Professional Documents
Culture Documents
TRIPS-minus and Protection Still Pending
TRIPS-minus and Protection Still Pending
still pending
7.1 Introduction
The multilateral intellectual property protection framework, as exemplified
by TRIPS, has been constructed to best deliver the protection on those
intellectual property rights that the major players – the developed countries
– have sought to have protected. The multilateral framework is given further
substance by the network of TRIPS-plus treaties and bilateral agreements,
in which the same developed countries figure prominently. The dominant
characteristic of this framework is that, to be protectable as intellectual
property, a right must be private in nature, identifiable, ascribable and
commercially exploitable. Issues or rights which do not fit within this
framework – notably traditional knowledge and cultural heritage in the
broadest sense – enjoy little, if any, of the protection offered by TRIPS, the
TRIPS-plus treaties and the bilateral agreements. The absence of protection
on an international mutually agreed scale for these issues has witnessed them
subject to potential and actual encroachment by the multilateral protection
framework on terms dictated by that framework. In essence, they suffer a
TRIPS-minus protection environment.
Whilst a number of descriptions for traditional knowledge and cultural
heritage have been in widespread circulation, as yet there is no universal
agreement on the terminology or the definitions or even agreed parameters
in the major multilateral forums as to what might or should be included in
their deliberations. Although traditional knowledge seems to be the most
commonly used term, others frequently arise – such as cultural heritage,
folklore, traditional cultural expressions, indigenous knowledge. This is as
much a reflection of the broad scope of what may be encompassed within
their bounds as uncertainty on what might constitute ‘traditional’ or
‘knowledge’, or even ‘protection’ and its purpose. It has been suggested, for
example, that the term ‘folklore’ is quite inappropriate in this context since
it presumes matter of a historical nature only and suggests that ‘expressions
of culture’, being current self-expressions of living functional traditions,
should be used instead.1 What seems a common consensus is that ‘protection’
in the narrow and conventional intellectual property sense does not address
228 TRIPS-minus and protection still pending
the needs or scope of these concepts, even allowing for differences in their
possible definitions.
WIPO currently prefers to mainly use in a fairly generic way the terms
‘traditional knowledge’ (TK) and ‘traditional cultural expressions’ (TCE),
with ‘folklore’ being used less widely. WIPO draws a distinction between
these two major terms. It uses ‘traditional knowledge’ to refer to tradition-
based literary, artistic or scientific works, performances, inventions, scientific
discoveries, designs, marks, names and symbols, undisclosed information,
and all other tradition-based innovations and creations resulting from
intellectual activity in the industrial, scientific, literary or artistic fields.2
‘Traditional cultural expressions’ encompass productions consisting of
characteristic elements of the traditional artistic heritage developed and
maintained by a community or by individuals reflecting the traditional
artistic expectations of such a community, in particular:
• verbal expressions, such as folk tales, folk poetry and riddles, signs,
words, symbols and indications;
• musical expressions, such as folk songs and instrumental music;
• expressions by actions, such as folk dances, plays and artistic forms or
rituals, whether or not reduced to a material form; and,
• tangible expressions, such as productions of folk art (in particular,
drawings, paintings, carvings, sculptures, pottery, terracotta, mosaic,
woodwork, metalware, jewellery, basket weaving, needlework, textiles,
carpets, costumes), crafts, musical instruments and architectural forms.3
• Arab countries are rich with one of the most precious cultural and
civilisational heritages in the world, which constitutes an important pillar
for human civilisation and an integral part of the world patrimony;
• Arab folklore (Arab popular heritage) is a strong means of bringing
together the Arab peoples. However, this common aspect does not
exclude or diminish the importance of the local variations specific to
each people;
• Arab folklore (Arab popular heritage) and traditional knowledge are
subject to various dangers, including negligence, disappearance, piracy,
mutilation and illegal exploitation; therefore, there is a need for the
provision of legal protection at national, regional and international
levels;
• currently, there is no legal framework available for the protection of
expressions of Arab folklore at either national or international levels.
The missions and forums recommended to the Arab countries that they
should:
But since the WIPO missions, little progress has been achieved in respect
of the key issue of the creation and universal acceptance of a sui generis
international protection convention. However, WIPO has established a
senior committee, as recommended above, and the Gulf states have taken
some steps towards the creation of national protection schemes and the
identification, documentation and preservation of their cultural heritages.
While WIPO now has a committee, being the Intergovernmental Com-
mittee on Intellectual Property and Genetic Resources, Traditional Know-
ledge and Folklore, charged with the responsibility of examining the
feasibility of establishing sui generis or other systems of protection for
expressions of traditional knowledge, the work of the committee to date has
largely revolved around establishing the parameters and meanings of key
terms, such as what is meant by tradition, knowledge, culture and heritage.
Its major undertaking so far has been to try to establish agreed meanings for
terms in use and to undertake a knowledge ‘gap analysis’ in order to:
The work of the WIPO committee has two major areas of focus, namely
traditional knowledge/folklore and genetic resources. To these two areas can
be added another of potential and actual importance to the Gulf states,
namely, geographical indications as expressions of traditional knowledge and
cultural heritage.
