** Copyright at the heart of the Congolese artistic scene: an overview of the SOCODA payment operation **
From February 17 to 25, 2023, the Congolese Congolese Company and neighboring rights (SOCODA) highlights the importance of protecting artistic creations through the distribution of copyright for a hundred musician artists and actors. This process, centered in the offices of Socoda in Gombe, raises crucial issues on the remuneration of artists and the economic viability of popular culture in the Democratic Republic of Congo (DRC).
### A major issue for Congolese artists
SOCODA has thus chosen to carry out a payment dedicated to the remuneration of copyright, a significant act in a country where the informal economy often predominates on the protective mechanisms of artists. According to recent statistics, almost 80% of musicians and actors in the DRC have no stable sources of income. This payment, even if it does not represent a miracle solution, responds to an urgent need for recognition of the rights of creators in an environment which evolves too slowly in terms of protection of intellectual property.
The interim managing director, Joe Mondonga Moyama, indicates in an interview that this is a vital stage to encourage local creation. However, he also raises a relevant question: how to maximize the impact of these payments so that each artist can really benefit from these rights?
### Treatment fair and transparent
The fact that the Socoda posted the list of beneficiaries at the entrance to its seat shows a desire for transparency, an essential value in the often opaque world of the music industry. This could inspire other similar organizations across Africa, where episodes of corruption and favoritism hinder the just compensation for artists. According to the report of the World Intellectual Property Organization (OMPI), only 10% of the works created in Africa are actually protected and remunerated, which highlights the difficulty in restoring justice in the remuneration of creators.
### A historical perspective
It is also necessary to make a parallel between this copyright operation and the struggles led by the creators over the decades. Indeed, the recognition of copyright in the DRC testifies to the developments in legal thought and the awareness of the issues linked to intellectual property. When this context is used in a global framework, countries such as the United States or France have already established effective copyright protection systems, with automated fee collection mechanisms allowing artists to concentrate on their art. The road is still long for the DRC, but each step counts towards the establishment of a more systematic system adapted to local realities.
### Conclusion: beyond payments, a future to build
Finally, although this copyright payment operation is a necessary corrective in an artistic changing landscape, it cannot be self-sufficient. A true ecosystem of support for artists must be consolidated, with initiatives going beyond the simple payment of rights. This includes training programs, financing opportunities for artistic creation, and awareness mechanisms that encourage the public to assess and support local works.
Socoda, through this operation, has the chance to become a Congolese artistic future carrier, a future where the artist can not only live from his art but also inspire future generations. The road to real respect for copyright in the DRC begins here, but it is up to each stakeholder to mobilize so that this momentum is not a straw fire, but the beginning of a new era for Congolese artists .