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

レコード種別:	言語・文字資料 (印刷物) : 単行資料
[NT 15000414] null:	346.7304/82
タイトル / 著者:	Critical race theory and copyright in american dance : : whiteness as status property // Caroline Joan S. Picart.
著者:	Picart, Caroline Joan,
記述:	1 online resource.
主題:	Copyright - Choreography - United States.
主題:	Performing arts - Law and legislation - United States.
主題:	Copyright - Choreography.
主題:	LAW / Administrative Law & Regulatory Practice
主題:	LAW / Intellectual Property / Copyright.
主題:	PERFORMING ARTS / Dance / General.
主題:	Performing arts - Law and legislation.
主題:	SOCIAL SCIENCE / Ethnic Studies / General.
主題:	United States.
国際標準図書番号 (ISBN) :	1137321970 (electronic bk.)
国際標準図書番号 (ISBN) :	9781137321978 (electronic bk.)
[NT 15000228] null:	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?.
[NT 15000229] null:	"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. "--
電子資源:	http://www.palgraveconnect.com/doifinder/10.1057/9781137321978

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 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. "--

ISBN: 1137321970 (electronic bk.)

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

575389
Copyright
--Choreography--United States.Subjects--Geographical Terms:

411759
United States.
Index Terms--Genre/Form:

336502
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 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. "-- $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 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"-- $c Provided by publisher.
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650 7 $a PERFORMING ARTS / Dance / General. $2 bisacsh $3 551192
650 7 $a Performing arts $x Law and legislation. $2 fast $3 575391
650 7 $a SOCIAL SCIENCE / Ethnic Studies / General. $2 bisacsh $3 474256
651 7 $a United States. $3 411759
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776 0 8 $i Print version: $a Picart, Caroline Joan, 1966- $t Critical race theory and copyright in american dance $z 9781137321961 $w (DLC) 2013017932 $w (OCoLC)852224877
856 4 0 $3 Palgrave Connect $u http://www.palgraveconnect.com/doifinder/10.1057/9781137321978