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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 defense for choreography and teases out their raced and gendered politics, displaying how dancers have embraced highbrow estate rights as a method to either consolidate and contest racial and gendered strength.

A variety of the artists featured within the ebook are recognized within the heritage of yank dance, together with Loie Fuller, Hanya Holm, and Martha Graham, Agnes de Mille, and George Balanchine. however the booklet additionally uncovers a number 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 stories of copyright, Choreographing Copyright bargains clean perception into the raced and gendered hierarchies that govern the theatrical market, white women's traditionally contingent courting 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

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34 Rose, Authors and Owners, 142, 3. 32 Introduc tion 11 the development of copyright in eighteenth-century Britain, demonstrating how the Statute of Queen Anne, generally recognized as the world’s first copyright law, endorsed the concept of author’s rights in order to end a single company’s monopoly over the book printing trade. The refinement of copyright laws in subsequent years resulted from a battle between booksellers. Out of these battles grew an idea of the author as proprietor, as well as an idea of literary property, itself a complicated construction that mixed ideas of originality and personality, landed property and immaterial thought, paternity and propriety.

And second, in its conversion of the expression of ideas into property, copyright executes a separation between the author and her work, between her ideas and the expression of those ideas. This is implicit in the very term “copyright,” literally the right to copy: the severability of copies from an original is a basic precondition of copyright. 86 It is here, within copyright’s alienability, that dance poses complications. ” Especially when the author is also the performer (as was the case in the early examples I examine in this book), is it possible to detach the choreographic work from the choreographer, the dancing body from the choreography?

Unlike an invention, which must be deemed “novel”—defined as unknown to the public—to qualify for patent protection, copyright law’s protection for “original works of authorship” ostensibly requires only that a work originate with its author rather than be copied from another source. 32 A copyright actually grants an owner a bundle of rights: the right to reproduce, perform, display, and distribute the work, and to create derivative works of the original. html. Accessed December 12, 2013. gov/.

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