Developing countries benefit from the registration of geographical indications (GIs) in the agricultural and artisan sectors. The extension of GIs to the artisan sector serves as a best practice to Nigeria. Nigeria has many indigenous forms of cultural artworks that are influenced by the environment. Artworks from places like Benin and other regions in Nigeria are location specific. This paper explores generally the utilization of GIs to protect cultural artworks and the monetary and nonmonetary benefits of such works. The trend of registering GIs to protect culture, arts, and traditional knowledge is crucial to the economic growth of Nigeria otherwise it deprives those dependent on the creation of cultural artworks of a means to benefit from their hard work by a process known to them for decades.
Environmental justice as a movement is an urgent step towards the realization of environmental equity. There is a necessity that makes environmental justice an important solution to climate change. The origin of the necessity was the damage that environmental racism was causing, and its realization in the United States and later as an international phenomenon. Through a theoretical approach, this article examined how communities of concern are denied environmental justice as a result of the current developmental models in practice and showed why they are vulnerable to the global challenge of climate change and environmental pollution. It identified the link between human rights and the environment. It explored a viable sustainable development model for communities of concern and concluded on how they can get past the economic challenges of implementing green industries.
The birth and development of performers' rights was initially witnessed in the twentieth century. Domestic laws and international conventions were drafted and implemented in various countries and the international community. Nigeria has followed a similar trend in the development of performers' rights by providing provisions protecting these rights. Equally, Nigeria has signed and ratified international treaties providing for the protection of performers' rights. However, there are issues relating to performers' rights that have not been given consideration. A broader system of protecting traditional performances with spiritual and social components is required. Purely spiritual festivals such as the Oro festival is guided by custom which must not be disregarded as a means of protection. Only worshippers or devotees are allowed to be a part of the festival. Strangers and women are forbidden to see the procession and when or if they do, the consequences are grave. Conversely, the Eyo, Atilogwu, Tengra and Osun Oshogbo festivals are spiritual festivals with social components that are not rigidly protected by custom, neither are the performances considered for protection in related rights in Nigeria. Such performances are littered on the internet by those who attend the festivals from various parts of the world. While the extent to which performers are protected in the Copyright Act of Nigeria should be commended, more should be done.
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