Licensing: Experiences and Perspectives from Africa by Brian Wafawarowa

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Licensing: Experiences and perspectives from Africa by Brian Wafawarowa

Chapter 3

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LICENSING PRACTICES IN A GLOBAL DIGITAL MARKET Published by the International Publishers Association OCTOBER 2020 2 IPA Licensing practices in a global digital market n CHAPTER 3 where heisacommittee member. trustee, andtheAfrica Innovation Fund (AIF), Exclusive Books Reading Trust where heisa postgraduate studies inpublishingandthe Foundation, whichsponsors students for developmental initiatives like theNickPerren Brian isinvolved inreading, education and executive chairofCapeTown BookFair. Today Africa (PASA) astheexecutive director and joined thePublishers Association ofSouth managing director until2010whenhe New Africa Books (NAB)andbecame its publishing director in1998.Helater founded trainee publisherbefore becoming Juta’s University Press andJuta Publishers asa Brian started hispublishingcareer atWits Network (APNET). former chairperson oftheAfrican Publishers learning services atPearson SouthAfrica and former executive director for publishingand Rights Organisation (DALRO). Brianisthe the local RRO- Dramatic, Artistic, Literary committee. Healsoserves ontheboard of (IPA) where healsoserves ontheexecutive of theInternational PublisherAssociation Publishing andLiteracy Committee (IPL) (PASA) andthechairperson oftheInclusive the Publishers’ Association ofSouthAfrica South Africa. Heisalsothechairperson of and product officer atJuta &Companyin Brian Wafawarowa isthechiefcontent Brian Wafawarowa THE AUTHOR ABOUT

Translators (NFFO) Non-FictionWritersNorwegian and Arne Vestbø Publishers Association (IPA) Hugo Setzer Rights Organisations (IFRRO) International Federation of Reproduction Caroline Morgan Association (NPA) Director, Publishers Norwegian Kristenn Einarsson possible. whichhasmadethis financial support and, to Kopinorfor theirexpertise and the members board of theadvisory authors, IPA members, IFRRO, CMOs, toA specialthankyou theexpert contributions from allthoseinvolved. IPA isgrateful for thevaluable and JamesTaylor. Edited by JoséBorghino, EmmaHouse PRODUCCIÓN GRÁFICA S.L. by Designed permission from ormadeavailable without transmitted copyright andmay not bereproduced, All data, copy andimagesare subjectto Association, 2020 © BOARD MEMBERS OF THE ADVISORY ACKNOWLEDGEMENTS COPYRIGHT International Publishers EDEP IMAGEN Y EDEP IMAGEN Y , Secretary General, , SecretaryGeneral, , President, International IPA , Chief Executive, . , Managing , Managing

CONTENTS AFRICA AND PERSPECTIVES FROM LICENSING: EXPERIENCES 6 5 4

3 2 1 CONCLUSION INTRODUCTION CHALLENGES AND THE WAY FORWARD LICENSING IN THE DIGITAL ERA TRADITIONAL LICENSING A FEW INSTITUTIONAL INITIATIVES EXECUTIVE SUMMARY 5 .2 4 .3 4 .2 4 .1 3 .5 3 .4 5 .1 3 . 3 .2 3 .1 4 .31 Unsustainable alternatives andinterventions New technology needs,partnerships andlicensing Education licensing ofdigital content Traditional licensing inadigital environment Licensing Children’s Books Licensing general fiction Expensive transition Local licensing for scholarly research publishedoutside thecontinent Cheaper editionsfor the tertiary market Local licensing New business modelsandlicensing agreements ...... 14 13 13 13 12 12 11 11 11 10 9 9 8 7 5 9 8 4

