ii - nccur.lib.nccu.edu.tw
TRANSCRIPT
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Finnegan John Alison John
Heinz Goddar Glenn W. Rhodes
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This research is focused on intelligence resources planning of indigenous cultural
industry, especially in the field of knitting techniques. From creation and protection of
intelligence resources perspective, legal discussion and legislative movement for aboriginal
people’s cultural expressions seem to achieve slight success in Taiwan, but there still exists
many unresolved issues, resulting in insufficient protection for aboriginal people as before.
However, even in such legally ambiguous situation, the industry still needs to find its way
out, looking for the best path to develop itself. In other words, from management and
application of intelligence resources perspective, after trying best efforts to set up the
foundation of intelligence resources, how the managers are devoting to figure out the
suitable model for the business unit, by using original or adopting resources, becomes the
first priority of concerns of whether the indigenous cultural industry can be sustainable.
When the industry becomes more mature, the participants of the industry may look back, to
propose their real needs for regulations, and at the same time, these proposals may be very
valuable for the regulators.
Based on the above thinking in accordance with both legal and managerial logic, this
research makes observation to problems when dealing with aboriginal people’s folklore
expressions in international society, in various countries and in Taiwan, from the beginning
part of literature analysis to the latter parts; then, this research makes sure that cultural
heritage and intellectual property both play parts on the focused topics, while each has its
regulatory role as well as has impact on the other, and such nature and connection becomes
the premise of the following several models respectively for activation of cultural heritage
and creation of intellectual property at the same time in indigenous cultural industry. These
models will be used as the analytic tools for the following case study and as the referable
choices of business development for future participants in the industry.
Furthermore, case study of this research reflects foregoing categorical models. The first
case in Chapter 4 is commons-oriented Yuma Taru and Lihang Studio case. The second case
in Chapter 5 is under complete company management, which is Siku Sawmah Cultural Art
Workshop case. Both cases’ major revenue come from knitting techniques, but the managers
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have different business goals, resulting in different business models. This research tries to
reveal managerial issues when running workshop through these two cases; this research will
also gives suggestion to them in relation to intelligence resources planning.
In the final part of conclusion and suggestion, this research aims at governmental
departments and participants in the industry, and for them it rethinks solutions towards
existing problems regarding previously found issues and referable cases. This research
expects the indigenous cultural industry in Taiwan to eventually get on a more radiant stage
with the cooperation of all the researchers and participants.
KeywordsIndigenous Crafts, Indigenous Arts, Cultural Industry, Folklore Expressions,
Protection Act for the Traditional Intellectual Creations of Indigenous Peoples, Intellectual
Property, Cultural Heritage, Atayal, Sakizaya
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of Indigenous People) ............................................................................................... 6
(Model Provisions for National Laws on the Protection of
Expression of Folklore Against Illicit Exploitation and Other Prejudicial
Actions) ................................................................................................................... 7
Protection of Traditional Knowledge and Expressions of Culture) .................. 16
2003 ................................................ 17
2005 ............................ 17
............................................................................. 18
............................................. 20
............................................................................................. 20
..................................................................................... 21
............................................................................. 23
..................................................................... 23
..................................................................................... 25
..................................................... 27
..................................................................................... 29
.............................................................................................................. 33
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............................................................................. 70
................................................................. 70
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............................................................................................................ 123
............................................................................................... 123
............................................................................................... 127
........................................................................................... 130
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2 ..................................................................................................... 4
3 ........................................................................................... 19
4 TCEsIP ....................................................................... 37
5 ........................................................... 38
6 Yumbulul .................................................. 45
7 ................................................................... 48
8 ........................................................................ 63
9 .................................................................... 63
10 ................................................................. 63
12 ....................................... 65
13 .......................................................... 66
15 .............................................................. 74
17 ........................................................................... 75
18 - ......................... 77
19 2009 921 88 ................................................... 78
20 2009 DM ...................................................................... 82
21 ...................................................................... 83
22 ...................................................................................... 83
23 ...................................................... 83
25 .................................................. 84
26 .................................................................................. 84
27 ACE .................................................................................. 84
28 .......................................................................... 95
29 ............................................................................................. 95
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33 ............................................................................................ 101
38 ................................................................ 108
39 ............................................................ 109
40 .................................................................................... 111
41 ........................................................................................ 111
42 .................................................................................... 111
43 ............................................................ 112
44 ............................................................ 112
45 ................................................................................................ 113
46 ................................................................................................ 113
47 ............................................................................................... 118
48 ................................................ 123
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5 ....................................................................................... 19
6 ....................................................................................... 23
7 ................................................................................... 29
9 ........................................................... 37
10 ..................................................... 39
11 ...................................................................... 55
12 ................................................................. 60
13 .................................................. 69
15 SWOT .................................................................................. 86
16 ................................................................... 100
17 ................................ 114
18 ....................................................................................... 116
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2007
2008
2010 1 7
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Indigenous People1
(Working Group on Indigenous Populations, WGIP)1993
2007 9 13 61
11 13
1 2007 11 5
http://dore.tacp.gov.tw/dorefile//00/00/bu.pdf2010 6 13 2 Article 11 “1. Indigenous peoples have the right to practise and revitalize their cultural traditions and customs. This includes the right to maintain, protect and develop the past, present and future manifestations of their cultures, such as archaeological and historical sites, artefacts, designs, ceremonies, technologies and visual and performing arts and literature. 2. States shall provide redress through effective mechanisms, which may include restitution, developed in conjunction with indigenous peoples, with respect to their cultural, intellectual, religious and spiritual property taken without their free, prior and informed consent or in violation of their laws, traditions and customs.”http://www.un.org/esa/socdev/unpfii/en/drip.html
2010 6 13
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2.
(Model Provisions for National Laws on the Protection of Expression of
Folklore Against Illicit Exploitation and Other Prejudicial Actions)5
(WIPO)(UNESCO)
3 Article 12 “1. Indigenous peoples have the right to manifest, practise, develop and teach their spiritual and religious traditions, customs and ceremonies; the right to maintain, protect, and have access in privacy to their religious and cultural sites; the right to the use and control of their ceremonial objects; and the right to the repatriation of their human remains. 2. States shall seek to enable the access and/or repatriation of ceremonial objects and human remains in their possession through fair, transparent and effective mechanisms developed in conjunction with indigenous peoples concerned.”
http://www.un.org/esa/socdev/unpfii/en/drip.html2010 6 13 4 Article 13”1. Indigenous peoples have the right to revitalize, use, develop and transmit to future generations their histories, languages, oral traditions, philosophies, writing systems and literatures, and to designate and retain their own names for communities, places and persons. 2. States shall take effective measures to ensure that this right is protected and also to ensure that indigenous peoples can understand and be understood in political, legal and administrative proceedings, where necessary through the provision of interpretation or by other appropriate means.”
http://www.un.org/esa/socdev/unpfii/en/drip.html2010 6 13 5 WIPO
http://www.wipo.int/export/sites/www/tk/en/documents/pdf/1982-folklore-model-provisions.pdf
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7
1
8
62002 7 32 7 WTO TRIPS
2003 11 120-130http://www.wtocenter.org.tw/SmartKMS/fileviewer?id=10252 2010 6 13 8 “Folklore is an important part of living cultural heritage of nations” 9 “Dissemination of folklore can lead to improper exploitation of cultural heritage, and any abuse or any distortion of folklore prejudices the cultural and economic interests nations ” 10 “Expressions of folklore manifesting intellectual creativity deserve IP-type protection” 11 “Such protection of expressions of folklore is indispensable for their development, maintenance and dissemination” 12 “Protection is provided for expressions of folklore against illicit exploitation and other prejudicial actions” 13 “characteristic elements of traditional artistic heritage developed and maintained by a community, in particular, verbal expressions, (folk tales, folk poetry, riddles); musical expressions (folk songs and instrumental music); expressions by action (folk dances, plays and artistic forms or rituals); and tangible expressions (productions of folk art, drawings, paintings, carvings, sculptures, pottery, terracotta, mosaic, woodwork, metalware, jewelry, basket-weaving, needlework, textiles, carpets, costumes, musical instruments, and [architectural forms.]”
