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Title The copyright thing doesn't work here : Adinkra and Kente cloth and intellectual property in Ghana / Boatema Boateng.
Imprint Minneapolis : University of Minnesota Press, ©2011.


 Internet  Electronic Book    AVAILABLE
Description 1 online resource (216 pages) : illustrations (some color)
Series First peoples: new directions in indigenous studies
First peoples (2010)
Bibliog. Includes bibliographical references and indexes.
Note Available only to authorized UTEP users.
Print version record.
Subject Adinkra cloth -- Law and legislation -- Ghana.
Kente cloth -- Law and legislation -- Ghana.
Textile fabrics -- Law and legislation -- Ghana.
Textile design -- Law and legislation -- Ghana.
Copyright -- Textile fabrics -- Ghana.
Intellectual property -- Ghana.
Genre Electronic books.
Electronic books.
Contents Introduction: indexes of culture and power -- The tongue does not rot: authorship, ancestors, and cloth -- The women don't know anything! gender, cloth production, and appropriation -- Your face doesn't go anywhere: cultural production and legal subjectivity -- We run a single country: the politics of appropriation -- This work cannot be rushed: global flows, global regulation -- Conclusion: why should the copyright thing work here?
Summary In Ghana, adinkra and kente textiles derive their significance from their association with both Asante and Ghanaian cultural nationalism. Adinkra, made by stenciling patterns with black dye, and kente, a type of strip weaving, each convey, through color, style, and adornment, the bearer's identity, social status, and even emotional state. Yet both textiles have been widely mass-produced outside Ghana, particularly in East Asia, without any compensation to the originators of the designs. "In The Copyright Thing Doesn't Work Here," Boatema Boateng focuses on the appropriation and protection of adinkra and kente cloth in order to examine the broader implications of the use of intellectual property law to preserve folklore and other traditional forms of knowledge. Boateng investigates the compatibility of indigenous practices of authorship and ownership with those established under intellectual property law, considering the ways in which both are responses to the changing social and historical conditions of decolonization and globalization. Comparing textiles to the more secure copyright protection that Ghanaian musicians enjoy under Ghanaian copyright law, she demonstrates that different forms of social, cultural, and legal capital are treated differently under intellectual property law.
Other Title Print version: Boateng, Boatema. Copyright thing doesn't work here. Minneapolis : University of Minnesota Press, ©2011 9780816670024