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Choreographing Copyright Race Gender and Intellectual Property Rights in American Dance

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Choreographing Copyright: Race, Gender, and Intellectual ~ Choreographing Copyright is a new historical and cultural analysis of U.S. dance-makers' investment in intellectual property rights. Stretching from the late 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.

Choreographing Copyright Race Gender And Intellectual ~ choreographing copyright race gender and intellectual property rights in american dance By Erle Stanley Gardner FILE ID f2879c Freemium Media Library the expansion of .

Choreographing Copyright: Race, Gender, and Intellectual ~ 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 the book are well-known white figures in the history of American dance, including modern dancers .

Choreographing Copyright: Race, Gender and Intellectual ~ This particular account dates back to the late 1890s and tells the story of, as the book’s subtitle says, Race, Gender and Intellectual Property Rights in American Dance. Kraut’s smart detailing and dissection of these struggles, losses, wins and lessons make this book a great contribution.

Choreographing Copyright: Race, Gender, and Intellectual ~ It started with a bit of typed text on a sheet of paper at the Institute of Jazz Studies at Rutgers University. I was doing a little digging for an earlier project in the papers of Marshall Stearns, author of the indispensable Jazz Dance: The Story of American Vernacular Dance.Curious what Stearns had to say about the Black Bottom, a popular African American vernacular dance from the 1920s .

Choreographing Copyright - Hardcover - Anthea Kraut ~ Stretching from the late 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.

Anthea Kraut, “Choreographing Copyright: Race, Gender, and ~ Her first book, Choreographing the Folk: The Dance Stagings of Zora Neale Hurston, was published by the University of Minnesota Press in 2008, and received a Special Citation from the Society of Dance History Scholars de la Torre Bueno Prize for distinguished book of dance scholarship. Her teaching interests include American and African .

"Book Review: Choreographing Copyright: Race, Gender, and ~ Dance may be one of the world’s oldest art forms, but it is a relatively recent entrant into the sphere of copyright law—and remains something of an afterthought amongst copyright lawyers and scholars alike. For copyright scholars, at least, that should change with the publication of Anthea Kraut’s CHOREOGRAPHING COPYRIGHT: RACE, GENDER, AND INTELLECTUAL PROPERTY RIGHTS IN AMERICAN DANCE.

Choreographing Copyright: Race, Gender, and Intellectual ~ Deliver to. Visit The Help Centre

Choreographing Copyright Race, Gender, and Intellectual ~ Stretching from the late 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.

Book Review: Choreographing Copyright: Race, Gender, and ~ Even looking at law review articles before the internet age (so before 1990), there were less than two dozen articles that focused on the possibility of copyright in choreography – and the first law review article from a similar perspective from Kraut appears to be this one (which does cite Kraut’s earlier work) – from 2012: Caroline Joan .

Choreographing Copyright: Race, Gender, and Intellectual ~ Stretching from the late 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

UCR Today: So You Think You Can Steal My Dance? ~ Choreographing Copyright: Race, Gender and Intellectual Property Rights in American Dance by Anthea Kraut RIVERSIDE, Calif. ( www.ucr.edu ) – Anthea Kraut, an associate professor in the Department of Dance at the University of California, Riverside, has written a new book, “Choreographing Copyright: Race, Gender and Intellectual Property Rights in American Dance,” that will be released on Nov. 2.

Choreographing Copyright: Race, Gender, book by Anthea ~ Stretching from the late 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.

(PDF) Copyrights and Copywrongs: The Rise of Intellectual ~ Through the book market, it has contributed in the shaping of intellectual property regimes, helped foreshadow the significance of cognitive labor (and its demise) and has been an active and often .

Department of Dance: anthea-kraut.html ~ Anthea Kraut is Professor in the Department of Dance at the University of California, Riverside, where she teaches courses in critical dance studies. Her first book, Choreographing the Folk: The Dance Stagings of Zora Neale Hurston, was published by the University of Minnesota Press in 2008, and received a Special Citation from the Society of .

Hot off the Presses: Anthea Kraut – UCR / Center for Ideas ~ 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 part of the Hot off the Presses Series. Download flyer here

Coda: Beyoncé v. De Keersmaeker - Oxford Scholarship ~ This final chapter examines the controversy surrounding African American pop music star Beyoncé’s 2011 music video “Countdown,” portions of which allegedly plagiarized the Belgian avant-garde artist Anne Teresa De Keersmaeker. Looked at from one angle, Beyoncé’s unauthorized reproduction of the white avant-garde suggests that, in the age of YouTube, a leveling of racialized .

White Womanhood and Early Campaigns for Choreographic ~ This chapter recounts Loïe Fuller’s pursuit of intellectual property rights in the late nineteenth century. Focusing on the 1892 case Fuller v. Bemis, it approaches Fuller’s lawsuit as a gendered struggle to attain proprietary rights in whiteness. First situating Fuller’s practice in the context of the patriarchal economy that governed the late nineteenth-century theater, the chapter .

2015-16 Emory Elliott Book Award: Anthea Kraut – UCR ~ Stretching from the late 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 gendered power.

Gaga as Metatechnique: Negotiating Choreography ~ Gaga, a practice developed by Israeli choreographer Ohad Naharin, is one of the most popular training methods on the global dance market. Structured as a metatechnique, or a system for negotiating techniques within one's body, Gaga teaches students to both draw on and reject multiple movement techniques to create their own movement.

Loie Fuller - Simple English Wikipedia, the free encyclopedia ~ Loie (or Loïe) Fuller (January 15, 1862 – January 1, 1928) was a pioneer of modern dance. She had no dance training, but got experience acting on the stage.A chance experiment with an over-long skirt gave her ideas which she eventually developed into a dance.

Studies in Musical Theatre: Ingenta Connect Table Of Contents ~ Studies in Musical Theatre is a refereed journal which considers areas of live performance that use vocal and instrumental music in conjunction with theatrical performance as a principal part of their expressive language.

Loie Fuller - Wikipedia ~ Loie Fuller (born Marie Louise Fuller; January 15, 1862 – January 1, 1928), also known as Louie Fuller and Loïe Fuller, was an American actress and dancer who was a pioneer of both modern dance and theatrical lighting techniques.