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WIPO14
http://www.wipo.int/edocs/mdocs/tk/en/wipo_grtkf_ic_5/wipo_grtkf_ic_5_inf_3.pdfComparative Table on Sui Generis Laws on Traditional Cultural Expressions/Expressions of Folklore
http://www.wipo.int/export/sites/www/tk/en/laws/pdf/suigeneris_folklore.pdf2010 6
http://www.wtocenter.org.tw/SmartKMS/fileviewer?id=102522010 6 13 152002 7 49-51
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Developing Countries)17
WIPO
162002 7 49-52 17 WTO TRIPS
2003 11 120-130http://www.wtocenter.org.tw/SmartKMS/fileviewer?id=10252 2010 6 13
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(perform literary or artistic works)
1996 (WPPT)
(1)
(3)
2003 11 120-130 http://www.wtocenter.org.tw/SmartKMS/fileviewer?id=10252 2010 6 13 192002 7 52-53
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(Expressions of Folklore) 2002
WIPO 1971 2010 TCEs
22 WIPO http://www.wipo.int/treaties/en/ip/berne/trtdocs_wo001.html#P192_37445
2010 6 13 23 WTO TRIPS
2003 11 120-130http://www.wtocenter.org.tw/SmartKMS/fileviewer?id=10252 2010 6 13 24 Tunis Model Law on Copyright for Developing Countries http://portal.unesco.org/culture/en/files/31318/11866635053tunis_model_law_en-web.pdf/tunis_model_law_e n-web.pdf2010 6 13
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TCEs IP
28 3,000
25 WIPO http://www.wipo.int/treaties/en/ip/wppt/trtdocs_wo034.html 26 WIPO http://www.wipo.int/meetings/en/details.jsp?meeting_id=3074
2010 6 13 27 WIPO http://www.wipo.int/tk/en/tk/ffm/report/final/index.html
2010 6 13 28 WIPO/GRTKF/IC/3/10http://www.wipo.int/meetings/en/doc_details.jsp?doc_id=2055
2010 6 13
29 http://www.un.org/esa/socdev/unpfii/en/declaration.html 30 http://www.wipo.int/tk/en/igc/
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(1993)
http://wildmic.npust.edu.tw/sasala/910311-01.doc2010 6 19 34 The Mataatua Declaration on Cultural and Intellectual Property Rights of Indigenous Peoples
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9
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Traditional Knowledge and Expressions of Culture)
35
of the Pacific Community Pacific Islands Forum Secretariat
UNESCO Pacific Regional Office 2002
(2)(3)
35 Bangui Agreement of OAPI 1977 3 2
African Intellectual Property Organization OAPI
1982 2 1999 2
2006 6 57 36
2010 1 16-17 100
http://www.forumsec.org.fj/resources/uploads/attachments/documents/PacificModelLaw,ProtectionofTKandE xprssnsofCulture20021.pdf2010 6 13
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2003 10
2 1 intangible cultural heritage
(3)(4)(5)
38
UNESCO 2005 10 20 33
39
2003 11 120-130
http://www.wipo.int/edocs/mdocs/tk/en/wipo_grtkf_ic_5/wipo_grtkf_ic_5_inf_3.pdfComparative Table on Sui Generis Laws on Traditional Cultural Expressions/Expressions of Folklore
http://www.wipo.int/export/sites/www/tk/en/laws/pdf/suigeneris_folklore.pdf2010 6
13 382006 6 9 392006 6 65
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IC)
41 3
40http://unesdoc.unesco.org/images/0014/001429/142919c.pdf
2010 6 20 41 2006 1 42
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42 32 2009 2
http://www.ntua.edu.tw/~dc/files/E01_8.pdf2010 6 20
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(2009)
()1920
10 108
5~20
SWOT
45
(2009)
44
2009 8 45 2002 12 462009
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47 2009 48
2006 6
niv
2010 1 7
6
6
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David Throsby
()
Throsby
52
53
50 Porter
2006 6 30 51(cultural industry)() Max Horkheimer Theodor Adorno 1947
2007 52 David Throsby ”Economics and Culture”2003
2007 53 case 2004
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(2)
54 EMBA 2005 8
(2004)
55 2005 12 56
2004 8 1 17-18
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() ()
94 96
57 EMBA
2007 12 58 EMBA
2007 12 59 94
1.
EMBA 192007 12
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(2006)
61 31 2006 6 62 2006 6
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12 2006 1
(2003)()
()
()
2002 65 2003
12
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67
7
66 2002
7 67 29 2005 6 68
2008 6 69 Licensehttp://www.licensing.org/news/article.php?uid=514&chapterId=5 http://www.licensemag.com/licensemag/ArticleStandard/Article/detail/5588522010 6
18
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LIMA
70
2007
LIMA71
71 Licensehttp://www.licensemag.com/licensemag/ArticleStandard/Article/detail/558852
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80%
300
()
2010 6 18 72 Cheryl RobbinsStrategies for the Online Marketing of Cultural Products2008 4
http://indigenous.pristine.net/events/2008/wsic/presentations/cheryl_robbins_paper.html2010 6 18
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75
73
(2007)
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(3)(4)
(5)(6)
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(sui generis)76
( 10 ):
()
76 2002 7 32
2000 10 77 2008 11 14
http://www.eduquan.com/fanwen/323/640/20081114316962.html2010 6 13 78
() ()()
()()
2009 1 5 http://www.wretch.cc/blog/jflee/13964005
2010 6 13 2008 10 31 http://www.wretch.cc/blog/jflee/13885582 2010 6 13
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80
79 1996 2004
87-992004 12 22 ; WIPO/GRTKF/IC/5/3
http://www.wipo.int/edocs/mdocs/tk/en/wipo_grtkf_ic_5/wipo_grtkf_ic_5_3.pdf 2010 6 20 80 WIPO/GRTKF/IC/5/3 10-11
http://www.wipo.int/edocs/mdocs/tk/en/wipo_grtkf_ic_5/wipo_grtkf_ic_5_3.pdf 2010 6 20 81 1996 2004
