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Choreographing Copyright - Race, Gender, and Intellectual Property Rights in American Dance (Hardcover)
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Choreographing Copyright - Race, Gender, and Intellectual Property Rights in American Dance (Hardcover)
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Choreographing Copyright provides a historical and cultural
analysis of U.S.-based dance-makers' investment in intellectual
property rights. Although federal copyright law in the U.S. did not
recognize choreography as a protectable class prior to the 1976
Copyright Act, efforts to win copyright protection for dance began
eight decades earlier. In a series of case studies stretching from
the late nineteenth century to the early twenty-first, the book
reconstructs those efforts and teases out their raced and gendered
politics. Rather than chart a narrative of progress, the book shows
how dancers working in a range of genres have embraced intellectual
property rights as a means to both consolidate and contest racial
and gendered power. A number of the artists featured in
Choreographing Copyright are well-known white figures in the
history of American dance, including modern dancers Loie Fuller,
Hanya Holm, and Martha Graham, and ballet artists Agnes de Mille
and George Balanchine. But 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 interested in positioning themselves
as subjects rather than objects of property, as possessive
individuals rather than exchangeable commodities. Choreographic
copyright, the book argues, has been a site for the reinforcement
of gendered white privilege as well as for challenges to it.
Drawing on critical race and feminist theories and on cultural
studies of copyright, Choreographing Copyright offers fresh insight
into such issues as: 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 tension
between dance's ephemerality and its reproducibility.
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