3 LICENSING: EXPERIENCES AND PERSPECTIVES FROM AFRICA 4 IPA Licensing practices in a global digital market n CHAPTER 3 EXECUTIVE SUMMARY noting thesubstantial contribution that bigger thanmusic,videogamesandfilm, South Africa, aPWC study rates publishing African publishingmarket are lacking, in Whilst statistics onthesizeofentire industry hasavital contribution to make. evidently critical andthebookpublishing population, theneedfor education isself- people accounting for three quarters ofthe untapped publishingpotential. Withyoung Africa isacontinent withahuge,largely infrastructural issues, itisnow accelerating. in more industrialised nationsdueto digitization process hasbeenslower than further scope for licensing. Whilst the Digitization ineducation isalsocreating printed form inAfrica. published inFrance were available inthe time thatAfrican stories which hadbeen obvious cultural significance. Thisisthefirst stories publishedinFrance to Africa with led to therepatriation ofAfrican children’s Importantly, translation rights licensing has especially inchildren’s literature andfolklore. publishers to expand into global markets, prices). Ithasalsoallowed someAfrican scholarly research purposes (ataffordable African citizensfor cultural, education and facilitated access to copyrighted works for publications for translation. Licensing has licences for scholarly research; andgeneral editions ofhighereducation textbooks; local including for schools’ editions;low-price examples exist ofthistypelicensing activity countries andwiththe rest oftheworld. Many facilitating trade bothbetween African The Global BookAlliance (GBA) andWIPO the African Publishers Network (APNET), has grown modestly withinitiatives led by In recent years licensing byAfrican publishers sector. African publishers ontheirdomestic education and copyright policy, given thedependence of when looking ateducation, bookprocurement best to supportlocal publishing,especially important to policymakers considering how employment. Thispotential isclearly publishing makes to theeconomy and for educational institutions. Inthemeantime, investment, while maintaining affordability business modelsto ensure areturn on the digital transition andfindingsuitable overcome, thenext challenge isfinancing As challenges around infrastructure are traditional products. such asassessment tools alongside their books andpublishers can offer otherservices licensing content rather thanpurchasing content distribution channels.Schoolsare partnering withpublishers to provide new mobile companies are entering themarket, models are changingandnew players suchas and distribution arrangements. Business development ofawealth ofnew licensing in schoolsanduniversities, leading to the digital content to meettheneedsofe-learning Publishers are creating agrowing bodyof social development ofthecontinent to play theircritical role intheeconomic and properly compensated ifthey to beenabled to ensure thatauthors andpublishers are international copyright regime willcontinue they needtheconfidence thatthetraditional supply digital resources andsolutions.But technological capabilities to innovate and moving forward rapidly withdeveloping the countries, especially ineducation. They are licensing withpositive outcomes for their themselves andexpand theiroutreach through African publishers have managedto sustain authors andpublisheralike. of theoriginalwork, to devastating effect for compensation to theauthors andpublishers technology for educational purposeswithout package otherpeoples’ content withtheir the lawto allow technology companies to way abarrier. There are moves to amend mean “free”, andthatcopyright lawisinsome and education authoritiesthat“digital” should there isamistaken beliefamonggovernment n 1 entertainment, magazines,videogamesandmusicinthatorder. Entertainment (M&E)industries in2014,bookpublishingcame inaheadofmovies and When theIPA last attempted acomparison oftherelative sizesoftheglobal Mediaand The result isavery mixed bagofdata andguesstimates. entertainment sectors exist insome(developed) countries butnotinother(developing) ones. Government andindustry statistics aboutpublishingandother parts ofthemediaand tens ofthousandssmall-to-medium publishers aswell asascore oflarge multinationals. Measuring thesizeofglobal bookpublishingindustry can bechallenging. Itismadeupof INTRODUCTION 3 PwC, 2 https://www.internationalpublishers.org/images/aa-content/ipa-reports/ipa-annual-report-2013-14.pdf 1 needs desperately. much larger role inemployment andeconomic development, somethingthatthecontinent in education andsocialdevelopment, thebookpublishing sector hasthepotential to play a and TV(R40.8billion). film (R1.2billion),thoughsmaller thanradio (R5.0billion),consumer magazines(R8.1billion) bigger thanmusic(R915million),videogames(R3.0billion)andtakings atthebox office for Africa reflects theglobal scenario: at(SouthAfrican Rand) R3.828billion,thebooksector is sector. Thoughonamuchsmaller scale, therespective turnovers withinthissector inSouth African experience suggests thatbookpublishingcan indeedbetheanchorofanAfrican M&E Few numbers are available for therange ofM&Eindustries across Africa. However, theSouth The IPA incollaboration withtheWorld Intellectual Property Organisation (WIPO) istryingto remedy thisbysurveying global co.za/outlook pubdocs/en/wipo_pub_941_2019.pdf ‘Creative economy’ sectionofWIPO’s publishing markets annually. Thesurvey isstill inits initialstages butthere are promising signsofits future utility. Seethe Entertainment and MediaOutlook:2018-2022, AnAfrican Perspective 3 Thisfurthersuggests thatinadditionto thecrucialrole thatitplays World Intellectual Property Indicators 2019 1 , 9th annual edition, September 2018,https://www.pwc.