87-992004 12 22 ; WIPO/GRTKF/IC/5/3
http://www.wipo.int/edocs/mdocs/tk/en/wipo_grtkf_ic_5/wipo_grtkf_ic_5_3.pdf 2010 6 20 82 Gerard A. Persoon, Songs from the uma Bringing the indigenous musical tradition of Siberut Insland (Indonesia) into the public domain 102010 1 16-17
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WIPO 2003 5 2
(Traditional Cultural
Expressions TCEs)WIPO
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IP
(b)
TCEs
) IP
http://www.wipo.int/edocs/mdocs/tk/en/wipo_grtkf_ic_5/wipo_grtkf_ic_5_3.pdf 2010 6 20 85
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(i)
10
/
→
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1990
5 100
100 15 500
(
86 New Zealand, Panama, Philippines, Republic of Azerbaijan
WIPO http://www.wipo.int/tk/en/laws/folklore.html2010 6 20 87 Algeria, Bolivia, Burkina Faso, Chile, Colombia, Cote dIvoire, Fiji, Ghana, Indonesia, Lithuania, Republic of Macedonia, Malawi, Mexico, Republic of Micronesia, Mongolia, Morocco, Nigeria, Oman, Papua New Guinea, Peru, Samoa, Senegal, Tanzania, Tunisia, Ukraine, United Kingdom, Vanuatu
WIPO http://www.wipo.int/tk/en/laws/folklore.html2010 6 20 88 Australia, Bolivia, Japan, Lithuania, Palau, Republic of Korea, South Africa, Sudan, United States of AmericaWIPO http://www.wipo.int/tk/en/laws/folklore.html2010
6 20 89 25 USC 305 IACB Indian Arts and Crafts Act of 1990http://www.iacb.doi.gov/act.html Indian Arts and Crafts Enforcement Act of 2000http://www.doi.gov/iacb/pdf/2000act.pdf
2010 5 2 90 21
2008 12 12
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suggest)
(Native American)
Indian-styleIACA
Amendments Act of 2010
92 http://www.opencongress.org/bill/111-s151/show2010 6 16 93 http://www.govtrack.us/congress/bill.xpd?bill=h111-7252010 6
16 94 Congressional Research Service Summary1/19/2010--Passed House amended. Indian Arts and Crafts Amendments Act of 2010 - Amends the Indian Arts and Crafts Act of 1990 to expand the authority of the Indian Arts and Crafts Board to bring criminal and civil actions for offenses under such Act involving the sale of misrepresented Indian-produced goods or products. Authorizes: (1) any federal law enforcement officer to conduct an investigation of an alleged violation of this Act occurring within the jurisdiction of the United States; and (2) the Board to refer an alleged violation to any such officer (currently, only to the Federal Bureau of Investigation [FBI]) for investigation. Permits such an officer to investigate an alleged violation regardless of whether such officer receives such a referral from the Board. Requires the findings of any investigation of an alleged violation to be submitted to a federal or state prosecuting authority or the Board. Authorizes the Board, upon receiving the findings of such an investigation, to: (1) recommend to the Attorney General that criminal proceedings be initiated (current law); (2) provide such support to the Attorney General relating to the criminal proceedings as the Attorney General determines to be appropriate; or (3) recommend, in lieu of or in addition to any such criminal proceeding, that the Attorney General initiate a civil action. Allows the Attorney General, an Indian tribe, an Indian, or an Indian arts and crafts organization to initiate a civil action under this Act. Amends the federal criminal code to revise penalties for the sale of misrepresented Indian-produced goods and products.http://www.govtrack.us/congress/bill.xpd?bill=h111-725&tab=summary
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J.C. PenneyWal-MartIACA
2010 6 16 95 United States of America v. Nader Z. Pourhassan (148 F. Supp. 2d 1185, (D. Utah, 2001)) 96 William J. Hapiuk, Of Kitsch and Kachinas: A Critical Analysis of the Indian Arts and Crafts Act of 1990, STANFORD LAW REVIEW 1009, 1014, (2001).
21 2008 12 52 97 21
2008 12 53
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IACANavajo
Native American Arts, Inc. v. The Waldron Corp.
v. Hartford Casualty101WaldronWaldron
Repatriation Act)
1990
98 Jennie D. Woltz, The Economics of Cultural Misrepresentation How should the Indian Arts and Crafts Act of 1990 Be Marketed?, 17 FORDHAM INTELLECTUAL PROPERTY, MEDIA AND ENTERTAINMENT LAW JOURNAL, Winter 443, 464-465, (2007).
21 2008 12 53 99 21
2008 12 53 100 399 F. 3d 871 (7th Cir. 2005) 101 435 F. 3d 729 (7th Cir. 2006) 102 21
2008 12 54
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(funerary objects)(sacred objects)(objects
106
Yumbulul Anthony Wallis Aboriginal Artists Agency
Ltd. Morning Star Pole 10
103
2008 6 98-99 104
2010 1 16-17 102-103 25 USC 3005, section7 105 21
2008 12 58 106 21 IPR 481 (1991)
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Yumbulul Anthony Wallis
Yumbulul Morning Star Pole
107 Colin GolvanAboriginal Art and the Protection of Indigenous Cultural Rights
http://www.austlii.edu.au/au/journals/AboriginalLB/1992/26.html2010 6 19 108 Leanne Wiseman, Protecting Indigenous Cultural Expression in Australia: Rethinking the Public Domain 2010 1 16-17
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112
Bulun Bulun
Milpurrurru
held in trust fiduciary duty
110 Meghan Ruesch, Creating Culture: Protection of Traditional Cultural Expressions and Folklore and the Impact on Creation and Innovation in the Marketplace of Ideas, 35 SYRACUSE JOURNAL OF INTERNATIONAL LAW AND COMMERCE 369, 377 (2008).
