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Critical race theory and copyright i...

Picart, Caroline Joan, (1966-)

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

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Critical race theory and copyright in american dance :Caroline Joan S. Picart.
其他題名:	whiteness as status property /
作者:	Picart, Caroline Joan,
面頁冊數:	1 online resource.
標題:	CopyrightChoreographyUnited States.
標題:	United States.
電子資源:	http://www.palgraveconnect.com/doifinder/10.1057/9781137321978
ISBN:	1137321970 (electronic bk.)

Critical race theory and copyright in american dance :whiteness as status property /
Picart, Caroline Joan,1966-

Critical race theory and copyright in american dance :whiteness as status property /Caroline Joan S. Picart. - 1 online resource.

Comparing Aesthetics of Whiteness and Non-Whiteness in Relation to American Dance -- 3. Loe 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 Dance -- 5. Martha Graham, "Picasso of American Dance," and Katherine Dunham, 'Matriarch of Black Dance': Exoticism and Non-Whiteness in American Dance -- 6. Moving into New Directions: Cunningham and Ailey -- 7. Conclusions: Quo Vadis?.

"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 Loi��e 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. "--

ISBN: 1137321970 (electronic bk.)

Source: 642081Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Topical Terms:

686396
Copyright
--Choreography--United States.Subjects--Geographical Terms:

235877
United States.
Index Terms--Genre/Form:

214472
Electronic books.

LC Class. No.: KF3050 / .P53 2013

Dewey Class. No.: 346.7304/82

Critical race theory and copyright in american dance :whiteness as status property /
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505 0 $a Comparing Aesthetics of Whiteness and Non-Whiteness in Relation to American Dance -- 3. Loe 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 Dance -- 5. Martha Graham, "Picasso of American Dance," and Katherine Dunham, 'Matriarch of Black Dance': Exoticism and Non-Whiteness in American Dance -- 6. Moving into New Directions: Cunningham and Ailey -- 7. Conclusions: Quo Vadis?.
520 $a "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 Loi��e 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. "-- $c Provided by publisher.
520 $a "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 Loi�� 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"-- $c Provided by publisher.
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