Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance

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Description

Choreographing Copyright is a brand new historical and cultural analysis of U.S. dance-makers’ investment in intellectual property rights. Stretching from the past due nineteenth century to the early twenty-first, the book reconstructs efforts to win copyright protection for choreography and teases out their raced and gendered politics, showing how dancers have embraced intellectual property rights as a means to both consolidate and contest racial and gendered power.

A choice of the artists featured within the book are well known within the history of American dance, including Loie Fuller, Hanya Holm, and Martha Graham, Agnes de Mille, and George Balanchine. However the book also uncovers a host 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 Faith Dane–who were equally focused on positioning themselves as subjects somewhat than objects of property.

Drawing on essential race and feminist theories and on cultural studies of copyright, Choreographing Copyright offers fresh insight into the raced and gendered hierarchies that govern the theatrical marketplace, white women’s historically contingent relationship to property rights, legacies of ownership of black bodies and appropriation of non-white labor, and the stress between dance’s ephemerality and its reproducibility.

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