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Choreographing Copyright
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.
Choreographing the Folk
Poetry. LGBT Studies. Ronnie Burk, born in Sinton, Texas, April 1, 1955, was a visionary poet, a remarkable collagist, and a dedicated political activist. In his youth he studied Buddhism and literature at the Naropa Institute in Colorado. Mango Publications brought out his first book, En el jardín de los nopales, in 1979. He was active in the early Chicano movement of the 1970s and became a leading force in the controversial San Francisco branch of ACT UP, fighting for the rights of people diagnosed with HIV. Throughout his life Burk traveled widely and sought out like-minded friends and mentors, including Allen Ginsberg, Diane di Prima, Charles Henri Ford, and Philip Lamantia. He lived in the Southwest, Hawaii, and the two cities he was based in and loved most, San Francisco and New York. Ronnie Burk died in 2003 at the age of forty-seven. This is the first published volume of his writing.
Choreographing Copyright
"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 consoli...
Worlding Dance
What world has been constructed for dancing through the use of the term 'world dance'? What kinds of worlds do we as scholars create for a given dance when we undertake to describe and analyze it? This book endeavours to make new epistemological space for the analysis of the world's dance by offering a variety of new analytic approaches.
Embodying Liberation
A collection of essays concerning the black body in American dance, EmBODYing Liberation serves as an important contribution to the growing field of scholarship in African American dance, in particular the strategies used by individual artists to contest and liberate racialized stagings of the black body. The collection features special essays by Thomas DeFrantz and Brenda Dixon Gottschild, as well as an interview with Isaac Julien.
Flexible Bodies
Drawing on exclusive interviews, choreographic analysis, and the author's own dance experience, Flexible Bodies reveals how South Asian dancers in Britain use their craft and creativity to navigate often precarious economic, national, and racial terrain.
Watching Weimar Dance
This title historicizes and theorizes the spectatorship of dances in and from interwar Germany - at home, on tour, and later returning from exile - developing a culturally-situated model of watching that not only offers a revisionist historical narrative, but also demonstrates new methods for dance scholarship to shape cultural history.
Copyright and the Value of Performance, 1770–1911
Explores the development of nineteenth-century performance copyright laws which shape how we define and value drama and music.
Consuming Dance
Whether advertising clothes or technology, dance is staple of advertising today. 'Consuming Dance' offers a clear history and analysis of dance in advertising and demonstrates the ways in which the form articulates with, informs, and reflects U.S. culture.
Honest Bodies
Honest Bodies: Revolutionary Modernism in the Dances of Anna Sokolow illustrates the ways in which Sokolow's choreography circulated American modernism among Jewish and communist channels of the international Left from the 1930s-1960s in the United States, Mexico, and Israel. Drawing upon extensive archival materials, interviews, and theories from dance, Jewish, and gender studies, this book illuminates Sokolow's statements for workers' rights, anti-racism, and the human condition through her choreography for social change alongside her dancing and teaching for Martha Graham. Tracing a catalog of dances with her companies Dance Unit, La Paloma Azul, Lyric Theatre, and Anna Sokolow Dance Company, along with presenters and companies the Negro Cultural Committee, New York State Committee for the Communist Party, Federal Theatre Project, Nuevo Grupo Mexicano de Cl sicas y Modernas, and Inbal Dance Theater, this book highlights Sokolow's work in conjunction with developments in ethnic definitions, diaspora, and nationalism in the US, Mexico, and Israel.
