Critical Race Theory And Copyright In American Dance
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Critical Race Theory and Copyright in American Dance by Caroline Joan S. Picart Pdf
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.
Critical Race Theory and Copyright in American Dance by Caroline Joan S. Picart Pdf
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.
Critical Race Theory, Gender, American Modern Dance and Copyright by Caroline Joan Picart Pdf
I begin by examining the conditions of possibility within which a white and nonwhite aesthetic in relation to American dance may be characterized, not to totalize these analytic categories, but as a rough heuristic in order to do a genealogy of how one particular white aesthetic - Balanchine's vision of ballet - becomes enshrined as the paradigmatic case for full copyright protection. But more significantly, the central argument of this thesis is 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 Loïe Fuller and Martha Graham, also both pioneers of American modern dance, George Balanchine, a Russian émigré (and 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\U+2014\ both manifestations of whiteness as status property\U+2014\were crucial to that success. Additionally, gender imbricates with race in this cultural imagination of a white versus a non-white dance aesthetic, much as postcolonial imaginings of a primitivist and exotic other (in the case of Josephine Baker and Katherine Dunham, though differently), refracted through the prisms of stardom and image-making, connect to form a complex narrative. Finally, the thesis also includes an analysis of how Baker and Dunham, despite their international celebrity, did not have full access to the same kind of status property their white female predecessors and contemporaries, Fuller and Graham, had.
But the book also uncovers a host of marginalized figures - from the South Asian dancer Mohammed Ismail, to the African American pantomimist Johnny Hudgins, to the African American blues singer Alberta Hunter, to the white burlesque dancer Faith Dane - who were equally interested in positioning themselves as subjects rather than objects of property, as possessive individuals rather than exchangeable commodities. Choreographic copyright, the book argues, has been a site for the reinforcement of gendered white privilege as well as for challenges to it.
Research Handbook on Critical Legal Theory by Emilios Christodoulidis,Ruth Dukes,Marco Goldoni Pdf
Critical theory, characteristically linked with the politics of theoretical engagement, covers the manifold of the connections between theory and praxis. This thought-provoking Research Handbook captures the broad range of those connections as far as legal thought is concerned and retains an emphasis both on the politics of theory, and on the notion of theoretical engagement. The first part examines the question of definition and tracks the origins and development of critical legal theory along its European and North American trajectories. The second part looks at the thematic connections between the development of legal theory and other currents of critical thought such as; Feminism, Marxism, Critical Race Theory, varieties of post-modernism, as well as the various ‘turns’ (ethical, aesthetic, political) of critical legal theory. The third and final part explores particular fields of law, addressing the question how the field has been shaped by critical legal theory, or what critical approaches reveal about the field, with the clear focus on opportunities for social transformation.
Handbook of Writing, Literacies, and Education in Digital Cultures by Kathy A. Mills,Amy Stornaiuolo,Anna Smith,Jessica Zacher Pandya Pdf
At the forefront of current digital literacy studies in education, this handbook uniquely systematizes emerging interdisciplinary themes, new knowledge, and insightful theoretical contributions to the field. Written by well-known scholars from around the world, it closely attends to the digitalization of writing and literacies that is transforming daily life and education. The chapter topics—identified through academic conference networks, rigorous analysis, and database searches of trending themes—are organized thematically in five sections: Digital Futures Digital Diversity Digital Lives Digital Spaces Digital Ethics This is an essential guide to digital writing and literacies research, with transformational ideas for educational and professional practice. It will enable new and established researchers to position their studies within highly relevant directions in the field and to generate new themes of inquiry.
Law In and As Culture by Caroline Joan "Kay" S. Picart Pdf
There are two oppositional narratives in relation to telling the story of indigenous peoples and minorities in relation to globalization and intellectual property rights. The first, the narrative of Optimism, is a story of the triumphant opening of brave new worlds of commercial integration and cultural inclusion. The second, the narrative of Fear, is a story of the endangerment, mourning, and loss of a traditional culture. While the story of Optimism deploys a rhetoric of commercial mobilization and “innovation,” the story of Fear emphasizes the rhetoric of preserving something “pure” and “traditional” that is “dying.” Both narratives have compelling rhetorical force, and actually need each other, in order to move their opposing audiences into action. However, as Picart shows, the realities behind these rhetorically framed political parables are more complex than a simple binary. Hence, the book steers a careful path between hope rather than unbounded Optimism, and caution, rather than Fear, in exploring how law functions in and as culture as it contours the landscape of intellectual property rights, as experienced by indigenous peoples and minorities. Picart uses, among a variety of tools derived from law, critical and cultural studies, anthropology and communication, case studies to illustrate this approach. She tracks the fascinating stories of the controversies surrounding the ownership of a Taiwanese folk song; the struggle over control of the Mapuche’s traditional land in Chile against the backdrop of Chile’s drive towards modernization; the collaboration between the Kani tribe in India and a multinational corporation to patent an anti-fatigue chemical agent; the drive for respect and recognition by Australian Aboriginal artists for their visual expressions of folklore; and the challenges American women of color such as Josephine Baker and Katherine Dunham faced in relation to the evolving issues of choreography, improvisation and copyright. The book also analyzes the cultural conflicts that result from these encounters between indigenous populations or minorities and majority groups, reflects upon the ways in which these conflicts were negotiated or resolved, both nationally and internationally, and carefully explores proposals to mediate such conflicts.
