「為什麼奧運用了我的歌卻沒告訴我？」
「奧運會侵權了嗎？」
〈歡樂飲酒歌〉一曲在台東阿美族群傳唱已久，但走出部落罕為人知。因為樂音歌聲採集，進而被國外樂團盜用，後遭奧委會作為宣傳曲。對演唱者來說，登上奧運殿堂讓部落音樂被世界聽見原是可喜，然而也憂慮為何權益不受重視？
蘭天律師回憶當年這場跨國訴訟案，從侵權事件爆發到決定訴訟，從台灣發聲到訴諸國際媒體的整個過程，而這場國際訴訟案更催生出「原住民族傳統智慧創作保護條例」，增訂著作權法保障表演著作的立法例。
全書以中／英文梳理案件，還原事實，交代侵權責任，以正視聽。
‘’Why does the Olympics use my voice without telling me?’’
Since Difang Duana heard the Olympics music on the radio and immediately recognized it was his voice in the background. And started this three-year international copyright infringement litigation.
“Elders Drinking Song”, this Amis song, has been passed down for centuries but is rarely known outside. In the beginning, a professor in Ethnomusicology discovered this song during his fieldwork on folk music. Then a foreign band sampled the song into a new song composition and was chosen as the Atlanta Olympics promo song. For the singers, it was gratifying to be heard in the Olympics and let tribal music be known by the world, but they were also worried about why their rights are not valued.
This book was written by Huang Shiu-Lan lawyer, who joined the lawsuit, she recalls the ''Elders Drinking Song'' international infringement lawsuit. From the outbreak of the infringement incident to the decision to litigate, speak out from Taiwan to the international media. This transnational lawsuit prompted Taiwan's lawmakers to put a new law in place: "Protection Act for The Traditional Intellectual Creations of Indigenous Peoples." and add an article protecting "performance" as an independent copyrighted work.
專文推薦
李道明｜國立臺北藝術大學電影創作學系名譽教授
黃亞歷｜《日曜日式散步者》導演
熊儒賢｜野火樂集 Wild Fire Music, Taiwan 總監
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圖書名稱：〈歡樂飲酒歌〉國際侵權訴訟案：台灣原住民vs.亞特蘭大奧運(中英雙語版)
內容簡介
作者介紹
作者簡介
蘭天
本名黃秀蘭，台灣台中人，為現任律師，執業廿餘年。年輕時鍾情於文史，因緣際會進入法律領域，在長年法庭訴訟攻防與合約紛爭談判中，觀察人生百態、領略人性幽暗、探索天道運行。承辦訴訟案件及合約爭議歷程中，經常陪伴當事人走過生命幽谷，探索合約真諦，尋求文創紛爭之解決方案，協助創作者修復或結束合作關係，開啟人生新的篇章。在法律工作沉重壓力下，喜以旅行、寫作、賞析古文物、觀賞影劇作為調養心性之道。近年於台北藝術大學電影創作研究所兼任教職，講授「智慧財產權與合約談判」課程。公餘之暇閱讀撰文，分享法律人生的體悟。
Lawyer Lan
Lawyer Lan, the pen name of Huang Shiu-Lan (Jully Huang), is a native of Taichung and has been in private practice in Taiwan for over 20 years. In her younger years, literature and history were her happy pursuits, and it was by chance that she found her way into the field of law. Years spent in the courtroom and at the contract negotiation table have allowed her to see the ins and outs of her clients' lives, experience the darkness of human nature, and ponder the pace and will of the universe. Often, in the course of litigation and disputes, Lawyer Lan holds the client's hand through difficult times, helping to clarify the real expectations of the parties and guiding them on the right path to resolution in conflicts of a cultural and creative nature. As a result, her intervention helps creators repair or end business relationships and open new chapters in their lives. Lawyer Lan balances the stress of her legal practice with a healthy spiritual dose of travelling, writing, enjoying ancient artifacts, and watching movies and TV shows. In recent years, she has been teaching "Intellectual Property Rights and Contract Negotiation" in the post-graduate program of the Department of Filmmaking at the National Taiwan University of the Arts, serving as an associate professor. When she isn’t working, she’ll likely read or write, sharing her insights into the legal world.
