Nigeria, in the ongoing reform of its copyright system, is taking steps towards the domestication of the provisions of the Beijing Treaty on Audiovisual Performances, which came into force on 28th April 2020.
Mr. John O. Asein, Director-General of Nigerian Copyright Commission (NCC), disclosed this in his opening remarks at a Webinar with the theme: Strengthening Nigeria’s Creative Sector through Improved Rights for Artists and Performers, to mark the coming into force of the treaty.
Expressing concern over the loss of revenue in the audiovisual industry, he assured that the Commission would work with the guilds, associations and collective management organisation in the industry to develop appropriate mechanisms to ensure greater return on creative investment.
He noted that such interventions would necessitate looking into various aspects of the industry, including engagement contracts, distribution bottlenecks, online abuses and rights management issues.
The Director-General reaffirmed the Commission’s commitment to improving the protection available to audiovisual performers, especially “in today’s digital environment where copyright works are easily retransmitted on various online platforms often without recourse to the right owners or the performers.”
Noting that Nigeria’s film industry ranked among the top three in the world, he expressed worry that the ranking has not translated to real economic benefit and enhanced status for the performers “who stand before the lights and cameras transforming scripts to action”.
Mr. Asein expressed sadness that in recent times, well-known film and television actors faced with health challenges have had to appeal to the public for assistance which often came in trickles or a little too late.
“The current global pandemic has further amplified the vulnerability of creators – authors, musicians, actors and other performers – and it underscores the need to have a fallback system to sustain them beyond their active years and especially in time of economic downturn. These are people who generate or bring life to the copyright works that we enjoy but in most cases they do not have access to any form of pension or gratuity”, he stated.
The Director-General who congratulated member states of WIPO despite the fact that the Treaty was coming into force about eight years after its conclusion in June 2012, urged participants at the Webinar to provide “initial thoughts on how the balanced application of the provisions of the Treaty could help Nigeria achieve its laudable objectives.”
The Beijing Treaty on Audiovisual Performances was adopted by the Diplomatic Conference on the Protection of Audiovisual Performances, which took place in Beijing from June 20 to 26, 2012.
The Treaty modernises and updates for the digital era the protection for singers, musicians, dancers and actors in audiovisual performances. It upgrades the Rome Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organizations (1961) and complements the WIPO Performances and Phonograms Treaty (WPPT), which updated protection for performers and producers of phonograms.
The Beijing Treaty encompasses the performances of actors in different media, such as film and television, and also includes musicians when their musical performances are recorded in a DVD or any other audiovisual platform. It grants performers economic rights in fixed and unfixed performances, as well as certain moral rights.
Under the Beijing Treaty, performers are accorded four kinds of economic rights for their performances fixed in audiovisual fixations, namely the right of reproduction; the right of distribution; the right of rental; and the right of making available.
The Treaty obliges each contracting party to adopt, in accordance with its legal system, the measures necessary to ensure the application of the Treaty, including ensuring that enforcement procedures are available for effective action against any act of infringement of rights.
