{"id":23882,"date":"2026-08-31T12:08:33","date_gmt":"2026-08-31T05:08:33","guid":{"rendered":"https:\/\/koalisiseni.or.id\/?p=23882"},"modified":"2026-09-10T12:36:13","modified_gmt":"2026-09-10T05:36:13","slug":"press-release-film-and-dance-copyright-remain-vulnerable-stronger-ecosystems-urgently-needed","status":"publish","type":"post","link":"https:\/\/koalisiseni.or.id\/en\/press-release-film-and-dance-copyright-remain-vulnerable-stronger-ecosystems-urgently-needed\/","title":{"rendered":"Press Release: Film and Dance Copyright Remain Vulnerable, Stronger Ecosystems Urgently Needed"},"content":{"rendered":"

Yogyakarta, 27 August 2026<\/strong> \u2013 Koalisi Seni held a public discussion titled \u201cA Quiet Damage: The State of Film & Dance Copyright in Indonesia\u201d<\/strong> at JFA Cinema Hub, Yogyakarta. The event was part of a series of activities to disseminate the findings of Koalisi Seni\u2019s research on the state of copyright in Indonesia\u2019s film and dance sectors. The discussion also formed part of broader efforts to expand conversations on copyright challenges across different fields of the arts.<\/p>\n

The discussion featured Kennya Rinonce (Dance Copyright Researcher), Garin Nugroho (Film Director, Writer, and Producer), Gietty Tambunan (Film Copyright Researcher), and Kinanti Sekar Rahina (Choreographer and Dancer), with Dyna Herlina Suwarto (KAFEIN, Universitas Negeri Yogyakarta) serving as moderator. The event was attended by artists, arts and cultural workers, as well as relevant government officials, including representatives of the Directorate General of Intellectual Property (DJKI) of the Ministry of Law.<\/p>\n

Opening the discussion, Irawan Karseno, Chair of the Koalisi Seni Board, explained that the event was part of a series of activities to disseminate Koalisi Seni\u2019s research on copyright across various fields of the arts, from visual arts and theatre to music.<\/p>\n

\u201cThis time, we are discussing film and dance, two different worlds that are nevertheless equally important to understand from a copyright perspective,\u201d he said.<\/p>\n

Irawan also expressed his appreciation to the Directorate General of Intellectual Property for its support for the research. He hoped that the discussion would complement the research findings while strengthening collective efforts to build a fairer film and dance ecosystem for creators and arts workers.<\/p>\n

Choreography in an Ecosystem That Has Yet to Fully Support Creators<\/strong><\/p>\n

\"\"<\/p>\n

Kennya Rinonce presented the findings of her research on the state of dance copyright in Indonesia, particularly within the ecosystems of film, musical theatre, commercial performances, and digital platforms. She explained that choreography faces unique challenges in intellectual property registration because dance works can develop and change from one performance to another.<\/p>\n

\u201cIntellectual property registration standards require a work to be fixed in a final form, whereas in practice, it is difficult to determine what kind of registration and fixation is actually needed for a dance work,\u201d she explained.<\/p>\n

Kennya also highlighted the position of choreographers and dancers when their works enter the digital sphere. According to her, the distribution of works through platforms such as YouTube and social media is still more easily associated with music copyright systems than with the creation of movement and choreography.<\/p>\n

\u201cWhen asked who actually owns a dance that goes viral on social media, the answer is often the owner of the music, because that is what gives them access to the platform\u2014not the choreography itself,\u201d she said.<\/p>\n

Her research calls for stronger copyright literacy beginning in dance education, as well as the establishment of a dance heritage repository to document works and prevent individuals from making erroneous claims over traditional works.<\/p>\n

A Complex and Vulnerable Film Ecosystem<\/strong><\/p>\n

\"\"<\/p>\n

Meanwhile, Gietty Tambunan explained that copyright issues in the film industry have their own complexities because film is a collective work involving many parties, from screenwriters and directors to artistic and costume workers.<\/p>\n

According to Gietty, copyright issues can arise even before a film is produced, including when screenwriters present their ideas or works to production companies at a film market<\/em>. At this stage, creators have already produced work with value, yet their understanding of the rights attached to the creative process is not always adequate.<\/p>\n

\u201cMany people are not yet aware that they already have these rights, including economic and moral rights, from the moment the creative process begins\u2014not only after the film has been completed,\u201d she said.<\/p>\n

Gietty also shared several good practices that are beginning to emerge within the industry, such as distinguishing between copyright in a screenplay, which remains with the writer, and copyright in the film itself, which is held by the production company. She also highlighted revenue-sharing practices in which artists continue to receive a share even decades after a film\u2019s release.<\/p>\n

