Critical race theory and copyright in American dance : whiteness as status property
- Picart, Caroline Joan, 1966- author.
- First edition.
- New York, NY : Palgrave Macmillan, 2013.
- Physical description
- xii, 243 pages : illustrations ; 23 cm
KF3050 .P53 2013
- Unknown KF3050 .P53 2013
- Includes bibliographical references (pages -228) and index.
- Introduction: Preliminary remarks
- Comparing aesthetics of whiteness and nonwhiteness in relation to American dance
- Loíe Fuller, "Goddess of Light, " and Josephine Baker, "Black Venus" : non-narrative choreography as mere "spectacle"
- George Balanchine, "Genius of American Dance" : whiteness, choreography, copyrightability in American dance
- Martha Graham, "Picasso of American Dance, " and Katherine Dunham, "Matriarch of Black Dance" : exoticism and nonwhiteness in American dance
- Moving into new directions : Cunningham and Ailey
- Conclusion: Quo vadis?
- Publisher's Summary
- 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 Loie 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.
(source: Nielsen Book Data)
- Publication date
- Caroline Joan S. Picart.