New PDF release: Critical Race Theory and Copyright in American Dance:

By Caroline Joan S. Picart

the hassle to win federal defense for dance within the usa was once a racialized and gendered contest. Picart lines the evolution of choreographic works from being federally non-copyrightable to changing into a class in all likelihood copyrightable lower than the 1976 Copyright Act, in particular interpreting Loíe Fuller, George Balanchine, and Martha Graham.

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Critical Race Theory and Copyright in American Dance: Whiteness as Status Property by Caroline Joan S. Picart


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