Appendix 6 - International Music Council

six songs an hour. Most of the Pacific artists played on Niu FM are
New
Zealand based, although some also come from within Oceania (including
Hawaii) and other parts of the world (including Australia and North
America ). See www.niufm.com/, and the “Evaluation of the Impact of the
Pilot National Pacific Radio Network – Niu FM” -
www.mch.govt.nz/publications/niufm-report/index.html.
Other.
Are there similar regulations in areas of activity not mentioned above?
- While not a regulation, Creative New Zealand’s toi iho TM
(www.toiiho.com) Māori made mark is a registered trade mark denoting
authenticity and quality for Māori arts and crafts. It may be used by
licensed Māori artists on works they produce
for sale. Māori and nonori
artists working together on a project can apply for the cod
to authenticate exhibitions
performances, and by ori arts and crafts. There are
M ctitioners of traditional Māori
i iho TM Mā
production trademark. It may also be use
and stockists of Mā
five āori musicians/producers and pra
instruments, who are licensed to use the to trademark.
• What is the situation of copyright law in the countries in this region? Has it been
enacted? Is it enforced?
- Copyright in New Zealand, including performers’ rights, is protected under the
Copyright
Act 1994.
- The Australasian
Performing Right Association Limited (APRA) represents
5,000 New Zealand music writers and publishers and acts as New Zealand’s
performance rights fee collection agency; see www.apra.co.nz/wel come.htm.
- There has been an argument that the more permissive legislation with regard
to
parallel
importing affects the viability of specialist music importers thereby
restricting
the diversity of music available to niche consumers. This has yet to be
proven
and is probably more than offset by global internet purchasing.
5. The tendency to favour a uniform and non-pluralistic interpretation of the notion of
identity hindering the manifold and free expression of cultural diversity
• Cite examples
of government promulgation of a single musical or cultural identity and
any associated
constraint on other musical or cultural identities.
- Not identified.
• Cite examples
of similar promulgation by the citizenry of sections of the citizenry.
- Not
identified
• Does it appear that in your region there are some states that are less likely to ratify the
UNESCO C onvention for cultural diversity if issues of internal cultural diversity or
open cultural
borders are pressed?
- Not identified
6. The manner in which musical diversity is addressed by music workers and expressed
in
various forms of musical
creation; the relationship to identity
• Cite exampl es of cultures in which musicians and/or the various participants in the
music busin ess (producers, presenters, record companies etc) are interested in musical
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