Kinshasa, July 27th , 2026 (CPA).- The fourth round of copyright royalty distribution to artists in the Democratic Republic of the Congo concluded on a note of determination and satisfaction, has learned the CPA on Monday from a Congolese expert.
“This session for the distribution of copyright royalties to Congolese artists concluded on a note of determination and satisfaction. It was marked, in fact, by a major breakthrough: the unprecedented inclusion of visual artists. From now on, these creators will also receive their copyright royalties, confirming Socoda’s commitment to diversifying its scope and ensuring fair recognition for all cultural actors in the country,” has said Joe Mondonga, director general of the Congolese Society for Copyright and Related Rights (Socoda Coop-CA).
Socoda was committed to ensuring fairness. Joe Mondonga, a certified copyright expert, introduced forms into this distribution process that require users to accurately declare the works they have used. Copyright beneficiaries were informed about the traceability of their works and the various sources of funding for their deferred salaries. This method eliminated any possibility of arbitrariness. Most interestingly, even artists who are not Non-affiliated artists, whether foreign or domestic, have been paid.
“There’s no trickery here… I just received my payment. My pay stub lists everything—all the details—based on my performances and broadcasts,” said visual artist Paul Bandoma.
“Only works by an author that have actually been broadcast or communicated to the public, or reproduced by operators or users, are eligible for royalties from Socoda. And the funds collected are periodically redistributed to the artists,” Joe Mondonga has clarified to dispel any misunderstanding.
Challenges in the Face of Modernity
This partnership between the board of directors, led by Chairman Jossart N’yoka Longo, and the technical expertise of Socoda’s executive director has put an end to opacity and amateurism in the management of copyright in DRC. Artists have noted a commitment to transparency and the need to modernize collective management mechanisms. The objectives of the organization’s leaders were demonstrated in this distribution process, namely to move their institution away from informal management.
“Things have really changed. Now, we’re receiving our royalties without any problems, and this is already the fourth time. We’re delighted, and we now have confidence in Socoda,” has noted actor Nsakala. According to this certified expert, this effort to modernize copyright management faces several obstacles. “Our law is somewhat out of step. It no longer fits today’s international legal environment because of new technologies. Between the explosion of streaming, web radio, and the need to protect graphic reproduction rights, the legal framework appears to be holding back the organization’s ambitions,” said Joe Mondonga.
He highlighted this glaring discrepancy between the current legislation—a holdover from 1986—and the demands of the 21st century. This session—the fourth royalty distribution process led by Board Chairman Jossart N’yoka Longo and Executive Director Joe Mondonga—was marked by an outpouring of enthusiasm from artists of different generations at Socoda’s headquarters. Under a row of white tents, a diverse crowd—artists, young talents, widows, and orphans—waited patiently to receive their royalties.