AFFECTED BY PIRACY— Artists
Copyright Society of Malawi (Cosoma) Executive Director Dora
Makwinja admitted that fighting piracy was a big challenge.
And with technology moving at a fast pace, research shows that
users across Africa are going online to consume pirated content – striking a
serious blow to the sustainability of Africa’s content-creation industries.
This traffic forms part of the total 345.4 million visits by
worldwide users to piracy sites last year. The most popular content piracy site
tracked by Irdeto attracted 92.2 million visits during the survey period from
Ghana, Kenya, Nigeria, and South Africa to Tanzania.
“Anytime someone accesses, shares or sells copyrighted content
without authorization, they are committing content piracy,” Mark Mulready from
Cyber Services at Irdeto said.
According to Mulready, streaming piracy is the biggest threat to content owners, broadcasters and operators.
“The content most often pirated via the internet is software, music, literature and video content, including live sports and the latest series and movies. With more powerful mobile devices, a Smartphone alone can be used for sophisticated cyber piracy,” he said.
With growing accessibility to internet bundles and Malawi’s
burgeoning creative industry, the local arts industry is also susceptible to
the knock-on effects that result from digital piracy.
“Demand to buy local content is largely
diminished due to piracy. Movie theatres, television broadcasters and streaming
platforms would be less willing to acquire a product that has already been
viewed by their target clientele,” Khumbo Munthali, music promoter and producer
of the film Highbrow said.
“When work produced by artists is pirated, the creative
professionals do not get their deserved revenue from their work. This means
artists and creative’s struggle to make a living through their craft, which is
demotivating,” Sukali said.
He said piracy also discourages artists from investing in
equipment and talent development as well as to produce more content that can
represent Malawian stories locally and across the continent.
In Africa, for instance, individuals and large organizations
that share content without paying the license fees owed to the creators, license
holders and distributors seriously threaten the sustainability of the creative
sector and this robs content creators, artists and the entire creative
community value chain of their royalties.
MultiChoice Malawi and Cosoma have backed efforts being made
through Pan-African Partners Against Piracy initiative, whose focus is to fight
the scourge of piracy and protect livelihoods of thousands of professionals who
depend on the content industry to feed their families, hone their craft and
support local economy.
Makwinja said development comes with challenges and that piracy
was one of them.
“We need to find ways of controlling it and one of them is the
blank media levy initiative which countries are utilizing. We cannot police it
but rather look at compensation and also monetizing content,” she said.
Makwinja also said, within the Copyright Act, artists have the
power to employ technological protection to their works.
“We also have gone into an agreement with a licensing agency in
South Africa which monitors works for our members but there is more to be done.
In partnership with MultiChoice, we have also been looking at signal piracy,”
she said.

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