Networking Peripheries (Chan)

 Area 1

Anita Chan discusses promotion of IP rights in Peru, vis-à-vis denomination of origin (DO), similar to what has existed for years in Europe for wine and cheese. In Peru, it is being applied to artisan pottery instead. The desired effect was a market and increased value for authentic artisan pottery, but the result has been infighting between artists and blame for the government agencies responsible for promoting the program. Exporters influenced a small number of artisans to partner with them, but required lower prices in exchange for steady market access. 

Area 2

This is an interesting application of IP that I have not encountered before. Historically, my exposure to IP has been pretty much technology oriented, and usually where big companies and big profits are involved. Since the "IP potential" includes "indigenous expression" and "biological diversity and local plant life," I can see that ayahuasca tourism might be refined and "standardized," for lack of a better word. I am concerned at the references to 'extract[tion] from rural and indigenous subjects." That phrasing makes me uneasy, because I associate it with imperial exploitation. I need reassurance that this isn't just another attempt to fleece the natives and/or make someone else rich by having multiple middlemen in the process. 

If the program is designed compensate artists fairly, I can see it having many benefits. As it seems that the 'vast majority of... artisans will not have the right to exercise the IP' or benefit from its rewards, I wonder about how the folks on the margins will be impacted. The pottery is described at one point as a commodity, something I'm not accustomed to hearing when describing what I would consider art. I'm also squeamish about exporters demands for artisans to lower prices. I understand the need to increase quality, but typically artists undervalue their work anyway, so this seems like a gut punch to me. 

I'm curious about the income potential of the artisans who sign on to this program, and I'm curious if they feel their lives have improved vs. the sacrifices and additional work they have. I see this not as 'freeing the artisan' so much as turning them into entrepreneurs. In fact, at first I saw it as a patron type situation, but it's definitely not that. The new production techniques (p. 44) finally made me realize this is just a branding effort for the mass market. The same way big companies extend their brand by licensing other companies to create products under their name.