Analysis

On the 24th of March 2020, the African Export-Import Bank (Afreximbank) announced a US$3 billion facility to help its member countries weather the economic and health impacts of Covid-19. In this interview, Prof Ben Oramah, President Afreximbank, discusses this pandemic facility, the African Continental Free Trade Area, (AfCFTA) and more.

Welcome to this symposium on COVID-19 and International Economic Law in the Global South. The essays in this symposium came from Africa, Asia, Europe, the Middle East, the Caribbean, North America and Latin America. This symposium will last for a full four weeks because of the large number of good quality submissions we accepted.

In this blog, I continue discussing the broad understanding of informality while briefly touching on informal enterprise. And I hope to, simultaneously, point out a couple of proposed solutions to challenges of the informal economy in Africa. My very strong suggestion, though, is that African countries should embrace informality as a reality on the continent.

The African International Economic Law Network (AfIELN) is pleased to announce the publication of selected papers from their Fourth Biennial AfIELN Conference which held at Strathmore Law School, Nairobi, Kenya in July 2019. The conference theme was Africa’s Participation in International Economic Law in the 21st Century. The AfIELN is one of the regional networks of the Society of International Economic Law (SIEL).

Multi-sided music platforms are part of the digital creative economy consisting of the various aspects and processes through which creative works are made/produced, distributed and used. In this reflective post, I will discuss the questions posed in the book talk and panel discussion I organised titled “The Digital Creative Economy in Africa: Copyright, Law and Policy”.

Multi-Sided Music Platforms and the Law is a book that provides a well-informed, thorough and rigorous treatment of relevant legal issues from an African perspective, whilst never losing sight of the ‘broader picture’. As such, it is expected to benefit a diverse group of readers, as well as policy and law makers in Africa and abroad in tackling relevant legal conundrums effectively.

The book titled Multi-Sided Music Platforms and the Law: Copyright, Law and Policy in Africa is a timely contribution to literature in this era, with regards to the music boom in Nigeria and other parts of Africa and the existence of music platforms for entertainment as well as commercial purposes. There is a voluminous scholarship in this book on law and multi-sided platforms generally on one hand and copyright law specifically on another. The author focused on the legal and regulatory issues that arise from the use of copyright-protected content by multi-sided platforms in digital advertising.

The structural style of the book is designed to aid easy reference, especially by legal practitioners, judges, lawmakers and policy formulators; to make the book a valuable resource for researchers, academics and students; and an easily comprehensible material for the uninitiated in the field of copyright, privacy and competition law and the operation of multi-sided music platforms. Reading the book from cover to cover, a reader will undoubtedly confirm that the book has achieved this goal.

Recent years have seen a remarkable upturn in scholarship on copyright in Africa in general and its intersection with competition law and policy frameworks in particular. Multi-Sided Music Platforms and the Law takes the discussion further through a detailed examination of global platforms such as YouTube, SoundCloud and Facebook and the profound impact these firms have on the creative sectors and the economy more broadly of developing countries.

According to Professor Caroline Ncube in the foreword, this book is an important and timely contribution to the discussion of music platforms and is the first work that considers multi-sided platforms from the perspectives of copyright, competition and privacy under South African and Nigerian laws.