“Copy Debts”? —Towards a Cultural Model for Researchers’ Accountability in an Age of Web Democracy Jan Jansen (bio) Introduction1 The highly standardized oral narrative about Sunjata, nowadays known as the Sunjata Epic, has been governing society since—at least—the fourteenth century when Arab travel writer Ibn Battuta on a trip along the Niger River reported a Sunjata tradition. This epic tells about the foundation of society—called “Mali” or “Mande”—and expresses values that go beyond the borders of countries: it explains the relationships among clans. It also prescribes how, based on patronymics and clan-related praise songs, every person should behave in public. The epic is also now much esteemed as Mali and Guinea’s medieval history and as a national and supranational charter, maintaining prominence both in the mass media and in educational programs (cf. Bulman 2004; Adejunmobi 2011). The name “Mali” itself, which in 1960 became the official designation for the territory, is definitely the most striking example of this heightened status of the Sunjata Epic.2 Several villages in Mali and Guinea have families living there that have much prestige because of their knowledge of the Sunjata Epic. In Mali, the Diabate family from Kela are among the most authoritative interpreters of the Sunjata Epic (cf. Austen 1999; Jansen 2001). I use the case presented in this article—about a Sunjata Epic recording in Kela and the discussions of ownership that the recording raised—to argue that researchers whose work deals with such an intangible heritage may have to reposition themselves. They must work from a radically different perspective than the one behind the usual discourse, which is based on concepts of permission/approval, individual author rights, and informed consent. A new attitude, based on the idea of “copy debts,” may meet the local deep concerns and unexpected claims that underlie a prestigious and intangible heritage. It is the property rights of this intangible heritage that form the main focus of this article. Any attempt to publish an oral tradition is a political statement in line with supporting an open society and an agenda of web democracy. One may even argue that researchers, in their academic attempt to maximize access to oral traditions and in their professional search and fascination for optimal recording and documentation technologies, are tempted to practice a “WikiLeaks mentality” by making accessible as much data as possible. However, the approach of researchers differs from WikiLeaks practices in the fact that researchers are concerned with the rights of their sources. The accountability of researchers in their desire to combine web democracy with a concern for local population groups will therefore be a central concern throughout this article, and the present-day concern for intellectual property rights provides its context. These rights are conceptualized in terms of copyrights and author rights (droits d’auteur). UNESCO’s program for Masterpieces of Oral Intangible Heritage of Humanity has definitely increased the focus on these rights and has institutionalized them. Unfortunately, UNESCO has institutionalized these rights in a primarily legalistic way, thus conceptualizing copyrights primarily from a written text perspective that prioritizes national copyright laws along with the idea that a group is, legally, a collection of individuals.3 I will argue here that it may be problematic and even undesirable for a fieldworker, who is closely related to the performers and the recording of the oral traditions, to follow UNESCO’s ideas and procedures for establishing property rights. My case thus illustrates the limits, and even the shortcomings, of UNESCO’s program of Masterpieces and the copyrights/droits d’auteur that it implies. Based on a representative case study of an epic text recorded in 2007 in Mali, this article calls for a methodological discussion: what does one do when terms of ownership are intrinsically impossible to conceptualize in a legal framework? First of all, I will describe the social tension created by my recording. Subsequently, I will describe the conceptual framework that I developed to deal with this tension in a culturally appropriate way. In this article I suggest that determining ownership in terms of copyrights easily runs the risk of imposing a Western political standard. As an alternative, I have explored a...