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The following information is a guide to some of the legal and protocol issues that
might arise when working with Aboriginal people and Aboriginal Cultural
Knowledge. It is intended to raise some of the issues, but cannot canvas all
possibilities.
This guide and the links do not constitute legal advice and should not be relied
upon as such. The guide is provided solely for educational and informational
purposes. If you need legal advice on any of the issues raised here you should
consult a solicitor. Some contacts for legal advice are listed below.
their cultural identity.” This definition was formulated by Terri Janke and
published in her book, Our Culture: Our Future page 11.
The United Nations Report of the Seminar on the Draft Principles and Guidelines
for the Protection of the Heritage of Indigenous People by the Chairperson-
Rapporteur: Mrs. Erica-Irene Daes (Geneva, 28 February - 1 March 2000)
describes heritage as:
13. The heritage of indigenous peoples includes all moveable cultural property
as defined by the relevant conventions of UNESCO; all kinds of literary and
artistic creation such as music, dance, song, ceremonies, symbols and
designs, narratives and poetry and all forms of documentation of and by
indigenous peoples; all kinds of scientific, agricultural, technical, medicinal,
biodiversity-related and ecological knowledge, including innovations based
upon that knowledge, cultigens, remedies, medicines and the use of flora and
fauna; human remains; immoveable cultural property such as sacred sites of
cultural, natural and historical significance and burials.
14. Every element of an indigenous peoples' heritage has owners, which may
be the whole people, a particular family or clan, an association or community,
or individuals, who have been specially taught or initiated to be such
custodians. The owners of heritage must be determined in accordance with
indigenous peoples' own customs, laws and practices.
What is copyright?
So, when ideas including knowledge, songs, stories, poems, dances or music are
written, taped, painted, drawn or filmed for the first time copyright subsists
(exists) in the expression of the ideas.
Copyright is free.
The author of a literary, dramatic, musical or artistic work is the owner of any
copyright subsisting in the work, except in certain circumstances. These include
circumstances where the work is made in the course of employment. In that case
the employer is generally the copyright owner. This can be changed if the author
and the employer have made an agreement or contract that states a different
arrangement.
Material which is protected by copyright gains that protection from the time it is
first written down, painted or drawn, filmed or tape recorded.
Copyright owners have the exclusive right to give permission to use their works
for a number of purposes and to charge a fee for the use. This arrangement is
generally written in a license or agreement.
Copyright owners have the right to license others in regard to copying the work,
performing it in public, broadcasting it, publishing it and making an adaptation of
the work. Rights vary according to the nature of the work. For instance, copyright
owners of literary, dramatic and musical works can authorise the reproduction in
material form, publication, performance, communication to the public (including
broadcasting and posting on the internet) and adaptation. Copyright owners of
artistic work can authorise the reproduction in material form, publication and
communication of the work to the public (generally on the internet). Copyright owners of
sounds recordings and films have other associated rights.
Copyright in artistic and literary works generally lasts for 50 years after the death
of the author, or for fifty years after the year the work was first published.
Where a literary, dramatic or musical work is published after the death of the
author, copyright lasts for 50 years after the fist publication.
Copyright in films and sound recordings lasts for 50 years from the year they
were first published. And copyright in broadcasts lasts for 50 years after the
broadcast was made.
Because the copyright belongs to the person or company who creates the original
expression, copyright belongs to the person or company who wrote, taped,
painted, drew or filmed the Aboriginal Cultural Knowledge.
In some cases this has meant that the copyright in Aboriginal Cultural Knowledge
published in a report, book, tape recording, film or other form belongs to
companies and institutions such as a university, an anthropologist or others who
record and publish Aboriginal Cultural Knowledge.
This may not always reflect the wishes or cultural obligations of the Aboriginal
Cultural Knowledge holders.
One example of this occurred in the case of Foster v Mountford (1976) 29 FLR In
this case the anthropologist, Dr Mountford had worked with the Pitantjatjara
community collecting anthropological data. The community disclosed significant
information to him. When this information was to be published in a book, Nomads
of the Australia Desert, the Pitantjatjara Council took legal action to restrain the
publication. Because the Pitantjatjara did not write the book, they did not own the
copyright and brought an action for breach of confidence. The judge agreed that
continuing publication of the book would reveal secrets to people should not know
them, ad that this would create serious social harm to the Pitantjatjara.
But, if Aboriginal Cultural Knowledge holders are not the copyright owner of the
report, book, film or tape recording they have little control over the ways in which
the material is stored, accessed, preserved, disseminated or used including
futures uses such as the internet and technologies yet to be developed.
The Aboriginal Cultural Knowledge could be used in a manner which is offensive
or other wise distressing to the Aboriginal Knowledge holder. It that occurs it
might be difficult to ere may be little that can be done.