However, such practices still depend on the policies of individual industry players and have yet to become widely binding standards. Gietty therefore called for three key measures: strengthening copyright literacy among industry players and the public, developing standard employment contracts between production companies and film workers, and establishing an integrated national box office database so that the performance and success of films can be measured more objectively and fairly.<\/p>\n

Strengthening Creators\u2019 Position through Contracts and Documentation<\/strong><\/p>\n

\"\"<\/p>\n

From his experience as a filmmaker, Garin Nugroho shared several insights into creators\u2019 bargaining positions within the film industry, including when developing works based on intellectual property owned by other parties.<\/p>\n

\u201cFrom my own experience, when I wanted to develop a work based on a particular IP, the IP owner asked for all the rights\u2014from the characters and designs to the story\u2014to be purchased at once. Once that happens, the creator practically has little room to do anything with their own work,\u201d he said.<\/p>\n

Garin also emphasized the importance of managing copyright as part of a creator\u2019s legacy. He shared the experience of a senior filmmaker who, before his death, passed the copyright to his works on to his family. According to Garin, protecting creators requires more than legal regulations; it also requires a fair collaborative ecosystem in which creators and film workers have stronger bargaining positions throughout the production and exploitation of their works.<\/p>\n

A similar experience concerning the importance of protecting creative works was shared by Kinanti Sekar Rahina. As a choreographer, dancer, and dance teacher, she described an experience in which one of her works was reproduced by another community without prior communication.<\/p>\n

\u201cThe work was already in their hearts, but because they did not communicate with the creator first, it was such a shame,\u201d she said.<\/p>\n

To anticipate such issues, Kinanti has developed a practice of documenting every stage of the creation process through photographs and videos, accompanied by a synopsis and the date of creation. This documentation serves as initial evidence of the creative process and ownership of the work. She also educates students and parents at the dance studio where she teaches about the importance of communicating with creators and seeking permission before using or reproducing another party\u2019s dance work.<\/p>\n

DJKI: Strengthening Cinematography Regulations to Protect Industry Players<\/strong><\/p>\n

\"\"<\/p>\n

Responding to the issues raised during the discussion, Wahyu Jati Pramanto, S.H., M.H., a Senior Legal Analyst representing the Directorate General of Intellectual Property (DJKI) of the Ministry of Law, said that the government is currently developing implementing regulations concerning copyright in cinematographic works.<\/p>\n

\u201cWe are currently developing implementing regulations concerning copyright in cinematographic works, so that in the future, supporting contributors and supporting creators in cinematographic works can receive ongoing compensation, for example in the form of royalties, when their work is subsequently exploited,\u201d he said.<\/p>\n

Wahyu also shared his experience of being involved in the drafting of the Copyright Law between 2010 and 2014. The process was dynamic and involved various stakeholders.<\/p>\n

He expressed hope that further regulation of cinematographic works would strengthen legal certainty and protection for those within the film ecosystem, including in relation to the secondary exploitation of works.<\/p>\n

Towards a Fairer Film and Dance Ecosystem for Artists<\/strong><\/p>\n

The discussion demonstrated that copyright issues in the film and dance sectors cannot be resolved through regulation alone. Stronger copyright literacy, documentation of creative works, fairer contractual practices, and collective awareness among all ecosystem actors are also needed\u2014from creators, producers, and production companies to dance studios and the government.<\/p>\n

The distinct characteristics of film and dance compared with other fields of the arts also require a contextual policy approach. Copyright protection needs to take into account the creative process, patterns of production and distribution, and the relationships between creators and the various parties involved in the exploitation of creative works.<\/p>\n

The findings of Koalisi Seni\u2019s research indicate that the film sector continues to face issues such as unclear royalty standards, inadequate exploitation clauses, as well as buyout arrangements and bonus systems that can disadvantage creators and performers. Meanwhile, the dance sector faces challenges including the unclear status of works in the digital sphere, the weak bargaining position of choreographers, and difficulties surrounding the fixation of works.<\/p>\n

Through this discussion, Koalisi Seni hopes that the findings of its research, A Quiet Damage: The State of Arts Copyright in Indonesia<\/strong><\/a>, can continue to serve as references for strengthening copyright literacy, informing policy advocacy, and encouraging the development of an arts ecosystem that increasingly respects the moral and economic rights of creators.<\/p>\n

Written by: Margaret Megan<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Yogyakarta, 27 August 2026 \u2013 Koalisi Seni held a public discussion titled \u201cA Quiet Damage: The State of Film & Dance Copyright in Indonesia\u201d at JFA Cinema Hub, Yogyakarta. 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