, pp185-207: https://www.wipo.int/edocs/ 2

5 LICENSING: EXPERIENCES AND PERSPECTIVES FROM AFRICA 6 IPA Licensing practices in a global digital market n CHAPTER 3 (South AfricanRand, Billions (South POPULATION PROJECTIONS FOR AFRICA TURNOVER OF MEDIA AND ENTERTAINMENT INDUSTRIES IN SOUTH AFRICA TV, R40.8 4 education andthebooksector hasacritical contribution to make. doubling from current levels by2055’. to 42%by2030andisexpected to continue to grow throughout the21st century, more than population’. Furthermore, ‘theshare ofAfrica’s youth intheworld isforecast to increase people agedbelow 35,thisproportion increases to ‘astaggering three quarters ofAfrica’s (aged 15-24)accounted for nearly 20%oftheAfrican populationandthat,ifoneincludesall This optimismisbuoyed bytheUN’s estimates that,in2015,Africa’s 226millionyouths https://www.un.org/en/africa/osaa/peace/youth.shtml 1 .000 1 .500000 2 .000 2 .500000 3 .000 500 .000 0 2015 ) 0-14 4 Thisyouthful populationneedsdevelopment through 15-24 2030 25-64 65+ Books, R3.8 Magazines, R8.1

2055 R3 .0 Vídeo games, Radio, R5.0

R1 .2 Film, R0 .9 Music, 2 industry reduces scope for licensing andtrade inpublishedmaterials between countries onthe continent isineducational books. As aconservative estimate, onaverage, approximately 80%ofbookpublishingacross theAfrican policies around copyright andlicensing contribution thatitcould make to socialandeconomic development withtherightglobal measured against global benchmarks, but alsoacknowledge its fullpotential andthe when policymakers look attheAfrican booksector, they notonly view itasalow contributor development needs,thecontinent should be doingalot better. Itisimportant therefore that Considering Africa’s relatively young populationwithits hugeliterary, educational and measures licensing onthecontinent would beinvaluable. observed inthemarket andatdifferent bookevents. Acomprehensive study thatlooks atand with therest oftheworld isnotproperly documented. Assuch,thisstudy relies onwhathasbeen The amountoflicensing happeningamongpublishers across theAfrican continent andbeyond Two examples are APNETandtheGlobal BookAlliance Many initiatives have hadpositive impacts onthelicensing activitiesamongAfrican publishers. A FEWINSTITUTIONALINITIATIVES African publishers to sellandnegotiate favourable terms ontheirpublications. laws are alignedto global standards. Where copyright standards are more aligned,itiseasierfor African publishers’ abilityto license theirmaterials willvery muchdependonhow theirnational National bookandcopyright policychangesare likely to have asignificant impactonlicensing as licensing activitywith therest oftheworld, especially intheareas offictionandnon-fiction. licensing oftrade books andnon-textbook materials across thecontinent, aswell asimportant education materials isgenerally confined to thecountry oforigin.Despite this,there issignificant As inmost oftheworld, curriculainAfrica are very country specific.Asaresult, theuseof adverse policydevelopments, aseducation istheanchorfor thewhole publishingindustry. continent andwiththerest oftheworld. Italsomakes thepublishingsector very vulnerable to 5 8 https://partnerships.usaid.gov/partnership/global-book-alliance 7 https://african-publishers.net/ 6 of thecontinent. stimulation. Thepublishingcollaborations are amongAfrican publishers from different parts books more accessible inlocal languagesthrough publishercollaborations andmarket of bilateral, multilateral andnon-governmental organisations thatseeks to make children’s and intra-African trade amongpublishers. The APNET’s matchmaking ofdifferent publishers atspecificbookfairs hasboosted licensing 41 publishers’ associations to strengthen indigenouspublishing.Amongits otheractivities, Publishers Network (APNET) Founded in1992Harare, Zimbabwe, andnow headquartered inAccra, Ghana,the Acknowledging thefundamental importance ofcreating areliable statistical basisfor strategic planningandpolitical The ratio ofeducation to general publishingvaries from country to country. Less developed markets are more dependent Report-Website.pdf Lagos ActionPlan Publishing andLiteracy Committee hasalsostressed theneedfor thiskindofbasicinformation to begathered. SeetheIPA’s included asoneofits 5Transformation Goals‘Leveraging Data for Advocacy andDigital Transformation’. TheIPA’s Inclusive advocacy for African publishing,theAfrica ActionPlanCommittee oftheInternational Publishers Association (IPA) has Partnerships intheAfrican BookSector of African publishingonaverage iseducation: Paul Brickhill,ChrisChirwa, andBengtLindahl,eds, Publishing Congress Nairobi, April2019).Thelast comprehensive study onAfrican publishingpoints outthatasmuch95% still accounts for between 70%and90%ofthetotal market. (André Breedt, Nielsen BookData Presentation, IPA African on educational publishingbuteven inmore developed markets like SouthAfrica, NigeriaandKenya educational publishing : https://internationalpublishers.org/images/aa-content/events/other-ipa-events-2019/Lagos-Action-Plan- 7 , ADEAPublications, 2006 isapan-African, non-profit organisation bringingtogether 6 Thisoverdependence ontheeducation sector bythelocal . Global BookAlliance (GBA) . 5

