Citation preview
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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
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18
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2
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3
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4 TCEsIP
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5 ...........................................................
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6 Yumbulul ..................................................
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8
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9
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10
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12 ....................................... 65
13 ..........................................................
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17
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18 - ......................... 77
19 2009 921 88 ...................................................
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20 2009 DM
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25 .................................................. 84
26
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27 ACE
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5
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6
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7
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29
9 ...........................................................
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10 ..................................................... 39
11
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12
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15 SWOT
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18
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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
niv
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
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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
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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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52
2000 5 26 9 1
17
24
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8 2004 12
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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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( 7 10 )
http://glin.ly.gov.tw/web/redirect/redirect.do?method=legalRecord&id=4247&html=http://lis.ly.gov.tw/lghtml/
lawstat/prochtml/0512896120700.htm2010 6 19 140 2007 12 9
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
2010 1 16-17
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150
()
150 2009 9 206 151 2008
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152
2009 9 203-204 153
2009 9 161-188
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2005 11 2008 4 2008 4
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2010 1 16-17 159 2010 1 22
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2007 10
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98 2009 12 4 163
2007 6 123
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)
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70
-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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169
170
172
1692006 5 82
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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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
10
194
193 2009 12 12 194 6 2010 5 12
http://news4.pchome.com.tw/living/lihpao/20100512/index-12736179422205804009.html
2010 6 6 195 6 2010 5 12
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2010 6 6 196 2009 12 12
niv
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
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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
niv
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
niv
87
niv
88
(03)8545130 (03)8549822
http://diary.blog.yam.com/peshawar3/article/35944522010 5 30
niv
89
Siku
Sawmah
niv
90
JMA
2006
Siku
niv
91
niv
92
218
niv
93
niv
94
IKEA
niv
95
30 Logo
logo
niv
96
niv
97
niv
98
2009 4 178-180
niv
99
niv
100
niv
101
niv
102
()
()()
niv
103
niv
104
()
2339 2008 5 30
niv
105
224
97 6 3 97 2339
10250 97 06 11
09700051020
225226
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( 97 6 11 09700051020
)
3 1 5
224
()
225 () 5
226 227
minimalrequirementofcreativity
niv
106
229
?
2009 6 11
http://blog.xuite.net/shinwin52234/shinwin/248335262010 6 1
niv
107
niv
108
230 011700002005 8 16
niv
109
niv
110
niv
111
231 http://sakizaya977.blogspot.com/
niv
112
niv
113
233
2009 163 2009 6 12
niv
114
236 M3518572009 3 1
niv
115
237
BURBERRYS CHECKBURBERRYS CHECK
niv
116
240
(
http://www.copyrightnote.org/crnote/bbs.php?board=35&act=read&id=392010
6 16
niv
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
niv
niv
/
2432008 11 114-125
2010 4 244
2010 1 22
2010 5 21 245
niv
niv
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
niv
(
)
151-159
249 95 05 12 950512a
97 09 01 970901
niv
niv
niv
40 251
44-2 254
251 40 3 252 40 1
253 44-1 1
254 44-2 1
2
5
niv
niv
256
257
niv
niv
131
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9. 289 120-1272003
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14. 2005
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WIPO-UNESCO
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2003
2005