look at ICMR.

[26]

A draft bill, the Copyright Amendment (Indigenous Communal Moral Rights) Bill 2003 ("ICMR Bill"[27]),
was circulated to a limited set of stakeholders in 2003, but was seen as ineffective and unlikely to be
passed into legislation because of a number of complications.[24][28] Criticisms of the bill included that
it failed to provide protection where copyright had expired, as well as elements of Indigenous culture
and intellectual property (ICIP) where copyright did not apply, such as rock paintings or unrecorded oral
histories; and neither did it cover sound recordings.[27]

The bill was set to be reintroduced in mid-2007, as existing legislation did not provide protection for
Indigenous communal moral rights.[25] A 2006 paper by Terri Janke and Robynne Quiggin set out the
main ICIP issues for the Indigenous arts industry, which included the deficiencies of the Copyright Act
with regard to Indigenous art. These include clashes between Australian law and Aboriginal customary
laws; and the lack of a "foundation of interaction between Indigenous community and user of the ICMR"
in the draft bill.[26]

Performers

From mid-2007, performers were been granted moral rights in recordings of their performances, similar,
but not identical, to the moral rights granted to authors.[29] These were introduced as a result of
Australia's ratification of the WIPO Performances and Phonograms Treaty, which was required by the
Australia's free trade agreement with Singapore, and the Australia-United States Free Trade Agreement.

Ownership of copyright

Copyright is free and automatic upon creation of the work. In general, the first owner of copyright will
be the author (for literary, musical, dramatic and artistic works) or producer (for sound recordings and
films) or broadcaster (for