The African Regional Intellectual Property Organization (ARIPO) continues to play a central role in shaping the future of Africa’s creative economy. At a time when the continent is witnessing an upsurge in youth-led innovation, artistic expression, and digital engagement, ARIPO stands as a key institution safeguarding the rights of creators and strengthening intellectual property frameworks across its 22 member states.
As a regional intergovernmental body headquartered in Harare, Zimbabwe, ARIPO’s mission is rooted in providing practical and legal tools that support the protection and administration of intellectual property (IP) rights. Its mandate spans patents, trademarks, plant varieties, copyright, related rights, and geographical indications. These pillars serve not only to preserve the ingenuity of African creators but also to facilitate intra-African and global trade, innovation, and cultural exchange.
At the helm of ARIPO’s Copyright and Related Rights portfolio is Ms. Maureen Fondo, a legal expert with over 16 years of experience in IP law and practice. Her stewardship reflects a nuanced understanding of Africa’s cultural and economic dynamics and a commitment to empowering creators through practical legal frameworks and training.
“Across the continent, we are seeing remarkable growth in creative outputs particularly among young people,” Fondo noted. “But alongside this momentum is a pressing need for formal systems that recognize, protect, and help monetize those efforts.”
Indeed, as informal collaboration continues to dominate sectors such as music, film, and digital content, ARIPO has placed increasing emphasis on capacity-building and awareness. Many artists continue to operate without written contracts or proper documentation, an issue that leads to disputes, lost income, and limited scalability. Fondo emphasized that proper role clarity and rights management are essential for Africa’s artists to fully benefit from their work.
To address this, ARIPO has launched a suite of educational initiatives. Through the ARIPO Academy, specialized training is offered to creators, collective management organizations, and policymakers. This includes governance workshops, legal clinics, and sessions on business models suited for various creative sectors. At the postgraduate level, ARIPO also supports a Master’s in Intellectual Property programme in partnership with Africa University in Zimbabwe, the University of Dar es Salaam, and Kumasi-based NAST.
In addition to training, ARIPO has published a comprehensive range of practical tools. These include contract guidelines for the music, literary, and audiovisual sectors, as well as model governance frameworks for rights organizations.
Fondo pointed to the Kampala Protocol, a voluntary registration framework for copyright and related rights, as a vital development that encourages documentation and legal recognition. “We have created legal instruments and model laws to guide our member states. The ARIPO Model Law on Copyright and Related Rights, for instance, is adaptable for national legal reforms and supports countries in aligning with international treaties,” she explained.
One area where ARIPO is increasingly engaged is the intersection of creative industries and tourism. Music, art, and cultural performances are central to Africa’s tourism proposition, yet often, the rights of creators are overlooked in tourism programming. Fondo observed that festivals, culinary showcases, and cultural events must be designed in a way that not only entertains but also protects the creative contributions that make them possible.
“We cannot talk about tourism in Africa without music, without storytelling, without culture,” she said. “But for these events to be sustainable, artists must benefit fairly. That requires formal structures, collective management systems, and respect for intellectual property rights.”
Citing regional examples, Fondo highlighted initiatives such as Zambia’s Likumbi Lya Mize festival, Tanzania’s Bagamoyo Arts Festival, and the upcoming Rumba Route for Peace in Kinshasa, DRC. These cultural events serve as platforms not just for performance, but for economic opportunity and cross-cultural understanding. ARIPO’s role, she added, is to ensure that the legal and institutional infrastructure keeps pace with the creative sector’s growth.
“Festivals should not only be about celebration, they should drive local economies, foster peace, and ensure that the people who bring them to life are protected and paid,” Fondo said.
Looking ahead, ARIPO is calling for stronger policy alignment across African states, particularly in ratifying key international treaties that elevate the region’s competitiveness in global creative markets. Where legal provisions exist but institutional frameworks are lacking, such as the absence of functioning collective management organizations, ARIPO provides advisory support to guide implementation.
As a licensed advocate, composer, and IP scholar currently pursuing a doctoral degree, Fondo brings a unique blend of legal precision and cultural sensitivity to her work. She believes that Africa’s creative sector can drive inclusive development if backed by the right systems.
Her message is clear: “We must move beyond passion to protection. From the policy table to the studio, creators must understand their rights, and governments must create enabling environments for those rights to thrive.”
