13
Journey Towards a
Brighter Future for the Creatives
ISSUE
35
By. Cyrus Kinyungu
T
he Kenya Copyright
Board in December held
a public participation
forum bringing together the
business community and music
users to deliberate on tariffs
to be charged by the licensed
Collective Management
Organisations.
The participants were pre-
sented with draft joint KAMP-
PRISK & MCSK tariffs which
was a proposal by the CMOs and
asked to freely give their opinion.
While opening the forum,
KECOBO Executive Director
Mr Edward Sigei said the review
of the tariffs was inspired by the
complaints by users that the for-
mer tariffs were too complex and
difcult to understand.
“The new tariffs shall be ac-
companied by a new online pay-
ment system that will eliminate
the need for CMO staff to go to
users’ premises at what users
termed as “inopportune times,”
he explained.
By the time of holding the fo-
rum, Mr Sigei disclosed that he
had received written feedback
concerning the proposals from
PERAK, Media Owners Asso-
ciation and Association of Disk
Jockeys East Africa.
Mr Sigei noted the proposed
tariffs are made affordable so as
to not raise the cost of doing busi-
ness in Kenya.
An official representing the
three CMOs took the participants
through all the tariffs as proposed
explaining each item as they
were given an opportunity to ask
questions.
The business community was
informed that the licenses will
be payable annually with joint
invoices payable within a month
being issued.
KECOBO Hosts Public Participation Forum for Music Tarrifs
By. Cyrus Kinyungu
R
ecently, the President announced a
raft of proposals aimed at improving
the creative industry which brought
in attractive remedies to make the music
business lucrative by eliminating middlemen
and creating a digital platform managed by
KECOBO to enhance the creative’s’ earn-
ings. The Kenya Copyright Board Executive
Director Mr. Edward Sigei gives his views on
how it is going to work.
1. How will the directive work from
KECOBO’s side?
A memorandum of understanding has
been signed between KECOBO and
the three CMO’s ie KAMP, PRISK and
MCSK stating how collection, invoicing
and payment of royalties will be undertak-
en through a digital system. A database-
The National Right Registry, will be set up
where all musicians and their works will
be uploaded. This database, which will act
as the repository of artists and their works,
will help in monitoring the usage of the
works and will determine the payment
for the artists. Music users will get their
content from this database which will be
managed by KECOBO. The CMOs will
be required to mobilise their members to
upload their work in the database.
Already the CMOs, music users and
KECOBO have agreed on tariffs. The
tariffs therefore take into account the users
input.
2. Artistes have worries around account-
ability. What will KECOBO undertake
to allay those fears?
The artists should have no reason to worry
since the National Rights Registry will be
a transparent online system where the reg-
ulator will be able to monitor and ensure
they are paid for their content which has
been used. The artistes will need to appre-
ciate that they have a duty to upload their
works in the database and promote it so
that it receives air play. Unlike before, art-
ists will be paid for the airplay their music
has enjoyed since the system will have a
monitoring mechanism. The system also
ensures that other creatives in the music
industry for instance performers and pro-
ducers will benefit from the payments.
The President has mobilised the entire
government system to help collect royal-
ties for the benefit of musicians. This
therefore means collection will increase
tenfold and will be monitored digitally to
ensure fair distribution. The President also
assented to the Copyright Amendment Act
(2019) which gives the KECOBO more
power to regulate the CMOs and ensure
royalties are fairy distributed.
3. How often will the distribution of royal-
ties be considering it has not been done
in a regular manner over the years?
The digital system is expected to be in
place by the end of the month. Therefore,
I expect that artistes will be paid around
April the collection of the first quarter of
the year. However, thereafter, they will be
paid on a monthly basis.
Participants of the public forum following the proceedings