By Anthea Kraut
Choreographing Copyright is a brand new ancient and cultural research of U.S. dance-makers' funding in highbrow estate rights. Stretching from the overdue 19th century to the early twenty-first, the ebook reconstructs efforts to win copyright safeguard for choreography and teases out their raced and gendered politics, displaying how dancers have embraced highbrow estate rights as a way to either consolidate and contest racial and gendered energy.
A variety of the artists featured within the publication are famous within the heritage of yankee dance, together with Loie Fuller, Hanya Holm, and Martha Graham, Agnes de Mille, and George Balanchine. however the ebook additionally uncovers a bunch of marginalized figures--from the South Asian dancer Mohammed Ismail, to the African American pantomimist Johnny Hudgins, to the African American blues singer Alberta Hunter, to the white burlesque dancer religion Dane--who have been both attracted to positioning themselves as matters instead of items of estate.
Drawing on severe race and feminist theories and on cultural reports of copyright, Choreographing Copyright bargains clean perception into the raced and gendered hierarchies that govern the theatrical market, white women's traditionally contingent dating to estate rights, legacies of possession of black our bodies and appropriation of non-white hard work, and the stress among dance's ephemerality and its reproducibility.
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Extra resources for Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance
Pagewanted=all&src=pm. Accessed November 8, 2013. S. Code, Title 17, Section 102. edu/uscode/ text/17/102. Accessed November 8, 2013. 41 As recently as 2014, a federal judge denied protection for a dance routine on the grounds that the performance had not been fixed in a tangible medium of protection. The case, Catherine Conrad v. S. Court of Appeals, Seventh Circuit, No. 13–2899, April 14, 2014, arose when Conrad, known as the “Banana Lady,” sued the organizers of a credit union trade association event for failing to prevent audience members from uploading pictures and videos of her routine onto the Internet.
Vii; Richard Handler, “Who Owns the Past? History, Cultural Property, and the Logic of Possessive Individualism,” in The Politics of Culture, ed. Brett Williams (Washington: Smithsonian Institution Press, 1991), 63–74. 5 (1982): 957–1015. , which concerned the copyright of circus posters. Weighing whether commercial advertisements designed by the plaintiff qualified for copyright protection, Justice Oliver Wendell Holmes concluded that The copy [here, the chromolithographed poster] is the personal reaction of an individual upon nature.
72 Achieving the status of personhood has thus depended equally on ownership of one’s body and the ability to abstract or transcend that body. This privilege, as I review below, has historically been reserved for white, property-owning males. The bodiliness of dance has unquestionably complicated dance-makers’ legal claims to possessive individualism, which simultaneously hinges on and disavows the subject’s corporeality. Yet, what choreographic copyright offered dancers, the case studies in this book suggest, was precisely the prospect of abstracting the body from choreography.
Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance by Anthea Kraut