蘭天
本名黃秀蘭，台灣台中人，為現任律師，執業廿餘年。年輕時鍾情於文史，因緣際會進入法律領域，在長年法庭訴訟攻防與合約紛爭談判中，觀察人生百態、領略人性幽暗、探索天道運行。承辦訴訟案件及合約爭議歷程中，經常陪伴當事人走過生命幽谷，探索合約真諦，尋求文創紛爭之解決方案，協助創作者修復或結束合作關係，開啟人生新的篇章。在法律工作沉重壓力下，喜以旅行、寫作、賞析古文物、觀賞影劇作為調養心性之道。近年於台北藝術大學電影創作研究所兼任教職，講授「智慧財產權與合約談判」課程。公餘之暇閱讀撰文，分享法律人生的體悟。
Lawyer Lan
Lawyer Lan, the pen name of Huang Shiu-Lan (Jully Huang), is a native of Taichung and has been in private practice in Taiwan for over 20 years. In her younger years, literature and history were her happy pursuits, and it was by chance that she found her way into the field of law. Years spent in the courtroom and at the contract negotiation table have allowed her to see the ins and outs of her clients' lives, experience the darkness of human nature, and ponder the pace and will of the universe. Often, in the course of litigation and disputes, Lawyer Lan holds the client's hand through difficult times, helping to clarify the real expectations of the parties and guiding them on the right path to resolution in conflicts of a cultural and creative nature. As a result, her intervention helps creators repair or end business relationships and open new chapters in their lives. Lawyer Lan balances the stress of her legal practice with a healthy spiritual dose of travelling, writing, enjoying ancient artifacts, and watching movies and TV shows. In recent years, she has been teaching "Intellectual Property Rights and Contract Negotiation" in the post-graduate program of the Department of Filmmaking at the National Taiwan University of the Arts, serving as an associate professor. When she isn’t working, she’ll likely read or write, sharing her insights into the legal world.
目錄
推薦序
記我與黃秀蘭律師相識的機緣／李道明教授
文化與律法間的重新思辯／黃亞歷導演
聖戰之後／熊儒賢製作人
自序
永不流逝的旋律──《歡樂飲酒歌》
一 奧運報導出現台灣原住民歌聲
郭英男歌聲成為奧運宣傳曲
歌聲比對鑑定
侵權成立嗎？
二〈歡樂飲酒歌〉著作權保護分析
深夜危機處理會議
〈歡樂飲酒歌〉演唱錄製大事紀
拜訪關鍵人士——民俗音樂學者
三 表演者郭英男夫婦有無授權？
遲來的授權金可以收下嗎？
還原當年實況
侵權過程之事實整理
國內反對聲浪四起
召開記者會表明立場
四 魔岩唱片決定展開國際訴訟
台北市政府公開表態支持
正式委託美國律師發函警告
EMI唱片公司詢問和解訴求
歌曲版稅損失的計算
五 EMI唱片公司拒絕賠償
國內提出法律追訴程序
國內電視台拒絕和解
決定向國際唱片公司宣戰
跨國訴訟評估
六 確定向美國洛杉磯聯邦地區法院起訴
研究台灣著作權法歷年立法沿革
查證〈歡樂飲酒歌〉原版旋律
委託法學教授撰擬法律意見書
郭英男夫婦起訴狀
七 美國加州法院受理侵權案
同步委託律師研究在法國訴訟的可行性
承審法官強烈要求和解
維京唱片質疑原告立場
被告的律師挑釁回應
被告證人名單猶如震撼彈
徹夜談判和解破局
展開新一波的國際媒體宣傳與攻擊
八 被告EMI唱片同意接受我方的和解條件
後記
Content
Forward-Lee Daw Ming, Professor
How I Come to know Lawyer Huang Shiu Lan
Forward-Ya-Li Huang, Film Director
Rethinking the Relationship between Culture and Law
Forward-Xiong Ru Xian, The director of Wild Fire Music
What Follows the War of Honor
Preface
Elders Drinking Song -Everlasting Melody Is Never Gone
1.Disclose the Hidden Voice from East Coast Taiwan
Why My Voice on TV ?
Whose Voice is This ?
Is This A Case of Infringement?
2.Here Comes Copyright Law Protection
Our Kickoff Meeting in a Late Night
A Quick Timeline Overview
The Right Person and the Right Questions
3.Anyone Ever Asked the Performers?
A Late and Unjustifiable Offer
Lost in Translation, or Lack of Awareness?
What Mr.Duana Says
A Walk-through of Facts in the Case
4.Time to Speak Up
Different Voices
Under the Spotlight
Press Conference Boosted by Taipei City Government
First Approach to Infringing Parties
5.Can We Achieve Settlement Before Going to Court?
First Denial
Legal Action in Homeland
Missed Opportunities
A Big No, Loud and Proud
At All Costs
6.Justice Doesn’t Come Cheap
Look for the Right Court, the Right Jury, and the Right Lawyer
Litigation Schedule
Tasks After Tasks
A Great Song-Searching Team
Our Expert Witness Professor
7.Let’s File Our Complaint
Opposing Parties, Get Prepared!