21 2008 12 59 111 21
2008 12 59 112 41 IPR 513 (1998) 113 Jane Anderson, The Politics of Indigenous Knowledge: Australia’s Proposed Communal Moral Rights Bill, 34 UNIVERSITY OF NSW LAW JOURNAL (2004),
http://www.austlii.edu.au/au/journals/UNSWLJ/2004/34.html2010 6 19
21
2008 12 60
niv
Bulun Bulun Ganalbingu
AssociationNIAAA)
(Label of Authenticity)
Yandana Mckenzie
114
2010 1 16-17 107Terri Janke, Indigenous cultural and intellectual property: the main issues for the indigenous arts industries in 2006,
http://www.australiacouncil.gov.au/__data/assets/pdf_file/0003/59745/ICIP.pdf2010 6 20
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115
http://www.australiacouncil.gov.au/__data/assets/pdf_file/0003/59745/ICIP.pdf
2010 6 20 116
2010 1 16-17 107Terri Janke, Indigenous cultural and intellectual property: the main issues for the indigenous arts industries in 2006, p.143-144 http://www.australiacouncil.gov.au/__data/assets/pdf_file/0003/59745/ICIP.pdf
2010 6 20 117
2010 1 16-17 108Lenne Wiseman, The Protection of Indigenous Art and Culture in Australia: The Labels of Authenticity, E.I.P.R.2001, 23(1),14-15 (2001)
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Art Commercial Code of Conduct)
118
2010 1 16-17 108 119
2010 1 16-17 108Matthew Rimmer, Australia Icons: Authenticity Marks and Identity Politics, 3 Indigenous L.J. 139, 155-156 (2004) 120
2010 1 16-17 108 121 Draft Indigenous Australian Art Commercial Code of Conduct
http://www.indigenousartcode.org/__data/assets/pdf_file/0004/89698/code-of-conduct-sept09.pdf
2010 6 21 122
2010 1 16-17 111Eric Mackay, Indigenous Traditional knowledge, Copyright and Art Shortcomings in Protection and Alternative Approach? U.N.S.W.L.J. 1, 17-19 (2009) 123
2010 1 16-17 111
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(geographical indications)
()
) 10 1 22.3
TRIPS 24.4 1994 4 15
TRIPS
24.9
124
125
124 WTO 2009 3 269-271 125 Leanne Wiseman, Protecting Indigenous Cultural Expression in Australia: Rethinking the Public Domain, 2010 1 16-17
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6 126
1996
1990 9 7 1991 2001
2010
129—
2010 1 1 354
2005 5 67-78
http://www.fengxiaoqingip.com/ipteseluntan/luntan2/lt2wenti/chuantong/20090608/4421.html
2010 6 19 130 —2003 212
66 131
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2000 5 26 9 1
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() 137
2004 12 168
135 2008 1 39 136 2004 70
()2010 1 1
335 137()2010 1 1 336 138
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http://www.copyrightnote.org/crnote/bbs.php?board=4&act=read&id=1782010 6 19
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141
originality
ideaexpression
141 2010 1 16 142 I2009 7 154 154 143 II2009 7 407
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144 1999 10 15
16 402006 6 27
1452006 6 27 146
2009 9 121-160 147
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)
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…
150
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150 2009 9 206 151 2008
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152
2009 9 203-204 153
2009 9 161-188
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2007 6 123
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-2000
2002
2004 2005 2009
2008
2010 2010 6 8 ~2010 6 11
1991
166 6 2010 5 12
http://news4.pchome.com.tw/living/lihpao/20100512/index-12736179422205804009.html
2010 6 6 167
2006 5 82 168 6 2010 5 12
http://news4.pchome.com.tw/living/lihpao/20100512/index-12736179422205804009.html
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71
169
170
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170 2006 5 82 171 2006 5 82 172
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6 2010 5 12
http://news4.pchome.com.tw/living/lihpao/20100512/index-12736179422205804009.html
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72
174
176
173 2009 12 12 174 2008 5 21 175 2008 5 21 176 2010 2010 6 9
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73
178
2010
2010 6 9 178 2008 5 21 179 -2008 12 10
http://tw.myblog.yahoo.com/yumataru-blog/article?mid=812&prev=1293&next=277&l=f&fid=7
2010 6 6 180 2010 1 22
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74
184
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75
http://www.ntcri.gov.tw/zh-tw/Community/Content.aspx?Para=141&Control=102010 6 23 185 2009 12 12 186
http://tw.myblog.yahoo.com/yumataru-blog/article?mid=781&prev=797&next=88&l=f&fid=5
2010 6 4
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76
187
189
187 120 2007 12 1 http://www.nmp.gov.tw/enews/no120/page_02.html2010 6 4 188
120 2007 12 1
http://www.nmp.gov.tw/enews/no120/page_02.html2010 6 4 189 120 2007 12 1 http://www.nmp.gov.tw/enews/no120/page_02.html2010 6 4 —2002
2002 54-55
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77
-
921 88
921 88
190 120 2007 12 1 http://www.nmp.gov.tw/enews/no120/page_02.html2010 6 4 191
http://www.dada-art.tw/tw/roaming_behind_history/main.html2010 6 9
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78
192
—
192http://austronesian.kmfa.gov.tw/Ver_10/WebTransfer.aspx?ID=56
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79
10
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194
193 2009 12 12 194 6 2010 5 12
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2010 6 6 195 6 2010 5 12
http://news4.pchome.com.tw/living/lihpao/20100512/index-12736179422205804009.html
2010 6 6 196 2009 12 12
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80
Licensing International Expo. 202
197 2009 12 12
2008
198 2010 1 22 199 http://atayal.cca.gov.tw/ 200 2010 2010 6 9 201 2010 1 22 202 Licensing International Expo.http://www.licensingexpo.com/
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81
204
AssociationLIMA)Advanstar Global Licensing Group
1981 2009 29
2008
400 70%
6,000
(1) Art & Design
Agent/ Wholesaler / Distributor
Marketer
9% Director of Sales8% Creative Director8% Other
ABC World NewsBusiness Week
203 27 2007 6 204http://creativetaiwan.teldap.tw/about.asp#032010 6 18
niv
82
ReutersUSA TodayWall Street Journal
2005 Art in Taiwan2006 Creative
Taiwan2006 3.5
2007 5.5 2008 6.7 205
2009
2009
Yumbulul 205 6 7
http://aspa.teldap.tw/index.php?option=com_content&task=view&id=259&Itemid=2062010 6 29
niv
83
23
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84
ACE fair/
24 Lihang Studio
207
2010 6 28 208 2010 1 22
niv
85
216
2102006 5 82 211 2010 2010 6 9 212 2010 1 22 213 2010 1 22 214
2010 2010 6 9 215 2010 2010 6 9 216 2010 2010 6 9
niv
86
()
Strengths Weaknesses
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87
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88
(03)8545130 (03)8549822
http://diary.blog.yam.com/peshawar3/article/35944522010 5 30
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89
Siku
Sawmah
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90
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2006
Siku
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91
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92
218
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94
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96
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106
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?
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108
230 011700002005 8 16
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109
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110
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111
231 http://sakizaya977.blogspot.com/
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112
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113
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114
236 M3518572009 3 1
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BURBERRYS CHECKBURBERRYS CHECK
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116
240
(
http://www.copyrightnote.org/crnote/bbs.php?board=35&act=read&id=392010 6 16
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117
242
6 3 242
NIPO 20 800NOK 10
200NOK Norwegian Industrial Property Office2010527 http://iip.nccu.edu.tw/inter3/news.php?Sn=92 2010 6 1
niv
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/
2432008 11 114-125
2010 4 244
2010 1 22
2010 5 21 245
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247
247 Barbara Hilkert Andolsen, Trade in Indigenous Arts and Crafts: Labels of Authenticity as a Starting Point for Protecting Indigenous Cultural Expressions, Monmouth University, USA, 2008
niv
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(
)
151-159
249 95 05 12 950512a
97 09 01 970901
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257
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131
1. 2004
2. 1999
3. 2008 11
4. 2007 10
5. 9 2006
4
6. ( B. Joseph Pine II) (James H. Gilmore)
2003
2007 6
9. 2008 9 11
10.
2006 1
O'Sullivan); :
2004
13. ()
2010 1
14. WTO 2009 3
15.
2008
18. 2004 2
niv
20. 2008
21. 2007 12
22. I2009 7
23. II2009 7
24. David Throsby 2003
25. Dr. John H. Falk & Dr. Lynn D. Dierking
2002
& Music Drive New York City?)2008 11
27. Kavin Lane Keller 2008
9
28. Elinor Ostrom, Governing the CommonsThe Evolution of Institutions for Collective
Action, Cambridge University Press, 1990.
29. Mary Riley, Indigenous intellectual property rights: legal obstacles and innovative
solutions, Walnut Creek, Calif.: Altamira Press, 2004.
1. 2010 2010 6
2.
2000 8 12
3. case
2004
4. 2006 5
5.
75 2005 3
6.
21 2008 12
7. 29 2005 6
niv
9. 289 120-1272003
11. 2009
4
35 2004
13.
2009 9
14. 2005
5
2 1 2005 3
16. —2003
212
31-352005
19. 2008 1 25
20. 78 2004
4
21. 22 2001 12
22. 31 2006 12
23. —
2004 7
24. 2007
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26. 2007
12
2009 9
29.