8 isacollaboration Changing Public/Private Changing Public/Private African African

7 LICENSING: EXPERIENCES AND PERSPECTIVES FROM AFRICA 8 IPA Licensing practices in a global digital market n CHAPTER 3 3.1. 3 that adhere to global treaties andenable its publishers to license theirmaterials to therest of of suitable learning materials andtools. copyright laws, legislators consider the increasing role thatlicensing willplay inthedevelopment digital content andassets to augmenttheir textbooks. Itiscritical therefore that,whenthey revise assets andinteractive capabilities isalsocreating scope for licensing aspublishers acquire The expanding digitizationoflearning materials andthedevelopment oflearning tools withdigital opportunities. to meetotherpublishers from around theworld andexplore co-publishing andlicensing fair fellowship programmes (e.g.Istanbul) alsoexist asanopportunityfor African publishers collaboration amongAfrican publishers andtheircounterparts from therest oftheworld. Book Charter Conference onAfrican Publishing African countries andwiththerest oftheworld More recent initiatives like WIPO’s Publishing Circles are likely to increase licensing between rights to educational publishers andreceive royalties from sales onschools’ editions.A very good specific expertise, whichtrade publishers lack.Therefore, manyofthemselltheadaptation them for theschools’ market. Marketing to schoolsrequires experience, infrastructure and titles are hardly viable. Manypublishers have extended themarket for suchbooks byadapting school market. Dueto lower general reading habits amongtheadultpopulationinAfrica, trade The biggest form oflocal licensing between markets isthesale oflicences for adaptation for the Local licensing aspect ofAfrican publishingwillbelost. larger African education markets. Iflocal copyright protection isweakened, thenthissignificant novels andothercreative work from muchsmaller local trade markets are expanded into the America, isalsoaccessible to African students andscholars ensured thatmuchneededscholarly research aboutAfrica initially publishedinEurope and licenses have allowed smalltrade markets inAfrica to expand into global markets andhave the continent; andlicensing ofgeneral publications (for example fiction)to othermarkets. editions for highereducation; negotiatinglocal licenses for scholarly research publishedoutside or territory for othereditions,for example schools’ editions;licensing cheaperinternational other territories for sometime.Traditionally thishasincludedlicensing withinthesamemarket Many African publishers have beenlicensing materials to andfrom otherpublishers, includingin Africa andEast Africa Education Publishers inKenya. world. undertaken theirown initiatives to license books to otherAfrican countries andtherest ofthe As well astheinstitutional initiatives describedabove, TRADITIONAL LICENSING Africa: AChronology Landmarks andSome in Sub-Saharan For amore detailed view ofinitiatives over thelast 40years seeHansZell’s the world andto acquire content thatisneededbythelocal market andeducation sector. 11 10 9