Filing Lawsuit in France?
Fast Counterattack
Questions and Answers, Back and Forth
More Defendants
Rolling the Snowball
8.The Ultimatum
Epilogue
記我與黃秀蘭律師相識的機緣／李道明教授
文化與律法間的重新思辯／黃亞歷導演
聖戰之後／熊儒賢製作人
自序
永不流逝的旋律──《歡樂飲酒歌》
一 奧運報導出現台灣原住民歌聲
郭英男歌聲成為奧運宣傳曲
歌聲比對鑑定
侵權成立嗎？
二〈歡樂飲酒歌〉著作權保護分析
深夜危機處理會議
〈歡樂飲酒歌〉演唱錄製大事紀
拜訪關鍵人士——民俗音樂學者
三 表演者郭英男夫婦有無授權？
遲來的授權金可以收下嗎？
還原當年實況
侵權過程之事實整理
國內反對聲浪四起
召開記者會表明立場
四 魔岩唱片決定展開國際訴訟
台北市政府公開表態支持
正式委託美國律師發函警告
EMI唱片公司詢問和解訴求
歌曲版稅損失的計算
五 EMI唱片公司拒絕賠償
國內提出法律追訴程序
國內電視台拒絕和解
決定向國際唱片公司宣戰
跨國訴訟評估
六 確定向美國洛杉磯聯邦地區法院起訴
研究台灣著作權法歷年立法沿革
查證〈歡樂飲酒歌〉原版旋律
委託法學教授撰擬法律意見書
郭英男夫婦起訴狀
七 美國加州法院受理侵權案
同步委託律師研究在法國訴訟的可行性
承審法官強烈要求和解
維京唱片質疑原告立場
被告的律師挑釁回應
被告證人名單猶如震撼彈
徹夜談判和解破局
展開新一波的國際媒體宣傳與攻擊
八 被告EMI唱片同意接受我方的和解條件
後記
Content
Forward-Lee Daw Ming, Professor
How I Come to know Lawyer Huang Shiu Lan
Forward-Ya-Li Huang, Film Director
Rethinking the Relationship between Culture and Law
Forward-Xiong Ru Xian, The director of Wild Fire Music
What Follows the War of Honor
Preface
Elders Drinking Song -Everlasting Melody Is Never Gone
1.Disclose the Hidden Voice from East Coast Taiwan
Why My Voice on TV ?
Whose Voice is This ?
Is This A Case of Infringement?
2.Here Comes Copyright Law Protection
Our Kickoff Meeting in a Late Night
A Quick Timeline Overview
The Right Person and the Right Questions
3.Anyone Ever Asked the Performers?
A Late and Unjustifiable Offer
Lost in Translation, or Lack of Awareness?
What Mr.Duana Says
A Walk-through of Facts in the Case
4.Time to Speak Up
Different Voices
Under the Spotlight
Press Conference Boosted by Taipei City Government
First Approach to Infringing Parties
5.Can We Achieve Settlement Before Going to Court?
First Denial
Legal Action in Homeland
Missed Opportunities
A Big No, Loud and Proud
At All Costs
6.Justice Doesn’t Come Cheap
Look for the Right Court, the Right Jury, and the Right Lawyer
Litigation Schedule
Tasks After Tasks
A Great Song-Searching Team
Our Expert Witness Professor
7.Let’s File Our Complaint
Opposing Parties, Get Prepared!
Filing Lawsuit in France?