2010 1
30.
2009 9
31. 32 2009
2
8 12 2004
33. 2007
6
34. 2 2007 12
35.
2000 10
36. 2008 5
1. Barbara Hilkert Andolsen, Trade in Indigenous Arts and Crafts: Labels of Authenticity
as a Starting Point for Protecting Indigenous Cultural Expressions, Monmouth
University, USA, (2008)
2. Cheryl Robbins, Strategies for the Online Marketing of Cultural Products, 2008 4
3. Eric Mackay, Indigenous Traditional knowledge, Copyright and Art Shortcomings in
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Protection and Alternative Approach? U.N.S.W.L.J. 1, 17-19 (2009)
4. Gerard A. Persoon, Songs from the uma Bringing the indigenous musical tradition of
Siberut Insland (Indonesia) into the public domain
2010 1
5. Jane Anderson, The Politics of Indigenous Knowledge: Australia’s Proposed
Communal Moral Rights Bill, 34 UNIVERSITY OF NSW LAW JOURNAL (2004)
6. Jennie D. Woltz, The Economics of Cultural Misrepresentation How should the
Indian Arts and Crafts Act of 1990 Be Marketed?, 17 FORDHAM INTELLECTUAL
PROPERTY, MEDIA AND ENTERTAINMENT LAW JOURNAL, Winter 443,
464-465, (2007)
the Public Domain2010
1
8. Lenne Wiseman, The Protection of Indigenous Art and Culture in Australia: The Labels
of Authenticity, E.I.P.R.2001, 23(1),14-15 (2001)
9. Matthew Rimmer, Australia Icons: Authenticity Marks and Identity Politics, 3
Indigenous L.J. 139, 155-156 (2004)
10. Meghan Ruesch, Creating Culture: Protection of Traditional Cultural Expressions and
Folklore and the Impact on Creation and Innovation in the Marketplace of Ideas, 35
SYRACUSE JOURNAL OF INTERNATIONAL LAW AND COMMERCE 369, 377
(2008)
11. William J. Hapiuk, Of Kitsch and Kachinas: A Critical Analysis of the Indian Arts and
Crafts Act of 1990, STANFORD LAW REVIEW 1009, 1014, (2001)
1. Porter
2006 6
2. 2006
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4. -
6.
7.
8.
2008 6
9. 2006
7
12. EMBA
2005 8
2002
15.
2009 1
16.
12
niv
19.
21.
2007 7
24. —
2004
1. WIPO/GRTKF/IC/5/INF/3
2003 11
7. 1996 2004
2004 12 22
8.
niv
10.
2009 7
1. http://www.tipp.org.tw/formosan/index.jspx
Countries http://portal.unesco.org/culture/en/files/31318/11866635053tunis_model_
law_en-web.pdf/tunis_model_law_en-web.pdf
13. Indian Arts and Crafts Enforcement Act of
2000http://www.doi.gov/iacb/pdf/2000act.pdf
14. Draft Indigenous Australian Art Commercial Code of Conduct
http://www.indigenousartcode.org/__data/assets/pdf_file/0004/89698/code-of-con
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139
18. The Mataatua Declaration on Cultural and Intellectual Property Rights of Indigenous
Peopleshttp://www.ankn.uaf.edu/IKS/mataatua.html
19.
24. Licensing International Expo.http://www.licensingexpo.com/
25. Colin GolvanAboriginal Art and the Protection of Indigenous Cultural Rights
http://www.austlii.edu.au/au/journals/AboriginalLB/1992/26.html
26. Terri Janke, Indigenous cultural and intellectual property: the main issues for the
indigenous arts industries in 2006,
http://www.australiacouncil.gov.au/__data/assets/pdf_file/0003/59745/ICIP.pdf
27. J. KimballThe Indian Arts and Crafts ActTrademark Misfit or Just Missing the Mark?
http://www.kentlaw.edu/honorsscholars/2006students/writings/Kimball_paper.htm
28. United States of America v. Nader Z. Pourhassan (148 F. Supp. 2d 1185, (D. Utah,
2001))
31. 30 IPR 209 (1994)
32. 41 IPR 513 (1998)
33. 6 2010 5 12
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36. 2007 12 9
http://www.copyrightnote.org/crnote/bbs.php?board=4&act=read&id=178
37. 2008 11 14
http://www.eduquan.com/fanwen/323/640/20081114316962.html
38. 2009 1 5
http://www.wretch.cc/blog/jflee/13964005
40.
http://tw.myblog.yahoo.com/yumataru-blog/article?mid=781&prev=797&next=88
&l=f&fid=5
120 2007 12 1
http://www.nmp.gov.tw/enews/no120/page_02.html
http://diary.blog.yam.com/peshawar3/article/3594452
46. Kiniwhttp://blog.xuite.net/amis.kay/kiniw
47. 2009 6 11
http://blog.xuite.net/shinwin52234/shinwin/24833526
http://www.copyrightnote.org/crnote/bbs.php?board=35&act=read&id=39
50. Norwegian Industrial Property Office 2010 5
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(United Nations Declaration on the Rights of Indigenous PeopleP0F P)
(Model Provisions for National Laws on the Protection of Expression of Folklore Against Illicit Exploitation and Other Prejudicial Actions)P4F
WIPO-UNESCO
(The Model Law for the Protection of Traditional Knowledge and Expressions of Culture)
2003
2005
Finnegan John Alison John
Heinz Goddar Glenn W. Rhodes
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/
97
/!
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This research is focused on intelligence resources planning of indigenous cultural
industry, especially in the field of knitting techniques. From creation and protection of
intelligence resources perspective, legal discussion and legislative movement for aboriginal
people’s cultural expressions seem to achieve slight success in Taiwan, but there still exists
many unresolved issues, resulting in insufficient protection for aboriginal people as before.
However, even in such legally ambiguous situation, the industry still needs to find its way
out, looking for the best path to develop itself. In other words, from management and
application of intelligence resources perspective, after trying best efforts to set up the
foundation of intelligence resources, how the managers are devoting to figure out the
suitable model for the business unit, by using original or adopting resources, becomes the
first priority of concerns of whether the indigenous cultural industry can be sustainable.
When the industry becomes more mature, the participants of the industry may look back, to
propose their real needs for regulations, and at the same time, these proposals may be very
valuable for the regulators.
Based on the above thinking in accordance with both legal and managerial logic, this
research makes observation to problems when dealing with aboriginal people’s folklore
expressions in international society, in various countries and in Taiwan, from the beginning
part of literature analysis to the latter parts; then, this research makes sure that cultural
heritage and intellectual property both play parts on the focused topics, while each has its
regulatory role as well as has impact on the other, and such nature and connection becomes
the premise of the following several models respectively for activation of cultural heritage
and creation of intellectual property at the same time in indigenous cultural industry. These
models will be used as the analytic tools for the following case study and as the referable
choices of business development for future participants in the industry.
Furthermore, case study of this research reflects foregoing categorical models. The first
case in Chapter 4 is commons-oriented Yuma Taru and Lihang Studio case. The second case
in Chapter 5 is under complete company management, which is Siku Sawmah Cultural Art
Workshop case. Both cases’ major revenue come from knitting techniques, but the managers
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have different business goals, resulting in different business models. This research tries to
reveal managerial issues when running workshop through these two cases; this research will
also gives suggestion to them in relation to intelligence resources planning.
