A few blurbs:
A number of the artists featured in the book are well-known in the history of American dance, including Loie Fuller, Hanya Holm, and Martha Graham, 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.
Drawing on critical race and feminist theories and on cultural studies of copyright, Choreographing Copyright offers fresh insight into 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.
"A magnificently complex argument based in meticulous archival research, Choreographing Copyright examines the function of copyright in both affirming and contesting key cultural values for artists of different raced, classed, and gendered identities." -- Susan Leigh FosterMore information is available here.
"Choreographing Copyright is a provocative book that sheds new light on the history of modern, vernacular and commercial dance. By attending to the raced, gendered and classed biases that influence choreographers' claims of originality, authorship and ownership, Kraut lends keen insight into the implicit social politics behind the fixing of moving bodies. She finds in vibrant case studies arguments about subjectivity, property, protection and value writ large and pushes us to recognize the instabilities of bids for personhood through creative expression." -- Nadine George-Graves