Fast Counterattack
Questions and Answers, Back and Forth
More Defendants
Rolling the Snowball
8.The Ultimatum
Epilogue
序
自序
永不流逝的旋律《歡樂飲酒歌》
〈歡樂飲酒歌〉國際侵權案，二十餘年前的往事，如今回顧訴訟過程，仍覺歷歷在目。
一九九六年奧林匹克運動會宣傳曲歌聲悠揚傳遍全球之際，一場東、西方的文化侵略征戰，原住民與現代唱片公司的對峙，阿美族音樂與西洋樂曲的抗爭於焉展開；致使奧運蒙塵、音樂變調，最終進入法庭，纏訟多年，公平正義才得以伸張！
〈歡樂飲酒歌〉在台東阿美族群傳唱已久，但走出部落罕為人知……。迄至一九九六年美國亞特蘭大奧運開幕，登上世界體育賽事的最高殿堂，世人才得以聆聽它高亢、莊嚴、昂揚的樂曲，但仍無從知悉源自台灣台東的山谷之間。
當一九九六年夏天，阿美族原住民郭英男聽聞自己演唱的歌曲被德國樂團ENIGMA盜用，復遭奧運會採為宣傳曲，憂喜交加，喜的是部落的傳世歌曲讓全世界聽見；憂的是為何權益不受尊重？面對西方侵權者鄙夷的態度、貪婪的作風、傲慢的欺凌，在資源稀缺的困境下，郭英男原本不敢奢望討回公道；幸而在滾石／魔岩唱片的力挺下，決心放手一搏，爭取權益。
從來未曾打過官司的郭英男夫婦，為了〈歡樂飲酒歌〉向美國加州聯邦法院提告，經過三年的煎熬，在承審法官嚴厲督促下，兩造歷經漫長談判，終於達成和解。在國內甚至催生了「原住民族傳統智慧創作保護條例」，增訂著作權法保障表演著作的立法例。郭英男〈歡樂飲酒歌〉跨國侵權案也成為智慧財產權法律課程指標案例，傳誦在各大法律學院與音樂產業。
然而，真正侵權行為地的歐洲和美國，卻因資訊缺乏，而對於此案一知半解，甚或以訛傳訛，造成嚴重誤導！數年來世界各國傳聞紛沓，事件真相逐漸消褪。身為侵權訴訟案的主導律師，釐清案件始末責無旁貸；尤其需要以共通語言解說案情經過，因此時隔二十二年後，以中／英文梳理案件，還原事實，交代侵權責任，以正視聽；並呼籲世人共同尊重原住民歌曲與文化，祈願透過美好的音樂，帶給世界真正的和諧與歡樂。
Preface
Elders Drinking Song-Everlasting Melody Is Never Gone
While reviewing the international litigation proceeding for “Elders Drinking Song”, which was taking place more than twenty years ago, I can still remember this case like it was happening yesterday.
In 1996, while the Atlanta Olympics’ promotion song was ringing in everyone’s ear, an East-West cultural warfare - a tension between Indigenous People and modern record labels, and a confrontation between Amis folk song and western popular music - began, which brought shame on the Olympics and made its tune go off-key. A lawsuit arose, and the final justice had waited long to come after a tangle of years of litigation.
Elders Drinking Song has been passed among Amis People in Taitung for a long time, but it was not known to most people until it was launched as the promotion song for Olympics in Atlanta in 1996. While the sonorous music was presented on the highest global sports stage, having the world appreciate the fullness and pride of the sound, yet, people remained unaware that it was oriented from the valley in Taitung, Taiwan.
In the summer of 1996, it was with mixed feelings that Mr. Difang Duana (Kuo Ying Nan), an Aboriginal singer from the Amis tribe, heard his voice was used by the German band Enigma without his permission. The positive side is that the world stage’s spotlight descended on the tribe’s heritage, which made him so proud. The negative side is that this disrespectful behavior violated his right, which worried and offended him at the same time. In the beginning, facing the infringer’s aggression, arrogance and rude attitude, Mr. Difang Duana was not expecting justice with his poor resource; luckily, Rock Records and Magic Stone Music were determined to support their singer’s right and interests at full power.
Mr. and Ms. Duana had never stepped a foot into the court before, but they decided to file this lawsuit in federal district courts in California. With the trial judge’s strong push and both parties’ lengthy negotiation, a settlement was reached after three years of suffering. This led to the enactment of Taiwan’s Protection Act for the traditional intellectual creations of indigenous peoples and prompted the amendment of the Copyright Act, which additionally provides protection for performances. Also, Mr. Duana’s international infringement case has become a leading precedent in intellectual property law, acknowledged by law schools and the music industry.
Nevertheless, very little information about this case is available in Europe and the US, where this infringement occurred. Outside Taiwan, there appear to be some misunderstanding narratives spread and even untruthful records where the lies carry more weight than the fact! As the lawyer mainly in charge of the litigation, I feel my responsibility and urge to clarify this case.
Particularly, this has to be told in a common language so everyone can read the whole story and figure out how the rights were violated. I also need to address the importance of respecting Indigenous songs and culture, and I hope the beautiful music brings true harmony and happiness to the world.