In the final part of conclusion and suggestion, this research aims at governmental
departments and participants in the industry, and for them it rethinks solutions towards
existing problems regarding previously found issues and referable cases. This research
expects the indigenous cultural industry in Taiwan to eventually get on a more radiant stage
with the cooperation of all the researchers and participants.
KeywordsIndigenous Crafts, Indigenous Arts, Cultural Industry, Folklore Expressions,
Protection Act for the Traditional Intellectual Creations of Indigenous Peoples, Intellectual
Property, Cultural Heritage, Atayal, Sakizaya
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of Indigenous People) ............................................................................................... 6
(Model Provisions for National Laws on the Protection of
Expression of Folklore Against Illicit Exploitation and Other Prejudicial
Actions) ................................................................................................................... 7
Protection of Traditional Knowledge and Expressions of Culture) .................. 16
2003 ................................................ 17
2005 ............................ 17
............................................................................. 18
............................................. 20
............................................................................................. 20
..................................................................................... 21
............................................................................. 23
..................................................................... 23
..................................................................................... 25
..................................................... 27
..................................................................................... 29
.............................................................................................................. 33
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............................................................................. 70
................................................................. 70
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............................................................................................................ 123
............................................................................................... 123
............................................................................................... 127
........................................................................................... 130
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2 ..................................................................................................... 4
3 ........................................................................................... 19
4 TCEsIP ....................................................................... 37
5 ........................................................... 38
6 Yumbulul .................................................. 45
7 ................................................................... 48
8 ........................................................................ 63
9 .................................................................... 63
10 ................................................................. 63
12 ....................................... 65
13 .......................................................... 66
15 .............................................................. 74
17 ........................................................................... 75
18 - ......................... 77
19 2009 921 88 ................................................... 78
20 2009 DM ...................................................................... 82
21 ...................................................................... 83
22 ...................................................................................... 83
23 ...................................................... 83
25 .................................................. 84
26 .................................................................................. 84
27 ACE .................................................................................. 84
28 .......................................................................... 95
29 ............................................................................................. 95
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33 ............................................................................................ 101
38 ................................................................ 108
39 ............................................................ 109
40 .................................................................................... 111
41 ........................................................................................ 111
42 .................................................................................... 111
43 ............................................................ 112
44 ............................................................ 112
45 ................................................................................................ 113
46 ................................................................................................ 113
47 ............................................................................................... 118
48 ................................................ 123
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5 ....................................................................................... 19
6 ....................................................................................... 23
7 ................................................................................... 29
9 ........................................................... 37
10 ..................................................... 39
11 ...................................................................... 55
12 ................................................................. 60
13 .................................................. 69
15 SWOT .................................................................................. 86
16 ................................................................... 100
17 ................................ 114
18 ....................................................................................... 116
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2007
2008
2010 1 7
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Indigenous People1
(Working Group on Indigenous Populations, WGIP)1993
2007 9 13 61
11 13
1 2007 11 5
http://dore.tacp.gov.tw/dorefile//00/00/bu.pdf2010 6 13 2 Article 11 “1. Indigenous peoples have the right to practise and revitalize their cultural traditions and customs. This includes the right to maintain, protect and develop the past, present and future manifestations of their cultures, such as archaeological and historical sites, artefacts, designs, ceremonies, technologies and visual and performing arts and literature. 2. States shall provide redress through effective mechanisms, which may include restitution, developed in conjunction with indigenous peoples, with respect to their cultural, intellectual, religious and spiritual property taken without their free, prior and informed consent or in violation of their laws, traditions and customs.”http://www.un.org/esa/socdev/unpfii/en/drip.html
2010 6 13
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2.
(Model Provisions for National Laws on the Protection of Expression of
Folklore Against Illicit Exploitation and Other Prejudicial Actions)5
(WIPO)(UNESCO)
3 Article 12 “1. Indigenous peoples have the right to manifest, practise, develop and teach their spiritual and religious traditions, customs and ceremonies; the right to maintain, protect, and have access in privacy to their religious and cultural sites; the right to the use and control of their ceremonial objects; and the right to the repatriation of their human remains. 2. States shall seek to enable the access and/or repatriation of ceremonial objects and human remains in their possession through fair, transparent and effective mechanisms developed in conjunction with indigenous peoples concerned.”
http://www.un.org/esa/socdev/unpfii/en/drip.html2010 6 13 4 Article 13”1. Indigenous peoples have the right to revitalize, use, develop and transmit to future generations their histories, languages, oral traditions, philosophies, writing systems and literatures, and to designate and retain their own names for communities, places and persons. 2. States shall take effective measures to ensure that this right is protected and also to ensure that indigenous peoples can understand and be understood in political, legal and administrative proceedings, where necessary through the provision of interpretation or by other appropriate means.”
http://www.un.org/esa/socdev/unpfii/en/drip.html2010 6 13 5 WIPO
http://www.wipo.int/export/sites/www/tk/en/documents/pdf/1982-folklore-model-provisions.pdf
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7
1
8
62002 7 32 7 WTO TRIPS
2003 11 120-130http://www.wtocenter.org.tw/SmartKMS/fileviewer?id=10252 2010 6 13 8 “Folklore is an important part of living cultural heritage of nations” 9 “Dissemination of folklore can lead to improper exploitation of cultural heritage, and any abuse or any distortion of folklore prejudices the cultural and economic interests nations ” 10 “Expressions of folklore manifesting intellectual creativity deserve IP-type protection” 11 “Such protection of expressions of folklore is indispensable for their development, maintenance and dissemination” 12 “Protection is provided for expressions of folklore against illicit exploitation and other prejudicial actions” 13 “characteristic elements of traditional artistic heritage developed and maintained by a community, in particular, verbal expressions, (folk tales, folk poetry, riddles); musical expressions (folk songs and instrumental music); expressions by action (folk dances, plays and artistic forms or rituals); and tangible expressions (productions of folk art, drawings, paintings, carvings, sculptures, pottery, terracotta, mosaic, woodwork, metalware, jewelry, basket-weaving, needlework, textiles, carpets, costumes, musical instruments, and [architectural forms.]”
