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.

Choreographing Copyright Provides a historical and cultural analysis of U.S.-based dance-makers' investment in intellectual property rights. In a series of case studies stretching from the late nineteenth century to the early twenty-first, the book reconstructs dancers' efforts to win copyright protection for choreography and teases out their raced and gendered politics.

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.

The book illuminates the legal and business history of the American theatre through new archival discoveries.

A Research Agenda for Intellectual Property Law and Gender expertly examines patent, copyright and trade mark law, bringing to light hidden gender biases and narratives that impact intellectual property law and practice today. Exploring how gender discrimination and inequality are often built into the way the law functions, it assesses the possibilities and limits of existing strategies to improve gender inclusion and equality and paves a research agenda for the future.

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.

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.

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.

In Choreographing in Color, J. Lorenzo Perillo investigates the development of Filipino popular dance and performance since the late 20th century. Drawing from nearly two decades of ethnography, choreographic analysis, and community engagement with artists, choreographers, and organizers, Perillo shifts attention away from the predominant Philippine neoliberal and U.S. imperialist emphasis on Filipinos as superb mimics, heroic migrants, model minorities, subservient wives, and natural dancers and instead asks: what does it mean for Filipinos to navigate the violent forces of empire and neoliberalism with street dance and Hip-Hop? Employing critical race, feminist, and performance studies, Perillo analyzes the conditions of possibility that gave rise to Filipino dance phenomena across viral, migrant, theatrical, competitive, and diplomatic performance in the Philippines and diaspora. Advocating for serious engagements with the dancing body, Perillo rethinks a staple of Hip-Hop's regulation, the "euphemism," as a mode of social critique for understanding how folks have engaged with both racial histories of colonialism and gendered labor migration. Figures of euphemism - the zombie, hero, robot, and judge - constitute a way of seeing Filipino Hip-Hop as contiguous with a multi-racial repertoire of imperial crossing, thus uncovering the ways Black dance intersects Filipino racialization and reframing the ongoing, contested underdog relationship between Filipinos and U.S. global power. Choreographing in Color therefore reveals how the Filipino dancing body has come to be, paradoxically, both globally recognized and indiscernible.

Critical Race Theory in the Academy explores the deep implications of race and its effects on the expanse of the American social fabric and its fragile democratic process. This volume contributes to a more effective, powerful, and insightful theorization of racism across the social spectrum while furthering the movement for greater equity in higher education and beyond. The audience for this book is broad and should be of great interest and value to all Americans who fight against racism which is focused on the destruction of Black people and other people of color. Ideally, educators, scholars, and practitioners will be compelled to engage the ideas within this volume to break down the color line and challenge the problematic master narrative in education and other aspects of society. Critical Race Theory in the Academy offers current applications, debates, theories, strategies, and evolutions about critical race theory (CRT), with particular attention to CRT’s intersections with the field of higher education and beyond. As a part of the CRT corpus, this volume details some of the most relevant and current topics deployed in varied disciplines of the academy, confronting the complex interplay of race, racism, education, and social justice in the twenty-first century. