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

A variety of the artists featured within the e-book are famous within the background of yank 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 topics instead of items of estate.

Drawing on severe race and feminist theories and on cultural reviews 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 exertions, and the stress among dance's ephemerality and its reproducibility.

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Arjun Appadurai (Cambridge: Cambridge University Press, 1986), 9, 13, emphasis in original. , 13. 83 Thomas DeFrantz, “Unchecked Popularity: Neoliberal Circulations of Black Social Dance,” in Neoliberalism and Global Theatres: Performance Permutations, ed. Lara Nielsen and Patricia Ybarra (New York: Palgrave Macmillan, 2012), 135. ”85 Copyright itself has a twofold relationship to alienability. First, like all forms of property, intellectual property is legally transferrable from one person to another.

76 Gaines, Contested Culture, 9. 77 Mark Franko, The Work of Dance: Labor, Movement, and Identity in the 1930s (Middletown, CT: Wesleyan University Press, 2002), 2. 78 Quoted in Rachel Aviv, “The Imperial Presidency,” The New Yorker, September 9, 2013, 64. 79 Phelan, Unmarked, 148. 80 Of course, Phelan’s argument about performance’s ontology has been contested from multiple angles by scholars working in dance, theater, and performance studies. Perhaps most pointedly, thinking about black performance in the United States requires us to confront the 22 Choreogr aphing Copyright To that end, it is helpful to think of commodities in broader terms than mass-produced articles of commerce.

Personhood, to recognize and foster the nonmarket significance of their work” (1919–20). 91 Margaret Jane Radin and Madhavi Sunder, “Introduction: The Subject and Object of Commodification,” in Rethinking Commodification, 8. 92 See generally Ertman and Williams, Rethinking Commodification. Carol Wolkowitz’s Bodies at Work (London: Sage, 2006) offers a useful survey of various conceptualizations of the body in scholarship on prostitution/sex work. See also Kate Elswit’s chapter on the commodification of female bodies in Watching Weimar Dance (New York: Oxford University Press, 2014), 60–94.

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