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WIPO14
http://www.wipo.int/edocs/mdocs/tk/en/wipo_grtkf_ic_5/wipo_grtkf_ic_5_inf_3.pdfComparative Table on Sui Generis Laws on Traditional Cultural Expressions/Expressions of Folklore
http://www.wipo.int/export/sites/www/tk/en/laws/pdf/suigeneris_folklore.pdf2010 6
http://www.wtocenter.org.tw/SmartKMS/fileviewer?id=102522010 6 13 152002 7 49-51
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Developing Countries)17
WIPO
162002 7 49-52 17 WTO TRIPS
2003 11 120-130http://www.wtocenter.org.tw/SmartKMS/fileviewer?id=10252 2010 6 13
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(perform literary or artistic works)
1996 (WPPT)
(1)
(3)
2003 11 120-130 http://www.wtocenter.org.tw/SmartKMS/fileviewer?id=10252 2010 6 13 192002 7 52-53
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(Expressions of Folklore) 2002
WIPO 1971 2010 TCEs
22 WIPO http://www.wipo.int/treaties/en/ip/berne/trtdocs_wo001.html#P192_37445
2010 6 13 23 WTO TRIPS
2003 11 120-130http://www.wtocenter.org.tw/SmartKMS/fileviewer?id=10252 2010 6 13 24 Tunis Model Law on Copyright for Developing Countries http://portal.unesco.org/culture/en/files/31318/11866635053tunis_model_law_en-web.pdf/tunis_model_law_e n-web.pdf2010 6 13
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TCEs IP
28 3,000
25 WIPO http://www.wipo.int/treaties/en/ip/wppt/trtdocs_wo034.html 26 WIPO http://www.wipo.int/meetings/en/details.jsp?meeting_id=3074
2010 6 13 27 WIPO http://www.wipo.int/tk/en/tk/ffm/report/final/index.html
2010 6 13 28 WIPO/GRTKF/IC/3/10http://www.wipo.int/meetings/en/doc_details.jsp?doc_id=2055
2010 6 13
29 http://www.un.org/esa/socdev/unpfii/en/declaration.html 30 http://www.wipo.int/tk/en/igc/
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(1993)
http://wildmic.npust.edu.tw/sasala/910311-01.doc2010 6 19 34 The Mataatua Declaration on Cultural and Intellectual Property Rights of Indigenous Peoples
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9
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Traditional Knowledge and Expressions of Culture)
35
of the Pacific Community Pacific Islands Forum Secretariat
UNESCO Pacific Regional Office 2002
(2)(3)
35 Bangui Agreement of OAPI 1977 3 2
African Intellectual Property Organization OAPI
1982 2 1999 2
2006 6 57 36
2010 1 16-17 100
http://www.forumsec.org.fj/resources/uploads/attachments/documents/PacificModelLaw,ProtectionofTKandE xprssnsofCulture20021.pdf2010 6 13
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2003 10
2 1 intangible cultural heritage
(3)(4)(5)
38
UNESCO 2005 10 20 33
39
2003 11 120-130
http://www.wipo.int/edocs/mdocs/tk/en/wipo_grtkf_ic_5/wipo_grtkf_ic_5_inf_3.pdfComparative Table on Sui Generis Laws on Traditional Cultural Expressions/Expressions of Folklore
http://www.wipo.int/export/sites/www/tk/en/laws/pdf/suigeneris_folklore.pdf2010 6
13 382006 6 9 392006 6 65
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IC)
41 3
40http://unesdoc.unesco.org/images/0014/001429/142919c.pdf
2010 6 20 41 2006 1 42
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niv
42 32 2009 2
http://www.ntua.edu.tw/~dc/files/E01_8.pdf2010 6 20
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(2009)
()1920
10 108
5~20
SWOT
45
(2009)
44
2009 8 45 2002 12 462009
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47 2009 48
2006 6
niv
2010 1 7
6
6
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David Throsby
()
Throsby
52
53
50 Porter
2006 6 30 51(cultural industry)() Max Horkheimer Theodor Adorno 1947
2007 52 David Throsby ”Economics and Culture”2003
2007 53 case 2004
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(2)
54 EMBA 2005 8
(2004)
55 2005 12 56
2004 8 1 17-18
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() ()
94 96
57 EMBA
2007 12 58 EMBA
2007 12 59 94
1.
EMBA 192007 12
niv
(2006)
61 31 2006 6 62 2006 6
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12 2006 1
(2003)()
()
()
2002 65 2003
12
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67
7
66 2002
7 67 29 2005 6 68
2008 6 69 Licensehttp://www.licensing.org/news/article.php?uid=514&chapterId=5 http://www.licensemag.com/licensemag/ArticleStandard/Article/detail/5588522010 6
18
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LIMA
70
2007
LIMA71
71 Licensehttp://www.licensemag.com/licensemag/ArticleStandard/Article/detail/558852
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80%
300
()
2010 6 18 72 Cheryl RobbinsStrategies for the Online Marketing of Cultural Products2008 4
http://indigenous.pristine.net/events/2008/wsic/presentations/cheryl_robbins_paper.html2010 6 18
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75
73
(2007)
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(3)(4)
(5)(6)
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(sui generis)76
( 10 ):
()
76 2002 7 32
2000 10 77 2008 11 14
http://www.eduquan.com/fanwen/323/640/20081114316962.html2010 6 13 78
() ()()
()()
2009 1 5 http://www.wretch.cc/blog/jflee/13964005
2010 6 13 2008 10 31 http://www.wretch.cc/blog/jflee/13885582 2010 6 13
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80
79 1996 2004
87-992004 12 22 ; WIPO/GRTKF/IC/5/3
http://www.wipo.int/edocs/mdocs/tk/en/wipo_grtkf_ic_5/wipo_grtkf_ic_5_3.pdf 2010 6 20 80 WIPO/GRTKF/IC/5/3 10-11
http://www.wipo.int/edocs/mdocs/tk/en/wipo_grtkf_ic_5/wipo_grtkf_ic_5_3.pdf 2010 6 20 81 1996 2004
87-992004 12 22 ; WIPO/GRTKF/IC/5/3
http://www.wipo.int/edocs/mdocs/tk/en/wipo_grtkf_ic_5/wipo_grtkf_ic_5_3.pdf 2010 6 20 82 Gerard A. Persoon, Songs from the uma Bringing the indigenous musical tradition of Siberut Insland (Indonesia) into the public domain 102010 1 16-17
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WIPO 2003 5 2
(Traditional Cultural
Expressions TCEs)WIPO
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IP
(b)
TCEs
) IP
http://www.wipo.int/edocs/mdocs/tk/en/wipo_grtkf_ic_5/wipo_grtkf_ic_5_3.pdf 2010 6 20 85
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(i)
10
/
→
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1990
5 100
100 15 500
(
86 New Zealand, Panama, Philippines, Republic of Azerbaijan
WIPO http://www.wipo.int/tk/en/laws/folklore.html2010 6 20 87 Algeria, Bolivia, Burkina Faso, Chile, Colombia, Cote dIvoire, Fiji, Ghana, Indonesia, Lithuania, Republic of Macedonia, Malawi, Mexico, Republic of Micronesia, Mongolia, Morocco, Nigeria, Oman, Papua New Guinea, Peru, Samoa, Senegal, Tanzania, Tunisia, Ukraine, United Kingdom, Vanuatu
WIPO http://www.wipo.int/tk/en/laws/folklore.html2010 6 20 88 Australia, Bolivia, Japan, Lithuania, Palau, Republic of Korea, South Africa, Sudan, United States of AmericaWIPO http://www.wipo.int/tk/en/laws/folklore.html2010
6 20 89 25 USC 305 IACB Indian Arts and Crafts Act of 1990http://www.iacb.doi.gov/act.html Indian Arts and Crafts Enforcement Act of 2000http://www.doi.gov/iacb/pdf/2000act.pdf
2010 5 2 90 21
2008 12 12
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suggest)
(Native American)
Indian-styleIACA
Amendments Act of 2010
92 http://www.opencongress.org/bill/111-s151/show2010 6 16 93 http://www.govtrack.us/congress/bill.xpd?bill=h111-7252010 6
16 94 Congressional Research Service Summary1/19/2010--Passed House amended. Indian Arts and Crafts Amendments Act of 2010 - Amends the Indian Arts and Crafts Act of 1990 to expand the authority of the Indian Arts and Crafts Board to bring criminal and civil actions for offenses under such Act involving the sale of misrepresented Indian-produced goods or products. Authorizes: (1) any federal law enforcement officer to conduct an investigation of an alleged violation of this Act occurring within the jurisdiction of the United States; and (2) the Board to refer an alleged violation to any such officer (currently, only to the Federal Bureau of Investigation [FBI]) for investigation. Permits such an officer to investigate an alleged violation regardless of whether such officer receives such a referral from the Board. Requires the findings of any investigation of an alleged violation to be submitted to a federal or state prosecuting authority or the Board. Authorizes the Board, upon receiving the findings of such an investigation, to: (1) recommend to the Attorney General that criminal proceedings be initiated (current law); (2) provide such support to the Attorney General relating to the criminal proceedings as the Attorney General determines to be appropriate; or (3) recommend, in lieu of or in addition to any such criminal proceeding, that the Attorney General initiate a civil action. Allows the Attorney General, an Indian tribe, an Indian, or an Indian arts and crafts organization to initiate a civil action under this Act. Amends the federal criminal code to revise penalties for the sale of misrepresented Indian-produced goods and products.http://www.govtrack.us/congress/bill.xpd?bill=h111-725&tab=summary
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J.C. PenneyWal-MartIACA
2010 6 16 95 United States of America v. Nader Z. Pourhassan (148 F. Supp. 2d 1185, (D. Utah, 2001)) 96 William J. Hapiuk, Of Kitsch and Kachinas: A Critical Analysis of the Indian Arts and Crafts Act of 1990, STANFORD LAW REVIEW 1009, 1014, (2001).