永不流逝的旋律《歡樂飲酒歌》
〈歡樂飲酒歌〉國際侵權案，二十餘年前的往事，如今回顧訴訟過程，仍覺歷歷在目。
一九九六年奧林匹克運動會宣傳曲歌聲悠揚傳遍全球之際，一場東、西方的文化侵略征戰，原住民與現代唱片公司的對峙，阿美族音樂與西洋樂曲的抗爭於焉展開；致使奧運蒙塵、音樂變調，最終進入法庭，纏訟多年，公平正義才得以伸張！
〈歡樂飲酒歌〉在台東阿美族群傳唱已久，但走出部落罕為人知……。迄至一九九六年美國亞特蘭大奧運開幕，登上世界體育賽事的最高殿堂，世人才得以聆聽它高亢、莊嚴、昂揚的樂曲，但仍無從知悉源自台灣台東的山谷之間。
當一九九六年夏天，阿美族原住民郭英男聽聞自己演唱的歌曲被德國樂團ENIGMA盜用，復遭奧運會採為宣傳曲，憂喜交加，喜的是部落的傳世歌曲讓全世界聽見；憂的是為何權益不受尊重？面對西方侵權者鄙夷的態度、貪婪的作風、傲慢的欺凌，在資源稀缺的困境下，郭英男原本不敢奢望討回公道；幸而在滾石／魔岩唱片的力挺下，決心放手一搏，爭取權益。
從來未曾打過官司的郭英男夫婦，為了〈歡樂飲酒歌〉向美國加州聯邦法院提告，經過三年的煎熬，在承審法官嚴厲督促下，兩造歷經漫長談判，終於達成和解。在國內甚至催生了「原住民族傳統智慧創作保護條例」，增訂著作權法保障表演著作的立法例。郭英男〈歡樂飲酒歌〉跨國侵權案也成為智慧財產權法律課程指標案例，傳誦在各大法律學院與音樂產業。
然而，真正侵權行為地的歐洲和美國，卻因資訊缺乏，而對於此案一知半解，甚或以訛傳訛，造成嚴重誤導！數年來世界各國傳聞紛沓，事件真相逐漸消褪。身為侵權訴訟案的主導律師，釐清案件始末責無旁貸；尤其需要以共通語言解說案情經過，因此時隔二十二年後，以中／英文梳理案件，還原事實，交代侵權責任，以正視聽；並呼籲世人共同尊重原住民歌曲與文化，祈願透過美好的音樂，帶給世界真正的和諧與歡樂。
Preface
Elders Drinking Song-Everlasting Melody Is Never Gone
While reviewing the international litigation proceeding for “Elders Drinking Song”, which was taking place more than twenty years ago, I can still remember this case like it was happening yesterday.
In 1996, while the Atlanta Olympics’ promotion song was ringing in everyone’s ear, an East-West cultural warfare - a tension between Indigenous People and modern record labels, and a confrontation between Amis folk song and western popular music - began, which brought shame on the Olympics and made its tune go off-key. A lawsuit arose, and the final justice had waited long to come after a tangle of years of litigation.
Elders Drinking Song has been passed among Amis People in Taitung for a long time, but it was not known to most people until it was launched as the promotion song for Olympics in Atlanta in 1996. While the sonorous music was presented on the highest global sports stage, having the world appreciate the fullness and pride of the sound, yet, people remained unaware that it was oriented from the valley in Taitung, Taiwan.
In the summer of 1996, it was with mixed feelings that Mr. Difang Duana (Kuo Ying Nan), an Aboriginal singer from the Amis tribe, heard his voice was used by the German band Enigma without his permission. The positive side is that the world stage’s spotlight descended on the tribe’s heritage, which made him so proud. The negative side is that this disrespectful behavior violated his right, which worried and offended him at the same time. In the beginning, facing the infringer’s aggression, arrogance and rude attitude, Mr. Difang Duana was not expecting justice with his poor resource; luckily, Rock Records and Magic Stone Music were determined to support their singer’s right and interests at full power.
Mr. and Ms. Duana had never stepped a foot into the court before, but they decided to file this lawsuit in federal district courts in California. With the trial judge’s strong push and both parties’ lengthy negotiation, a settlement was reached after three years of suffering. This led to the enactment of Taiwan’s Protection Act for the traditional intellectual creations of indigenous peoples and prompted the amendment of the Copyright Act, which additionally provides protection for performances. Also, Mr. Duana’s international infringement case has become a leading precedent in intellectual property law, acknowledged by law schools and the music industry.
Nevertheless, very little information about this case is available in Europe and the US, where this infringement occurred. Outside Taiwan, there appear to be some misunderstanding narratives spread and even untruthful records where the lies carry more weight than the fact! As the lawyer mainly in charge of the litigation, I feel my responsibility and urge to clarify this case.
Particularly, this has to be told in a common language so everyone can read the whole story and figure out how the rights were violated. I also need to address the importance of respecting Indigenous songs and culture, and I hope the beautiful music brings true harmony and happiness to the world.
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