https://www.academia.edu/40687022/Indigenous_publishing_in_sub-Saharan_Africa_A_chronology_and_some_landmarks https://www.wipo.int/edocs/mdocs/copyright/en/wipo_hl_cr_yao_17/wipo_hl_cr_yao_17_charter.pdf https://www.internationalpublishers.org/news/813-educational-publishing-and-the-development-agenda Examples oftheseincludeSub-Saharan Publishers inGhana,New Africa Books inSouth 10 thataimsto assist African publishers through global mentorship programmes and 9 inNovember 2017,WIPO hasestablished aPublishers’ Circle The African continent needsaregime ofcopyright laws . Following uponits Yaoundé HighLevel individual companies have also 11 . . Thelicenses alsoensure that Indigenous Publishing Indigenous Publishing These These 3.4. 3.3. 3.2. local context. Africa, buttheoriginaloverseas publications are usually too expensive orinappropriate for the based intheUSAandEurope. Thesebooks are critical for thedelivery oftertiary education in Many publications thatare usedinAfrican colleges are produced byleading academic publishers Cheaper editionsforthetertiarymarket adapted for theschools’ market andtranslated into otherlanguages. languages taught inschools.Oneexample isthebiographies ofeminentpersons, whichare such examples onthecontinent. Thelicences are often expanded to includeotherAfrican through theeducation market. Dueto thedominance oftheeducation market, there are many Africa). Thelicensing arrangement generated muchneededrevenue for thesmallpublisher (David PhilipPublishers) to amajorinternational education publishinghouse(MacmillanSouth example ofthisisthelicensing ofRichard Rive’s the APNETmatch-making programmes mentionedabove, Agence Culturelle d’Afrique, continent fiction to international publishers, expanding theirmarkets beyond theirown countries and Fiction travels better thaneducational textbooks. Licensing generalfiction African editions. technologies suchason-demandprinting,they are now exchanging files for local printingof shipping copies to eachother USA to access larger African scholarship markets through co-publications, jointprintrunsand are available to Africans. license local editionsto make sure thatthesehighly specializedacademic andscholarly titles proved to betoo smallfor aviable printrun.Allthesecompanies have hadarrangements to abroad. For thosefew publishers thatventure into publishingsuchwork, thelocal market has and research centres. Inmanycases, thesepublications are produced byAfrican scholars based scholarship andare in highdemandamongacademics andresearchers inAfrican universities and JamesCurrey Publishers inLondon.Theirpublications onAfrica are crucialto African like Africa World Press andtheRed SeaPress inNew Jersey, andZEDBooks, Pluto Press Some ofthekey research aboutAfrica hasbeenpublishedoutside thecontinent bycompanies outside thecontinent Local licensingforscholarlyresearchpublished steadily underminedlicensing inthisregard, butitwas quite athrivingarrangement inthe1990s. countries intheirregion. Theinstability oflocal currencies andtariffs onimported materials has like SouthAfrica andEgypt,local publishers have licensed theiracademic material into other access to cheaper, locally produced, international publications African publishers, thereby givingthemgreater scope andenablinglocal students to have through theirown local subsidiaries,somehave licensed theproduction oflocal editionsto 13 12

https://www.lit-across-frontiers.org/literary-europe-live/ https://www.lit-across-frontiers.org/resources/litprom/ . Thishasbeenmainly driven byinitiatives like LITPROM While most international companies have issued thesecheaperlocal editions The local publishers have alsorelied onpublishers inEurope andthe . Thisproved quite expensive butwithmore modernproduction Buckingham Palace Many African publishers have licensed their . Inmore mature markets 12 attheFrankfurt BookFair, byasmalltrade publisher 13 the the

9 LICENSING: EXPERIENCES AND PERSPECTIVES FROM AFRICA 10 IPA Licensing practices in a global digital market n CHAPTER 3 3.5. African Classics Series, with thepublication ofhislatest work tongue, Gĩkũyũ,through EAEPbefore beingtranslated into several otherlanguages—continues East Africa’s success story withNgũgĩ wa Thiong’o—whohasbeenwritinginhismother South Africa isalsopublishedinotherglobal markets. like Random HouseandMacmillanalsohave arrangements where fictionthatisoriginated in rights to international publishers successfully, while thelocal outfits ofinternational publishers publishers, like Tafelberg (animprintofNBPublishers) Africa Books) andmore recently younger publishers like Cassava Republic. David PhilipPublishers markets. Afew examples are East African Educational Publishers (EAEP) publishers have alsotaken theirown independentcommercial actionto license books into other has resulted inmanytranslation opportunitiesfor African publishers. ButsomeindividualAfrican Goethe Institut Licensing Children’sBooks explore broader opportunitiesfor theirpublications through licensing. international languagesisanotherindication ofhow African publishers have hadandcontinue to other languages.TheoriginationofNgũgĩ’s books inGĩkũyũandtheirtranslation into several 18 17 16 15 14 25 24 23 22 21 20 19 stories thathadbeenpublishedinFrance butwere notavailable inpublished form inAfrica. cultural significance astheseriesconstituted some ofthetop African illustrated children’s published byRuisseaux d’Afrique translation rights to English and otherAfrican languages.Someofthe publications were first African Christian Press by EDICEF, further success for African children’s books istherepatriation ofchildren’s stories published world. They have alsobolstered theirlist withtitles acquired from otherAfrican countries. A how they have succeeded inlicensing theirleading titles to therest ofthecontinent andthe Ghana andpublishesotherkindsofbooks, theirstrength liesin their children’s booklist and children’s books, Africa region. While Sub-Saharan Africa Publishers hasagreat presence in Fair andBologna Children’s BookFair where they have won theBologna Prizefor thebest West Africa. Sub-Saharan African Publishers have asignificant presence atFrankfurt Book licensing children’s books to thelocal market andthenonto theAfrican andworld markets through Ghana basedSub-Saharan Africa Publishers and attracts publishers from allparts ofthecontinent andelsewhere. literature andfolklore The greatest success story for African publishers’ licensing activityhasbeeninchildren’s