Some of the Gulf states have moved to include, to a lesser or greater degree,
formal recognition of expressions of culture and traditional knowledge in
their respective copyright laws. Although this inclusion provides some form
of legal standing for traditional knowledge, they still do not fully address
the dilemmas of protection in a conventional intellectual property context.
On occasion, it appears that the references may be more of a token gesture
than a conscious and determined effort to provide or enhance protection.
The Yemeni general intellectual property law does not make any formal
provision for the protection of any particular forms of traditional knowledge.
In fact, it specifically excludes from protection works which are ‘not fit to
be the subject of the right of an author, such as works which contain
anthologies from the tradition or folklore whose author is unknown . . .’,
234 TRIPS-minus and protection still pending
but does not give any further guidance as to what those works may
constitute.10 However, it does provide that ownership of works in which
copyright has expired reverts to the state, which may determine how those
works may be used or exploited.11
Similarly, Kuwait does not make any substantive reference to the
protection of traditional knowledge or expressions of cultural heritage in its
laws. Folklore or similar is not included in its statement of works to which
protection is extended, but added at the very end of its copyright law is a
declaration of a moral position without any accompanying practical means
of affording any form of protection. It provides that ‘the national heritage
of Kuwait society is a public property of the state. And the state, acting
through the Ministry of Information, has the right to exercise the author’s
literary and financial rights for him’.12 It still requires attribution to an
individual for protection to be able to have effect, or for the state to act on
the individual’s behalf to protect that individual’s private rights.
The UAE copyright law contains a definition of folklore as ‘every expres-
sion of people’s heritage, oral, musical, dynamic, or tangible in distinct
elements which reflects the artistic traditional inheritance, developed or
endured in the State and which cannot be attributed to an author’.13 The
law also acknowledges derived work as being any expression of a people’s
heritage, whether oral, musical, dynamic or tangible (in distinct elements that
reflect the artistic traditional inheritance), which has developed or survived
in the state and which cannot be attributed to an author. Folklore is not
included amongst the range of works or activities entitled to protection, but
provision does exist for moral rights to revert to the state once the economic
rights expire, although there is no guidance as to the nature of the protection
that the law might provide other than by implication.14
Saudi Arabia goes a little further than Yemen, Kuwait and the UAE. Its
copyright law adopts a slightly stronger position on the protection of
folklore, which is acknowledged as including:
‘all literary, artistic or scientific works which are assumed to have been
created on Saudi territory and transmitted from one generation to the
next and constitute part of the traditional Saudi cultural and artistic
tradition.’15
It also includes in its definition of works of applied arts any artistic creation
of useful functions or integrated into a tool for use concerning a work for
producing traditional or industrial crafts.18 Performers include persons who
‘act, sing, orate, recite, play, dance or otherwise perform other works and
national folklore expressions’.19 Protection of the law extends to expressions
of these cultural forms in general, whether they come within the parameters
of oral, musical or concrete expressions, or performances. While the notion
of private ownership is still a central theme, provision exists for the state to
assume ownership of the moral rights, but only where no natural right of
succession occurs.20
Bahrain and Qatar go even further than Oman insofar as their copyright
laws make particular detailed references to the position of national folklore
and give the broadest illustration of the range of folkloric expressions which
may be protected. As such, they adopt the strongest positions on the
protection of traditional knowledge and folklore amongst the Gulf states.
The Bahraini copyright law extends its protection to all creative works,
including those of a cultural nature irrespective of the nature of such works
and their form of expression. It includes in the scope of expressions of
folklore all productions of a community heritage, whether verbal, musical,
expressed by movement, or tangible as represented by distinctive elements
reflecting traditional heritage that originated or were developed and
preserved in a particular geographic area and which cannot be attributed to
a known author.21 They include the following expressions in particular:
236 TRIPS-minus and protection still pending
• folk tales, proverbs, puzzles and popular poetry;
• folk songs with musical accompaniment;
• folk dances and performances;
• traditional products such as line or colour drawings; sculptures, pottery
and ceramics; engravings on wood, metal or ornaments; needlework,
textiles, carpets and clothes; musical instruments; and architectural shapes.
• seeds of the senna plant, Cassia italica, used as a laxative and for stomach
pains;
• seeds of the desert squash, Citrullus colocynthi, highly acclaimed as a
cure for diabetes;
• the bitter sap of the milkweed Calotropis procera, dried and used to treat
toothache; poultices made from the leaves are applied to joints to heal
rheumatism;
TRIPS-minus and protection still pending 243
• Salsola imbricata and several Suaeda species, dried and powdered, used
as snuff to clear the sinuses;
• poultices of the henna plant used to soothe headaches; henna is also
extensively used as a hair dye and particularly to decorate hands and
feet in intricate designs for special occasions such as weddings and Eid
celebrations;
• the poisonous plant, Rhazya stricta, used in small quantities to settle
gastric upsets;
• the fragrant herb, Teucrium stocksianum, a member of the sage family,
used for combating fevers;
• the seeds of garat, Acacia nilotica, ground to a powder and used to dry
out second-degree burns.