Beyond Creating Art: SNA Mobilises Visual Artists To Secure Copyrights & Earn Royalties

Copyright Protection Takes Centre Stage in Nigeria’s Visual Arts Community

THE Society of Nigerian Artists (SNA) has intensified efforts to strengthen copyright protection in the country’s visual arts sector, urging artists nationwide to register with the Reproduction Rights Society of Nigeria (REPRONIG) to safeguard their intellectual property and earn royalties from the reproduction of their published works.

The campaign forms part of the National Visual Artists Copyright Protection and Creative Rights Development Programme (NVACRDP), announced in a notice issued by Otunba Nkang Ini Dan, SNA National Vice-President, Southwest Zone, and Team Lead of the SNA-REPRONIG Southwest Zonal Implementation Team.

Through the initiative, the association seeks to address persistent gaps in copyright awareness, documentation and enforcement. It also aims to strengthen institutional cooperation and equip visual artists with the knowledge and mechanisms required to protect their creative output.

The campaign comes at a time when digital technologies, social media, online publishing and artificial intelligence have made the reproduction and circulation of artistic works increasingly easy. Consequently, artists face growing challenges in monitoring how third parties use their images, illustrations, paintings and photographs, particularly when those works appear in commercial and educational publications.

Although Nigeria has copyright legislation, many creators remain unfamiliar with their rights and the procedures for obtaining compensation when their works are reproduced. Therefore, the SNA considers collective rights management an important instrument for improving artists’ economic protection.

Understanding REPRONIG & Its Role in Copyright Administration

Dan explained that REPRONIG operates as Nigeria’s recognised Collective Management Organisation (CMO) for the administration of reproduction and reprographic rights in literary works, with a mandate that also covers visual artworks reproduced in published materials.

The organisation represents authors, publishers, visual artists and other copyright owners. Its responsibilities include collecting royalties from authorised reproduction and distributing the proceeds to the appropriate rights holders.

REPRONIG’s institutional history dates back to discussions at a copyright forum organised by the Nigerian Copyright Council, now the Nigerian Copyright Commission, in 1994. Subsequently, the organisation was incorporated in December 2000, received its licence from the Commission in 2001 and began full operations in 2003.

Since then, its activities have included managing reproduction rights in books, journals, newspapers, academic publications and other literary materials. It also licenses photocopying, scanning, digital storage and other forms of reproduction, while collecting royalties and monitoring compliance with copyright regulations.

Furthermore, its affiliation with the International Federation of Reproduction Rights Organisations connects it to a global network representing authors and publishers in more than 90 countries.

Through reciprocal arrangements with international counterparts, Nigerian rights holders can benefit from protection and royalty payments when their works are reproduced abroad. Similarly, foreign rights holders can receive corresponding protection when their works are used in Nigeria.

This international connection provides an important framework for addressing the cross-border circulation of published creative works.

Which Visual Artworks Qualify for Registration?

A central aspect of the SNA campaign is clarifying the distinction between standalone artworks and visual creations reproduced in published materials.

Dan explained that REPRONIG’s coverage extends to illustrations, paintings, photographs and other visual works incorporated into books, magazines, journals, newspapers, educational publications, exhibition catalogues, reports, book covers and digital publications.

However, artists should not assume that every artwork qualifies for registration. According to the notice, eligibility applies to visual works that have already appeared in published publications.

For example, an illustration reproduced in a textbook, a painting featured in an exhibition catalogue or a photograph published in a magazine may qualify. Likewise, an artwork incorporated into a printed or digital publication falls within the stated scope.

By contrast, an original painting, sculpture, ceramic work, photograph or illustration that exists only as a standalone creation does not qualify for upload unless it has been reproduced in a published publication.

This distinction is important because the initiative focuses on reproduction rights rather than the general registration of every form of artistic creation. Artists must therefore identify eligible published works before beginning the application process.

Membership & Documentation Requirements

Beyond identifying eligible works, prospective applicants must satisfy specific membership and documentation requirements.

Dan stated that interested artists must belong to their respective SNA state chapters and have active membership status reflected on the chapter’s membership list at the SNA National Secretariat.

Applicants must also provide valid identification. Acceptable documents include the National Identification Number (NIN), international passport, voter’s card or driver’s licence.

In addition, artists must submit proof of residential address. A utility bill bearing the address supplied during registration or the first page of a bank account statement can serve this purpose.

These requirements are intended to establish applicants’ identities and provide the information necessary for the registration process.

How Artists Can Complete the Registration

The notice outlines a digital registration process through the REPRONIG application, which interested artists can download from the Google Play Store or the appropriate application platform on their devices.

Applicants must create individual accounts using active email addresses and unique passwords. They are also expected to upload identification documents and proof of address where requested, alongside other relevant personal and professional information.

Dan described the procedure as relatively straightforward, estimating that applicants should complete it within 30 minutes.

Nevertheless, artists should ensure that their information and supporting documents are accurate before submitting their applications. They should also confirm that the published works they intend to register meet REPRONIG’s eligibility requirements.

Digital Reproduction & the Economic Rights of Artists

The initiative reflects a wider challenge confronting the creative sector as digital technology changes how artistic works circulate and generate commercial value.

Images can now move rapidly across websites, social media platforms, electronic publications and educational resources. While this wider circulation can increase visibility for artists, it can also create opportunities for unauthorised copying, distribution and commercial exploitation.

Artificial intelligence has added another dimension to the debate by increasing the ease with which visual materials can be reproduced, adapted and incorporated into digital content.

Consequently, copyright awareness must extend beyond the creation of original works. Artists also need to understand how reproduction rights operate, how to document published works and how to pursue remuneration when third parties use their creations.

Collective management organisations can help address some of these challenges by licensing reproduction, monitoring usage and distributing royalties. However, the effectiveness of such arrangements depends on clear eligibility rules, transparent administration, accurate documentation and effective communication with rights holders.

For visual artists, registration therefore represents an opportunity to participate in an organised system for managing certain reproduction rights. It should not, however, be confused with automatic protection against every form of copyright infringement or a guarantee that every registered work will generate royalties.

SNA Calls for Collective Action

Dan has urged eligible visual artists to take advantage of the programme, stressing that collective participation is essential to building a stronger copyright protection framework for Nigeria’s visual arts community.

The campaign also places responsibility on professional associations to educate members about intellectual property, encourage proper documentation and improve access to institutions responsible for managing creative rights.

Ultimately, the initiative seeks to strengthen the relationship between artistic production and economic recognition. Artists invest time, skill, resources and creativity in producing works; therefore, the reproduction of eligible creations should respect their rights and provide appropriate remuneration where applicable.

The message guiding the campaign captures its central objective: “Create. Protect. Reproduce. License. Earn.”

For Nigeria’s visual arts community, the challenge now is to translate greater copyright awareness into effective registration, responsible reproduction practices and a more transparent system for recognising the economic value of creative work.