Critical race theory and copyright in American dance :whiteness as status property

• 作者: Picart, Caroline Joan,
• 出版:
• 版本: First edition.
• 稽核項: xii, 243 pages :illustrations ;23 cm.
• 標題: Dance Law and legislation -- United States. , Choreography , Copyright , Dance , Law and legislation , Copyright Choreography -- United States.
• ISBN: 1137321962 , 9781137321961
• 附註: Includes bibliographical references (pages 215-228) and index. Machine generated contents note: -- 1. Introduction:Preliminary Remarks2. Comparing Aesthetics of Whiteness and Nonwhiteness in Relation to American Dance3. Loíe Fuller, "Goddess of Light," and Josephine Baker, 'Black Venus": Non-Narrative Choreography as Mere 'Spectacle'4. George Balanchine, "Genius of American Dance": Whiteness, Choreography, Copyrightability in American Dance5. Martha Graham, "Picasso of American Dance," and Katherine Dunham, 'Matriarch of Black Dance': Exoticism and Nonwhiteness in American Dance6. Moving into New Directions: Cunningham and Ailey7. Conclusions: Quo Vadis?.
• 摘要: "The effort to win federal copyright protection for dance choreography in the United States was a simultaneously racialized and gendered contest. Copyright and choreography, particularly as tied with whiteness, have a refractory history. This book examines the evolution of choreographic works from being federally non-copyrightable, unless they partook of dramatic or narrative structures, to becoming a category of works potentially copyrightable under the 1976 Copyright Act. Crucial to this evolution is the development of whiteness as status property, both as an aesthetic and cultural force and a legally accepted and protected form of property. The choreographic inheritances of Loíe Fuller, George Balanchine, and Martha Graham are particularly important to map because these constitute crucial sites upon which negotiations on how to package bodies of both choreographers and dancers - as racialized, sexualized, nationalized, and classed - are staged, reflective of larger social, political, and cultural tensions. "-- , "This book argues that the effort to win federal copyright protection for dance choreography in the United States was a simultaneously racialized and gendered contest. Copyright and choreography, particularly as tied with whiteness, have a refractory history. Unlike Loí Fuller and Martha Graham, George Balanchine, a Russian grand his estate), succeeded in gaining and maintaining full control of his choreographic creations. A hyperwhitened aesthetic and Balanchine's authority as a white male ballet-master--both manifestations of whiteness as status property--were crucial to that success. It also compares the cases of Josephine Baker, Katherine Dunham, Merce Cunningham and Alvin Ailey"--
• 系統號: 005077610
• 資料類型: 圖書
• 讀者標籤: 需登入
• 引用網址: 複製連結
• 目前引用數