Disclose only information that is already well known or that can be widely
disseminated.
What is a patent?
A patent is a right granted for any device, substance, method or process, which is
new, inventive and useful.
A patent is legally enforceable and gives the owner the exclusive right to
commercially exploit the invention for the life of the patent.
Patents give effective protection if you have invented new technology that will
lead to a product, composition or process with significant long-term commercial
gain.
A fee must be paid to apply for a patent, a fee to have the application examined
and regular fees to maintain the patent if the application is successful.
International Experience
The San are the Indigenous people of southern Africa. The San have used the
Hoodia gordonii succulent (Hoodia cactus) as an appetite suppressant while
hunting for thousands of years while hunting. In the 1960s in South Africa, the
South African Council for Scientific Research (CSR) undertook research into the
Hoodia gordonii succulent and patented the active ingredient P57, as an appetite
suppressant. The CSR subsequently licensed use of the patent to major
pharmaceutical companies for commercial development of appetite suppressant
drugs.
Australia
The specimens were found to be ineffective, but were held in storage until the
late 1980s when they were tested again in the quest to find a cure for AIDS. Out
of 7 000 plants screened from around the world, the Smokebush was one of only
four plants found to contain the active property Conocurovone, which laboratory
tests showed could destroy the HIV virus in low concentrations. This 'discovery'
was subsequently patented. The US National Cancer Institute has since awarded
Amrad, a Victorian pharmaceutical company, an exclusive world wide licence to
develop the patent.
One example is the use of the active ingredient of smokebush, a plant widely
used by Aboriginal people in Western Australia.
“Under amendments to the Conservation and Land Management Act 1984 (WA) in
1985 and the National Parks and Wildlife Act (WA), the Western Australian
Minister of the Environment has the power to grant exclusive rights to Western
Australian flora and forest species for research purposes. In the early 1990s, the
Western Australian Government also awarded Amrad the rights to the Smokebush
species, to develop an anti-AIDS drug ... Amrad paid $1.5 million to the WA
government to secure access to Smokebush and related species ... if
Conocurovone is successfully commercialised, the WA government will recoup
royalties of $100 million per year by 2002.
Indigenous people are concerned that they have not received any
acknowledgment, financial or otherwise, for their role in having first discovered
the healing properties of Smokebush. According to the Centre for Indigenous
History and the Arts (WA):
The current legislation disregards the potential intellectual property rights that
Indigenous peoples in WA have in flora on their lands. Furthermore, multinational
drug companies could be sold exclusive rights to entire species of flora,
preventing anyone from using these species for any other purpose without the
consent of the companies.
Indigenous peoples in WA face the possibility of being prevented from using any
of the flora which is the subject of an exclusive agreement.”
It is therefore vital that any reform of the intellectual and cultural property laws
include provisions for the recognition of Indigenous peoples as the native title
owners of all the biological resources of the flora and fauna that are on their
lands.” Terri Janke (OCOF) (get permission)
Are you anticipating using Aboriginal Cultural Knowledge in your class? If so, the
following questions can provide a guide to respectful use:
If you are not sure, contact the Legal Services Directorate, NSW Department of
Education and Training, and seek their advice.
The principle of Free Prior Informed Consent (FPIC) requires that the Aboriginal
Cultural Knowledge holders must be fully informed about the project and their
legal rights, before the project begins, and their consent must be voluntarily
provided before the project starts. If the Department will be the copyright owner
it is essential that the Aboriginal Cultural Knowledge holders are informed of their
legal rights of all proposed and anticipated uses of their material. The Aboriginal
Knowledge holders should be given an opportunity to make their own enquiries,
consent, decline, or make alternative proposals.
Some hypotheticals
• Respect
• Indigenous Control
• Communication, consultation and consent
• Interpretation, integrity and authenticity
• Secrecy and Confidentiality
• Attribution
• Proper Returns
• Continuing Cultures
• Recognition and Protection
Artform Protocol Guides , written by Terri Janke and Robynne Quiggin, published
by the Aboriginal and Torres Strait Islander Arts Board of the Australia Council for
the Arts. These Protocol Guides are only available online now at:
http://www.ozco.gov.au/arts_resources/publications
Is the national community legal centre for the arts. Arts Law gives preliminary
advice and information to artists and arts organisations across all artforms on a
wide range of arts related legal and business matters including contracts,
copyright, business names and structures, defamation, insurance and
employment. Arts Law's legal officers provide telephone legal advice from
Tuesday to Friday in two sessions a day: 9:30am-12:30pm and 2:00pm-5:00pm
EST. Initial telephone advice is free and can be accessed by callers outside the
Sydney metropolitan area on our tollfree number by dialling 1800 221 457.