Critical Race Theory and Copyright in American Dance
Whiteness as Status Property
(Sprache: Englisch)
The effort to win federal protection for dance in the United States was a racialized and gendered contest. Picart traces the evolution of choreographic works from being federally non-copyrightable to becoming a category potentially copyrightable under the...
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The effort to win federal protection for dance in the United States was a racialized and gendered contest. Picart traces the evolution of choreographic works from being federally non-copyrightable to becoming a category potentially copyrightable under the 1976 Copyright Act, specifically examining Loíe Fuller, George Balanchine, and Martha Graham.
Inhaltsverzeichnis zu „Critical Race Theory and Copyright in American Dance “
1. Introduction 2. Comparing Aesthetics of Whiteness and Non-Whiteness in Relation to American Dance 3. 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 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?
Autoren-Porträt von Caroline Joan S. Picart
Caroline Joan (Kay) S. Picart, formerly a tenured associate professor of English and Humanities at Florida State University, is a joint Juris Doctor-MA Candidate (WST) at the University of Florida Levin College of Law and an adjunct professor of Humanities at Santa Fe College.
Bibliographische Angaben
- Autor: Caroline Joan S. Picart
- 2013, 1st ed., 243 Seiten, Maße: 21,6 cm, Kartoniert (TB), Englisch
- Verlag: Palgrave Macmillan
- ISBN-10: 1349458198
- ISBN-13: 9781349458196
Sprache:
Englisch
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