Geographical Indication (GI) options for Ethiopian Coffee and Ghanaian Cocoa

Innovation & Intellectual Property
knowledge-embedded good: how can modern business models adapt to derive
value from sharing and collaboration rather than resorting to maximalist
IP tactics? If such models are to be developed, they will ultimately empower
collaborators in the creative industry and encourage knowledge-sharing, thereby
acting as a catalyst for invention, knowledge production and open development.
3. Methodology and design
The sample for this study consisted of a cross-section of 600 consumers of alternative
music in Cairo and 38 individuals involved in the music industry (coming
from creative, production, distribution and policy-making perspectives). 4
These included 24 independent musicians, five owners/managers of performance
outlets, three owners/managers of digital platforms, two owners/managers from
cultural centres, one policy-maker, one union lawyer, one producer and one
copyright expert. (See Appendix 8.2 for a complete list of interviewees). A structured
survey was deemed appropriate for the consumer group, whereas in-depth
semi- structured interviews were utilised for the music industry sample. The survey
allowed a larger number of consumers to be sampled in a cost-effective way,
and the types of answers sought were straightforward enough to warrant beforehand-coding
and very few open-ended questions. On the other hand, given that
much less was known beforehand about the music industry and its operations –
i.e. about the generation of musicians that constitutes the alternative music scene,
their business models and the problems and successes they encounter – interviews
were necessary so as to elicit more detailed information.
The consumer survey was carried out in Cairo – by a research team based
at the Access to Knowledge for Development Center (A2K4D) at The American
University in Cairo (AUC) – between March and April 2012. The survey followed
a targeted stratified methodology. Appendix 8.3 provides the list of all institutions
and venues targeted for the purposes of this study. These venues represent a crosssection
of the most important institutional players on the Cairene alternative art
scene. The researchers carried out the surveys at these alternative music outlets
and performance and art spaces because the interested customer population was
4 The initial research plan included interviewing 60 individuals from the music industry, but,
due to several constraints, that target was unattainable. One limitation in this study was the
difficulty in contacting the originally desired number of musicians. This limitation should be
taken into consideration in interpreting the numerical results of the musicians. This is, to some
extent, compensated for by the anecdotes provided by musicians, which are reflected in the
analysis.
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