{"id":24195,"date":"2026-09-28T15:21:52","date_gmt":"2026-09-28T08:21:52","guid":{"rendered":"https:\/\/koalisiseni.or.id\/?p=24195"},"modified":"2026-11-11T15:13:09","modified_gmt":"2026-11-11T08:13:09","slug":"press-release-artists-urge-caution-in-copyright-law-revision-calling-for-cross-sector-needs-to-be-heard","status":"publish","type":"post","link":"https:\/\/koalisiseni.or.id\/en\/press-release-artists-urge-caution-in-copyright-law-revision-calling-for-cross-sector-needs-to-be-heard\/","title":{"rendered":"Press Release: Artists Urge Caution in Copyright Law Revision, Calling for Cross-Sector Needs to Be Heard"},"content":{"rendered":"

Photo: Koalisi Seni<\/p>\n

Jakarta, 25 September 2026 \u2013 Koalisi Seni held a public discussion titled \u201cRevisi UU Hak Cipta Jangan Tergesa, Karena Semua Seniman Layak Sejahtera\u201d (Do Not Rush the Copyright Law Revision: All Artists Deserve to Thrive<\/em>) as a platform for dialogue between artists from various disciplines and policymakers involved in the revision of Law No. 28 of 2014 on Copyright.<\/p>\n

The discussion featured Once Mekel, Member of Commission X of the Indonesian House of Representatives (DPR RI), alongside Fauzan Zidni, Chairperson of the Indonesian Film Board; Gie Sanjaya, curator; Yusi Pareanom, writer; Josh Marcy, choreographer; and Ratri Ninditya of Koalisi Seni. The gathering provided artists with an opportunity to directly share their experiences, needs, and copyright-related challenges in their respective fields with policymakers.<\/p>\n

In the film sector, Fauzan Zidni highlighted the Indonesian National Collective Management Organization (LMKN)’s collection of performance royalties from cinemas at a rate of IDR 3.6 million per screen per year. Cinematographic works, however, have their own copyright protection, while various rights within a film, ranging from screenplays to music, have already been consolidated by the producer. He also raised concerns about actors’ vulnerability amid the growing use of AI. Clauses granting permission to use actors’ faces and voices for subsequent productions are often included in contracts without additional compensation, while actors with limited bargaining power find it difficult to refuse such terms.<\/p>\n

\u201cGlobally, collective rights management is not a common or suitable approach for the film and television sectors,\u201d Fauzan said.<\/p>\n

From the visual arts sector, Gie Sanjaya highlighted five key needs for artists: recognition, control, transparency, fair compensation, and education. The implementation of resale rights remains difficult as long as transaction data and information about collectors are not transparent.<\/p>\n

\u201cThe problem is that artists do not know how their works are being used. It is difficult to track their use when artists themselves do not fully understand the contracts they sign,\u201d Gie said.<\/p>\n

In the publishing sector, Yusi Pareanom identified piracy as a major concern. Books that have only recently gained readers’ attention can quickly appear as pirated copies on online marketplaces. Enforcement depends on complaints, while takedown processes are not immediate. He also stressed that authors of non-fiction and academic books are among those affected.<\/p>\n

\u201cPiracy on online marketplaces should not be treated as an offence that requires a formal complaint to initiate prosecution. Otherwise, penalties imposed on the marketplaces themselves must be serious,\u201d Yusi emphasised.<\/p>\n

Meanwhile, Josh Marcy highlighted the high cost of copyright registration for dance works, as each component of a work must be registered separately, each with its own fee. This burden is particularly significant for dance studios and communities that produce numerous choreographies every year. Josh also raised ethical concerns about dancers’ bodies and movements being recorded and used in AI technologies.<\/p>\n

\u201cWhen dancers’ data or bodies are transmitted into AI systems, is consent alone sufficient? And what kind of consent are we talking about?\u201d he asked.<\/p>\n

When Copyright Is Discussed in a Quiet Room<\/strong><\/p>\n

\"Koalisi<\/p>\n

Photo: Koalisi Seni<\/p>\n

The discussion also revealed concerns that the ongoing deliberations on the Copyright Law revision have yet to adequately incorporate voices from across the arts sectors. Several participants felt that public discussions have largely revolved around issues in the music industry, while the needs of other sectors have received considerably less attention.<\/p>\n