Assistant Professor of Global Asian Studies J Lorenzo Perillo,J. Lorenzo Perillo
Author : Assistant Professor of Global Asian Studies J Lorenzo Perillo,J. Lorenzo Perillo Publisher : Oxford University Press, USA Page : 273 pages File Size : 51,9 Mb Release : 2020-09-08 Category : Performing Arts ISBN : 9780190054274
Choreographing in Color by Assistant Professor of Global Asian Studies J Lorenzo Perillo,J. Lorenzo Perillo Pdf
In Choreographing in Color, J. Lorenzo Perillo draws on nearly two decades of ethnography, choreographic analysis, and community engagement to ask: what does it mean for Filipinos to navigate violent forces of empire and neoliberalism with street dance and Hip-Hop?
Fabulous yet fierce, imperious yet impetuous, boss yet bitchy—divas are figures of paradox. Their place in culture is equally contradictory, as they are simultaneously venerated and marginalized, hailed as timeless but then frequently forgotten or exhumed as cult icons by future generations. Focusing on four early twentieth-century divas—Aida Overton Walker, Loïe Fuller, Libby Holman, and Josephine Baker—who were icons in their own time, Moving Performances considers what their past and current reception reveals about changing ideas of race and gender. Jeanne Scheper examines how iconicity can actually work to the diva’s detriment, reducing her to a fetish object, a grotesque, or a figure of nostalgia. Yet she also locates more productive modes of reception that reach to revive the diva’s moving performances, imbuing her with an affective afterlife. As it offers innovative theorizations of performance, reception, and affect, Moving Performances also introduces readers to four remarkable women who worked as both cultural producers and critics, deftly subverting the tropes of exoticism, orientalism, and primitivism commonly used to dismiss women of color. Rejecting iconic depictions of these divas as frozen in a past moment, Scheper vividly demonstrates how their performances continue to inspire ongoing movements.
"Choreographing Copyright provides a historical and cultural analysis of U.S.-based dance-makers' investment in intellectual property rights. Although federal copyright law in the U.S. did not recognize choreography as a protectable class prior to the 1976 Copyright Act, efforts to win copyright protection for dance began eight decades earlier. In a series of case studies stretching from the late nineteenth century to the early twenty-first, the book reconstructs those efforts and teases out their raced and gendered politics. Rather than chart a narrative of progress, the book shows how dancers working in a range of genres have embraced intellectual property rights as a means to both consolidate and contest racial and gendered power. A number of the artists featured in Choreographing Copyright are well-known white figures in the history of American dance, including modern dancers Loie Fuller, Hanya Holm, and Martha Graham, and ballet artists Agnes de Mille and George Balanchine. But the book also uncovers a host of marginalized figures - from the South Asian dancer Mohammed Ismail, to the African American pantomimist Johnny Hudgins, to the African American blues singer Alberta Hunter, to the white burlesque dancer Faith Dane - who were equally interested in positioning themselves as subjects rather than objects of property, as possessive individuals rather than exchangeable commodities. Choreographic copyright, the book argues, has been a site for the reinforcement of gendered white privilege as well as for challenges to it. Drawing on critical race and feminist theories and on cultural studies of copyright, Choreographing Copyright offers fresh insight into such issues as: the raced and gendered hierarchies that govern the theatrical marketplace, white women's historically contingent relationship to property rights, legacies of ownership of black bodies and appropriation of non-white labor, and the tension between dance's ephemerality and its reproducibility"--
Sociology for Music Teachers by Hildegard Froehlich,Gareth Dylan Smith Pdf
Sociology for Music Teachers: Practical Applications, Second Edition, outlines the basic concepts relevant to understanding music teaching and learning from a sociological perspective. It demonstrates the relationship of music to education, schooling and society, and examines the consequences for making instructional choices in teaching methods and repertoire selection. The authors look at major theories, and concepts relevant to music education, texts in the sociology of music, and thoughts of selected ethnomusicologists and sociologists. The new edition takes a more global approach than was the case in the first edition and includes the application of sociological theory to contexts beyond the classroom. The Second Edition: Presents major theories in ethnomusicology, both traditional and contemporary. Takes a global approach by presenting a variety of teaching practices beyond those found in the United States. Emphasizes music education in a traditional classroom setting, but also applies specific constructs to studio teaching situations in conservatories (with private lessons) and community music. Provides recommendations for teaching practices by addressing popular music in school music curricula, suggests inclusionary projects that explore musical styles and repertoire of the past and present, and connects school to community music practices of varying kinds. Contains an increased number of suggestions for projects and discussions among the students using the book.
A new exploration of how digital media assert the relevance of dance in a wired world How has the Internet changed dance? Dance performances can now be seen anywhere, can be looped endlessly at user whim, and can integrate crowds in unprecedented ways. Dance practices are evolving to explore these new possibilities. In Perpetual Motion, Harmony Bench argues that dance is a vital part of civil society and a means for building participation and community. She looks at how, after 9/11, it became a crucial way of recuperating the common character of public spaces. She explores how crowdsourcing dance contributes to the project of performing a common world, as well as the social relationships forged when we look at dance as a gift in the era of globalization. Throughout, she asks how dance brings people together in digital spaces and what dance’s digital travels might mean for how we experience and express community. From original research on dance today to political economies of digital media to the philosophy of dance, Perpetual Motion provides an ambitious, invigorating look at a commonly shared practice.
How does coding change the way we think about architecture? This question opens up an important research perspective. In this book, Miro Roman and his AI Alice_ch3n81 develop a playful scenario in which they propose coding as the new literacy of information. They convey knowledge in the form of a project model that links the fields of architecture and information through two interwoven narrative strands in an “infinite flow” of real books. Focusing on the intersection of information technology and architectural formulation, the authors create an evolving intellectual reflection on digital architecture and computer science.
