language, but also that now previously hidden stories are coming to light. They have real life impacts too.
We have recently been working with a family in Leicester to document the story of their ancestors. What we uncovered was a performing arts dynasty that traced back to Methodist preacher Rev- erend Francis Nelson Countee, who had escaped enslavement in America and his son and daughter-in-law, Charles and Eliza Countee, music hall stars known as The Two Countees. It was a legacy that was continued by their daughter Frances ‘Mabel’ Elkington, neé Countee, and her own children and grandchildren – Diane Clafton, Richard Elkington, Allan Coun- tee. Many of the archival items were family photographs and documents, so navigating the rights and treating the story and items with respect was para- mount.”
Do arts or publishing institutions and organisations exacerbate some of these problems? It is a particularly complex issue. Many
funders are keen to ensure that all work created is open and accessible to all. In many ways this is fantastic as it enables as many people as possible to engage with work. However, it also reveals other challenges and ethical issues, particularly around monetisation and safeguarding. We are constantly in conversation with different organisations to unravel this, working to ensure the best outcomes for all parties involved.
We have also learnt a lot over the last 14 years in our own work and practice. We are always refining our contracts and agreements to ensure that the work of our artists is protected, but also that our work as a creative organisation is safeguarded for the future.
Are problems with the IP laws themselves? PB – We live in a racialised society, so as a black-led organisation working with pre- dominantly black artists, this intersection- ality is present in almost all issues. I think moving forward it is essential that more legislation is developed that clarifies use around AI, both for people whose work is
on the internet and thus feeding the AI and for people using AI in their creative prac- tice. Historically, you look at cases such as the use of the ‘Amen break’, from Amen, Brother by The Winstons and performed by Gregory Coleman. Arguably, it is one of the most sampled pieces of music, a foundation of hip-hop; it has featured in songs by Salt-N-Pepa and formed the foundation of 1990s British dance music. However, Coleman never saw any royalties and died homeless and destitute, without knowing the legacy of his creation.
Across cultures, there is a constant pro- cess of creolisation, hybridisation, remix- ing and creating new works out of what has come before. All of this is integral to us as creative beings. However, what does need to change is that artists, especially black artists, are credited for their work and, importantly, remunerated fairly. I want to see fewer cases of exploitation and more grounds for celebration. IP
*Register for CILIP Copyright Con- ference 2024 at
www.cilip.org.uk/Copyright- Conf24
LICENSING AI TEXT & DATA MINING RIGHTS RETENTION COPYRIGHT ETHICS
March 2024
INFORMATION PROFESSIONAL 29
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