21 2008 12 52 97 21
2008 12 53
niv
IACANavajo
Native American Arts, Inc. v. The Waldron Corp.
v. Hartford Casualty101WaldronWaldron
Repatriation Act)
1990
98 Jennie D. Woltz, The Economics of Cultural Misrepresentation How should the Indian Arts and Crafts Act of 1990 Be Marketed?, 17 FORDHAM INTELLECTUAL PROPERTY, MEDIA AND ENTERTAINMENT LAW JOURNAL, Winter 443, 464-465, (2007).
21 2008 12 53 99 21
2008 12 53 100 399 F. 3d 871 (7th Cir. 2005) 101 435 F. 3d 729 (7th Cir. 2006) 102 21
2008 12 54
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103
2008 6 98-99 104
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2008 12 58 106 21 IPR 481 (1991)
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107 Colin GolvanAboriginal Art and the Protection of Indigenous Cultural Rights
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niv
112
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21 2008 12 59 111 21
2008 12 59 112 41 IPR 513 (1998) 113 Jane Anderson, The Politics of Indigenous Knowledge: Australia’s Proposed Communal Moral Rights Bill, 34 UNIVERSITY OF NSW LAW JOURNAL (2004),
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21
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http://www.australiacouncil.gov.au/__data/assets/pdf_file/0003/59745/ICIP.pdf2010 6 20
niv
115
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2010 6 20 116
2010 1 16-17 107Terri Janke, Indigenous cultural and intellectual property: the main issues for the indigenous arts industries in 2006, p.143-144 http://www.australiacouncil.gov.au/__data/assets/pdf_file/0003/59745/ICIP.pdf
2010 6 20 117
2010 1 16-17 108Lenne Wiseman, The Protection of Indigenous Art and Culture in Australia: The Labels of Authenticity, E.I.P.R.2001, 23(1),14-15 (2001)
niv
Art Commercial Code of Conduct)
118
2010 1 16-17 108 119
2010 1 16-17 108Matthew Rimmer, Australia Icons: Authenticity Marks and Identity Politics, 3 Indigenous L.J. 139, 155-156 (2004) 120
2010 1 16-17 108 121 Draft Indigenous Australian Art Commercial Code of Conduct
http://www.indigenousartcode.org/__data/assets/pdf_file/0004/89698/code-of-conduct-sept09.pdf
2010 6 21 122
2010 1 16-17 111Eric Mackay, Indigenous Traditional knowledge, Copyright and Art Shortcomings in Protection and Alternative Approach? U.N.S.W.L.J. 1, 17-19 (2009) 123
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2010 6 6 196 2009 12 12
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82
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83
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1. 2004
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4
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2003
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20. 2008
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24. David Throsby 2003
25. Dr. John H. Falk & Dr. Lynn D. Dierking
2002
& Music Drive New York City?)2008 11
27. Kavin Lane Keller 2008
9
28. Elinor Ostrom, Governing the CommonsThe Evolution of Institutions for Collective
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1. 2010 2010 6
2.
2000 8 12
3. case
2004
4. 2006 5
5.
75 2005 3
6.
21 2008 12
7. 29 2005 6
niv
9. 289 120-1272003
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212
31-352005
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20. 78 2004
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23. —
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24. 2007
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26. 2007
12
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29.
2010 1
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1. Barbara Hilkert Andolsen, Trade in Indigenous Arts and Crafts: Labels of Authenticity
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2. Cheryl Robbins, Strategies for the Online Marketing of Cultural Products, 2008 4
3. Eric Mackay, Indigenous Traditional knowledge, Copyright and Art Shortcomings in
niv
Protection and Alternative Approach? U.N.S.W.L.J. 1, 17-19 (2009)
4. Gerard A. Persoon, Songs from the uma Bringing the indigenous musical tradition of
Siberut Insland (Indonesia) into the public domain
2010 1
5. Jane Anderson, The Politics of Indigenous Knowledge: Australia’s Proposed
Communal Moral Rights Bill, 34 UNIVERSITY OF NSW LAW JOURNAL (2004)
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Indian Arts and Crafts Act of 1990 Be Marketed?, 17 FORDHAM INTELLECTUAL
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the Public Domain2010
1
8. Lenne Wiseman, The Protection of Indigenous Art and Culture in Australia: The Labels
of Authenticity, E.I.P.R.2001, 23(1),14-15 (2001)
9. Matthew Rimmer, Australia Icons: Authenticity Marks and Identity Politics, 3
Indigenous L.J. 139, 155-156 (2004)
10. Meghan Ruesch, Creating Culture: Protection of Traditional Cultural Expressions and
Folklore and the Impact on Creation and Innovation in the Marketplace of Ideas, 35
SYRACUSE JOURNAL OF INTERNATIONAL LAW AND COMMERCE 369, 377
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11. William J. Hapiuk, Of Kitsch and Kachinas: A Critical Analysis of the Indian Arts and
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2. 2006
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4. -
6.
7.
8.
2008 6
9. 2006
7
12. EMBA
2005 8
2002
15.
2009 1
16.
12
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19.
21.
2007 7
24. —
2004
1. WIPO/GRTKF/IC/5/INF/3
2003 11
7. 1996 2004
2004 12 22
8.
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10.
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1. http://www.tipp.org.tw/formosan/index.jspx
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13. Indian Arts and Crafts Enforcement Act of
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120 2007 12 1
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46. Kiniwhttp://blog.xuite.net/amis.kay/kiniw
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(United Nations Declaration on the Rights of Indigenous PeopleP0F P)
(Model Provisions for National Laws on the Protection of Expression of Folklore Against Illicit Exploitation and Other Prejudicial Actions)P4F
WIPO-UNESCO
(The Model Law for the Protection of Traditional Knowledge and Expressions of Culture)
2003
2005