https://publishsa.co.za/members/david-philip-publishers-pty-ltd (trading asNew Africa Books) http://www.jonathanball.co.za/ https://www.goethe.de/ins/za/en/ueb/auf/ssa.html https://www.newafricabooks.com/ https://www.hachette.fr/editeur/edicef http://www.africanbookscollective.com/publishers/sub-saharan-publishers https://www.eastafricanpublishers.com/the-african-classics-series/ http://www.tafelberg.com/en/about-us https://www.facebook.com/CassavaRepublic/ https://www.eastafricanpublishers.com/ http://www.ruisseauxdafrique.com/ http://www.africanbookscollective.com/publishers/africa-christian-press . They have alsotaken manytitles from othercountries andpublishedthemin 22 animprintofHachette, inFrance through alicensing collaboration between 14 andmanyothers thatseekto promote African literature across theglobe and 16 20 inSouthAfrica (whichboughttherights to manypublications from New . TheNairobi Children’s BookFair isdedicated to children’s books whichaccording to thecompany willalsobetranslated into many 23 inGhanaandNew Africa Books 25 inCotonou, Benin.Thetransaction hadbothfinancialand Kenda Mũiyũru: Rũgano rwa Gĩkũyũ naMũmbi Kenda Mũiyũru:Rũgano rwa 21 have builttheirbusinesses onsellingtheir 18 andJonathanBallPublishers, 24 in South Africa. The deal included inSouthAfrica. Thedealincluded Publishers like 15 inEast Africa and 17 Other South African OtherSouthAfrican , inEAEP’s 19 sell sell 4.2. 4.1. 4 materials from otherparts oftheworld. For education, thelicensing ofothereducation materials opportunities for furtherlicensing ofAfrican content andenables African publishers to license the highcost ofinfrastructure development. Beyond thesechallenges, digital presents greater continent dueto manyissues. Theseincludelow internet bandwidth,unreliable connectivity and The useofdigital content andtheintroduction ofe-learning hasbeenslow ontheAfrican LICENSING INTHEDIGITALERA of Venda have started comprehensive deployment ofdigital content onto tablets. including rural schools. comprehensive programme oflearning materials ontablets across thewhole education system example is theambitiousplanannounced bytheSouthAfrican President to start rolling outa Programme whichaimsto deliver devices to millions oflearners inprimaryschools.Another Ministry ofInformation, Communications andTechnology (ICT) isrolling outtheDigital Literacy are preloaded ontablets, starting withafew selected subjects for primaryschools. and universities. Oneexample ofsuchinitiatives includesKenya rolling outinteractive books that Many countries inAfrica are beginningto implement digital content ande-learning inschools Education licensingofdigitalcontent something thatwould have beenimpossible before theadvent ofdigital by havingmanytranslators working atthesametimeindifferent parts ofthecontinent — Ngugi’s latest shortstory ‘Ituĩka RĩaMũrũngarũ’simultaneously in30African languages Thiong’o took along time to betranslated into otherlanguages but languages where cultural andeducational contexts permit.Theearlierbooks ofNgũgĩwa languages andcountries easierthrough thesharingofsame illustrations across many making thetransfer offiles easier, cheaperandquicker. Thisisalsomakingpublishingacross Digital production technology isaccelerating licensing ofprintamongAfrican publishers by Traditional licensinginadigitalenvironment print materials, digital hasthepotential to make iteven more so. learning outcomes for African children and students. While licensing willremain important for beyond printandstatic illustrations hasthepotential to improve thelearning experience and 30 29 28 27 26 French-language literature to Africa through licensing Europe. Thoughnotyet announced publicly, of EDICEFandtheAfrican Writers Series Some ofthebest andmost comprehensive catalogues ofAfrican children’s literature like that

http://sabceducation.co.za/news-module/4515-first-year-univen-students-receive-tablets-with-digital-textbooks https://businesstech.co.za/news/technology/304720/government-is-giving-every-south-african-learner-a-tablet-heres- https://www.idgconnect.com/idgconnect/analysis-review/1006542/kenya-integrating-books-education https://www.goodreads.com/list/show/73176.African_Writers_Series; andhttps://en.wikipedia.org/wiki/African_Writers_ https://jaladaafrica.org/ who- Series is-getting-theirs-first/ 29 Inhighereducation, even rural universities like SouthAfrica’s University 26 are owned bycompanies basedintheUSAand there isaneffort to repatriate acatalogue oftop . Jalada Africa . 30 27 published published 28 Kenya’s 11 LICENSING: EXPERIENCES AND PERSPECTIVES FROM AFRICA 12 IPA Licensing practices in a global digital market n CHAPTER 3 4.3.1. 4.3. and astraditional textbooks are converted into sophisticated learning tools, thebusiness As traditional books are augmented bydigital content andinteractive learning systems, New businessmodelsandlicensingagreements countries inAfrica. Communicator creates suchlearning communities across 2,500 schoolsglobally, includingmany in theirchildren’s learning through suchactivitiesassupervisedhomework. For example, D6 learning communities bylooping inparents, thereby empowering themto participate more in Kenya, GhanaandtheIvory Coast. Ontheeducation side,schoolsare creating comprehensive between Vodacom and somepublishers inSouthAfrica, on-line content, courses andassessment systems. Anexample ofthisisthepartnerships tablets andlaptops, somehave alsostarted partneringwithmobile service companies to render While manypublishers have mainly concentrated ondelivering offlinedigital content through interactive books. them to African publishinghousesthatare beginningto deliver theircontent digitally anddevelop who have developed hugebanks ofassets across manysubjects andiseithersellingorlicensing a gapinthemarket anddeveloped theseassets. Anexample ofthisis Sometimes, publishinghouseshave hadto license digital assets from companies thathave seen companies thatdohave thesecapabilities. publishers, orthey have hadto enter into distribution andcontent aggregation arrangements with to license content andlearner managementplatforms from technology companies orother companies andinsomecases they are noteven available inthecountry. Publishers have had feedback. Alot ofthiscontent, systems and skillsare notavailable intraditional publishing of videos,aswell aslearner managementsystems andsoftware to introduce interactivity and countries are gearingthemselves upto deliver. Doingsorequires new digital assets intheform In anticipationofthemove to digital content, manyeducational publishers inmanyAfrican New technologyneeds,partnershipsandlicensing or combine them withotherteaching andlearning aids. seek to develop furtherlearning tools, andto education institutions thatseekto usetheseassets have licensed ordeveloped digital assets are sellingthemasstand-alone items to companies that home andlearning environment into aholistic learning experience. Publishing companies that Others are goingfurtherto include schoolandlearner managementsystems thatintegrate the assessing learners andcoming upwithremedial interventions to improve learning outcomes. that are increasingly offering services beyond traditional content. Theseservices include Publishing companies can offer and license digital assets to schoolsandeducation companies that enable themto participate more intheirchildren’s learning. for them.Parents are alsowillingto pay for communication andschool managementservices learning tools generate moreThese revenue from schoolsthatcan afford andare willingto pay learning tools thatcan transform thelearning experience andimprove learning outcomes. Publishers thathave acquired ordeveloped digital assets are building more sophisticated owners ofcontent and pay authors out. and assessment systems. Insomecases, ithasbecome necessary for publishers to beoutright flexible andbeable to combine traditional text andillustrations withdigital assets, feedback Some publishers are having to revisit theiragreements withauthors inorder to bealot more models ofAfrican publishers andtheiragreements withauthors are changingsignificantly. 32 31

http://www.edukitelearning.com/ URLhttps://d6.co.za/education/products/d6-school-communicator/

eKitabu inKenya, and 32

Edukite Learning Eneza Education 31 in India inIndia

5.2. 5.1. 5 the greatest challenge for African publishers isthecreation ofalternative business models educators. While thisisbeingrapidly overcome bytraining andinfrastructural development, infrastructure, low internet bandwidthandalackofdigital readiness amongschoolsand As already stated, theuseofdigital content ande-learning isbeinghampered byantiquated CHALLENGES ANDTHEWAYFORWARD content andgenerating more revenue for African publishers. content 335,000 users andhaspaidmore thanUSD2millionto publishers inAfrica andIndiafor their programmes inGhana,Kenya andNigeria, Worldreader’s Appissubscribedto bymore than and otherparts oftheworld while generating revenue for local publishers. Through theireBook Global initiatives like local stories created bylocal authors andputtogether byskilled local publishers. and stable, indigenouseducational publishingsector producing high-qualityresources that utilize perpetual licenses. Neitherofthesepractices are viable ifwhatonewants to achieve isastrong surrender theircopyright on materials thatare procured inschoolsorto force publishers to grant devastating effect publishing plays insustaining thewhole African publishingsector, thisislikely to have a adequate compensation to authors andpublishers. Dueto thecritical role thateducational technology companies to package anddistribute content for education purposeswithout moves to amendcopyright to ensure greater access inthedigital environment byenabling provided bycurrent lawwill thwart thisgreater access. access to education andlearning materials belief amongmanygovernment andeducation authoritiesthatdigital technology willopen Resources (OERs) thatare notadequately curated to meetlearning needs. amending copyright law, state provisioning ofdigital materials, andtheuseofOpenEducation to question its viabilityandto pursue alternatives thatare proving to beunsustainable —including The highercosts ofdigital, especially inthistransitional phasehasled someeducation authorities Unsustainable alternativesandinterventions digital beingmore expensive to use. and digital thatschoolsandcolleges findthemselves in,whichironically results inbothprintand even more expensive. Thecost ofthetransition isexacerbated bythedualrequirements ofprint infrastructure inschoolsandcolleges ismakingthetransition to digital content ande-learning among educators andeducation authoritiesthatdigital ischeaper. Thecosts ofbuilding digital materials andtools cost more andmust beretailed atahigherprice, despite theperception More advanced interactive materials andlearning tools are neededto achieve this,butthese Just havingtext onascreen willnotimprove education outcomes orthelearning experience. Expensive transition ensure thatschoolsandcolleges can afford theirnew offering, ontheother. that can ensure areturn oninvestment intechnology anddigital content ontheonehandand 34 33 https://www.worldreader.org

’A Peek InsideAfrican Publishing’, EdNawotka, by-topic/international/international-book-news/article/79286-a-peek-inside-african-publishing.html 34 —yet anotherillustration ofhow digital technology isenhancingthelicensing ofAfrican . Inothercountries there are moves to amendpoliciesto force publishers to Worldreader 33 have created access to less serviced communities inAfrica Publishers Weekly . Theirconcern isthatcopyright protection as , February 15,2019https://www.publishersweekly.com/pw/ In someAfrican countries there are There isamistaken

13 LICENSING: EXPERIENCES AND PERSPECTIVES FROM AFRICA 14 IPA Licensing practices in a global digital market n CHAPTER 3 6 while still allowing fair andcompensated access for users will enable theindustry to play acritical role ineducational, socialandeconomic development, no less thantheirglobal counterparts. Agoodbalance between userandcopyright holder rights published works. For thisto berealized, African publishers need adequate copyright protection — economic andsocialdevelopment andearningforex through exports andlicensing ofAfrican consider thegreater role thatlocal publishing can play increating employment, contributing to African lawmakers have to look beyond thecurrent rather smallscale ofthesector inAfrica and more effectively to learners. technology companies thatwant to play intheeducation space orwork withthemto getcontent in thesector. publishers are adequately andsustainably compensated, especially relative to new players laws are amendedaccordingly, itiscritical thattheselaws continue to ensure thatauthors and the dominantmodeinduecourse. licensing ofdigital materials andservices isgrowing steadily andwillnodoubteventually become the content islicensed between African publishers orfrom overseas. Thoughrather slow now, digital capabilities, licensing willremain predominantly print-basedfor sometime,whether repatriating African content publishedelsewhere intheworld. global markets, while bringinginmuchneededpublications to supportAfrican education, and Through licensing, African publishers have managedto expand theiroperations byaccessing CONCLUSION Traditional rightsholders should bebetter enabled to license theircontent to As we move into anew digital environment andcopyright n Given thecontinent’s limited ContraDEF.pdf 2 22/9/20 14:01

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