About | HeinOnline Law Journal Library | HeinOnline Law Journal Library | HeinOnline



40 Colum. J.L. & Arts 275 (2016-2017)
Who Owns Our Ancestors' Voices: Tribal Claims to Pre-1972 Sound Recordings

handle is hein.journals/cjla40 and id is 283 raw text is: 








Who   Owns   Our  Ancestors'   Voices?


            Tribal Claims   to Pre-1972  Sound   Recordings

                               Trevor Reed*

Introduction.................            ...................     .....275
Part I: Current Federal and Tribal Laws Governing Pre-1972 Sound
       Recordings          ......................................278
       A.  Non-Copyright  Federal Statutes ...........    .................279
       B.  Common   Law  Copyright      .........................282
       C.  Aboriginal Title Enforced by Common   Law  Doctrines ..........284
Part II: Case Study: Collectors' Rights versus Tribal Rights ...................287
       A.  Laura Boulton:  The Music Hunter..........................288
           i. Application of Non-Copyright  Federal Statutes ................291
           ii. Application of Common-law  Copyright Doctrine..............293
           iii. Application of Aboriginal Title Doctrine .... .......294
       B.  Summary:   Uncertainty in Current Law Regarding Pre-1972
           Sound  Recordings Made  on Reservation Lands......................295
Part III: Implications for the Next Copyright Act.........  ................296
      A.   Is the Copyright Act Applicable to Tribes? .......   ........298
      B.   Potential Tribal Concerns over the Application of the Copyright
           Act to Pre-1972 Sound Recordings  ..................301
           i. Initial Vesting of Ownership  ..............       .......301
           ii. Limitations on Exclusive Rights .............     .....302
       C. Accounting  for Ontological Differences through Tribal
           Jurisprudence       .................................305
Conclusion             .....................................    ......309


                            INTRODUCTION

   A familiar story is told in Indian Country: a researcher arrives on a Native
American  reservation and begins recording ceremonial songs and oral histories;


*Trevor Reed (Hopi) is a J.D. Candidate at Columbia Law School and a Ph.D. Candidate at Columbia
University's Graduate School of Arts and Sciences in the Department of Music. Research for this Note
was supported in part by a generous fellowship from the Ford Foundation. The author wishes to thank
Professors June Besek, Aaron Fox, Wilton Kooyahoema, Stewart Koyiymptewa, and Steven McSloy for
providing guidance on this Note. The author also thanks Gregory Ablavsky, Steven Dubin, Joan Jeffri,


275