Once Mekel acknowledged that proposed revisions had partly emerged from specific issues in the music sector, such as controversies surrounding restrictions on performing songs and the governance of royalty collection. At the same time, participants from other sectors stressed that their experiences and needs deserved greater consideration throughout the deliberation process.<\/p>\n

\u201cFrom other arts sectors, there have not been many public discussion spaces, and our voices have yet to be heard,\u201d Fauzan noted.<\/p>\n

Similar concerns were raised by participants outside the parliamentary forum. A representative from the Ministry of Culture who attended the discussion observed that the existing draft still needed to take into account the needs of arts sectors beyond music. The discussion was also attended by representatives from the Indonesian Dance Artists Association (ASETI) and Alinea, the Indonesian Writers’ Association.<\/p>\n

The forum also highlighted that the DPR aims to complete deliberations on the Bill in 2026, with discussions alongside the government expected to begin after the parliamentary recess, around November. Once stated that the opportunity to hold public hearings (RDPU) remained open.<\/p>\n

\u201cMy hope is that these discussions are not merely held to fulfil procedural requirements or serve as lip service, but are genuinely meaningful, so that the principles of meaningful participation can be fulfilled,\u201d he said.<\/p>\n

One Law, Different Ways of Creating and Working<\/strong><\/p>\n

Koalisi Seni has been examining the Copyright Law since 2023 and expanded its research in 2025 to cover six sectors: music, film, visual arts, theatre, dance, and literature. Based on its findings, Koalisi Seni has put forward several recommendations.<\/p>\n

First, the law should strike a balance between remuneration for creators and performing artists and public access to creative works. Second, the terminology used to define protected works should be adjusted to reflect actual artistic practices, including choreographic works, dramatic works, literary works, visual works, and cinematographic works. Third, a centralised data system should be established to cover sectors beyond music. Fourth, protection should be strengthened through minimum royalty rates and standardised licensing agreements to replace vague clauses such as \u201cunless otherwise agreed.\u201d Fifth, the government’s bargaining position vis-\u00e0-vis foreign digital platforms should be strengthened, including through opt-out requirements and royalty payments for the use of creative works in AI training.<\/p>\n

\u201cEach sector has its own creative processes and very different ecosystems. Therefore, while there may be general recommendations, there are also sector-specific recommendations that need to be taken into account. Not everything can simply be regulated in the same general terms and treated as though all sectors were alike,\u201d said Ratri Ninditya of Koalisi Seni.<\/p>\n

Participants also proposed recommendations tailored to their respective fields. These included exempting films from LMKN royalty collection, treating piracy on online marketplaces as an ordinary criminal offence rather than one requiring a complaint, simplifying copyright registration for dance works, and introducing public lending rights for authors. Writers’ associations also called for contract guidelines to be developed organically by creative communities, with the government acting as a facilitator.<\/p>\n

Do Not Rush. Listen to More Voices.<\/strong><\/p>\n

Through this discussion, Koalisi Seni called for the Copyright Law revision to look beyond copyright as a matter of ownership or the enforcement of infringement. It must also take into account artists’ lived experiences, including how they work and earn a living from their creative works.<\/p>\n

The revision presents an opportunity to address inequalities in copyright protection across different arts sectors. To achieve this, the process must provide broader opportunities for artists from various disciplines to participate, including those whose voices have historically been less prominent in policymaking.<\/p>\n

By listening to a wider range of artists’ experiences and needs, the Copyright Law revision can produce regulations that better reflect the diversity of ways in which artists create, work, and derive economic benefits from their works.<\/p>\n

Koalisi Seni’s editorial opinion, \u201cRevisi UU Hak Cipta Jangan Tergesa, Karena Semua Seniman Layak Sejahtera<\/a>\u201d (Do Not Rush the Copyright Law Revision: All Artists Deserve to Thrive<\/em>), summarises the organisation’s findings and recommendations for strengthening copyright protection across different arts sectors.<\/p>\n

Because all artists deserve to thrive.<\/strong><\/p>\n

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

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