdul Aziz Arrosyid ◽  
Samsudi Samsudi ◽  
Ummul Mustaqimah

<p><em>Traditional weaving as a nation</em><em>al</em><em> cultural heritage </em><em>is</em><em> being abandoned, including songket in Palembang</em><em> city</em><em>. </em><em>S</em><em>ongket weaving craft has been abandoned</em><em> due to the limited process of the making, expensive raw materials</em><em>, and competiti</em><em>veness</em><em>, </em><em>either </em><em>other crafters</em><em> or</em><em> modern weaving. There are hundreds of Palembang songket motifs that have not </em><em>been </em><em>documented and collected well. O</em><em>nly</em><em> 77 motifs </em><em>which</em><em> have </em><em>been </em><em>registered </em><em>as</em><em> intellectual property rights. </em><em>The lack attention of this matter would give </em><em>possibility </em><em>for</em><em> neighboring </em><em>countries</em><em> </em><em>to claim it such an accident ever exist.</em><em> Songket Museum </em><em>is needed as</em><em> conservation</em><em> center</em><em>, exhibit</em><em>ion</em><em>, research, and songket craft workshop.</em><em> </em><em>Neo-Vernacular Architecture approach </em><em>is </em><em>used to</em><em> make museum </em><em>architectural design </em><em>which is </em><em>in </em><em>line </em><em>the cultural values of Palembang in contemporary design</em><em>. The design </em><em>issue </em><em>is</em><em> </em><em>how to </em><em>apply the principles of Neo-</em><em>V</em><em>ernacular</em><em> Architecture</em><em> into Palembang Songket Museum design. The method is designing the museum by taking both the physical a</em><em>n</em><em>d non-physical </em><em>e</em><em>lements</em><em> of local culture</em><em>. Beside, </em><em>re-interpretation the </em><em>shape </em><em>and philosophy</em><em>cal value</em><em> of </em><em>local </em><em>architecture</em><em> a</em><em>nd Palembang songket a</em><em>re apllied</em><em> in</em><em> a </em><em>new composition </em><em>of </em><em>Neo-Vernacular Architecture. The result is </em><em>a design of </em><em>Palembang Songket Museum </em><em>which</em><em> </em><em>applies</em><em> </em><em>Neo-Vernacular Architecture principles.</em></p><p><em> </em></p><p><strong><em>Keywords</em></strong><em>: Architecture, Neo-Vernacular, Palembang Songket, Songket Museum.</em></p>


2020 ◽  
Vol 11 (4) ◽  
pp. 920
Author(s):  
Ni Luh Made MAHENDRAWATI

Tourism has become a prevalent discourse in Indonesia, considering that in the last few years, Tourism has become the highest contributor to the commodity revenue line. Paying close attention to the integration of tourism certainly involves multidiscipline in it so that efforts to develop tourism require integrated efforts from various parties as well as multidiscipline. It is essential to realize that the attractions of tourism in Indonesia can consist of everything that has a uniqueness, beauty, and value in the form of the diversity of natural, cultural, and human-made diversity. In real terms, it can be observed that cultural heritage is one of the valuable assets owned by a country (Indonesia) in supporting the development of tourism. Culture is a way of life that develops, is shared by a group of people, and is passed down from generation to generation. The culture referred to is the result of reason and reason, so that philosophy can be understood as originating from nothing, then thought by reason and ideas, then becoming. The process of creating a culture can logically be protected by Intellectual Property Rights (Copyright). During this time, the copyright-protected in Indonesia based on Law Number 28 of 2014 concerning Copyright is an Individual Right. It is understood that the copyright needed to protect cultural heritage is communal rights. How to regulate and apply copyright protection Communal communities will be studied more deeply so that there is a comprehensive and integrated model for protecting cultural heritage in Indonesia.


Author(s):  
Samuel Franco Arce

The Casa K’ojom in La Antigua Guatemala, Guatemala, houses a unique collection of physical objects and audiovisual materials devoted to Mayan cultural heritage, both tangible and intangible. What began as a private collection has evolved into a museum where thousands of visitors have learned about Mayan culture and music. This paper highlights the development and care of the collections from the perspective of the Casa K’ojom’s founder and current director, Samuel Franco Arce. It reviews the steps he is taking to preserve the collection’s analogue and digital material for the future, all the while not neglecting important non-digital artefacts. It also proposes future solutions to issues within an archive that has to address constantly changing technologies, user needs, audiovisual formats and intellectual property rights laws.


Author(s):  
Kalina Sotirova-Valkova ◽  

The article presents the cycle of digitization of cultural heritage objects (movable cultural values stored in museums and galleries) with its three main stages: preparation, conversion and access. The focus is on the technological aspect, the preparation of the museum team and the standards used. In parallel, the legal framework of digitization is viewed as a serious, nationally specific and rarely presented topic related to copyright and intellectual property over the original and its digital derivative Keywords: digitization, cultural heritage, authorship and copyright, intellectual property rights, standards


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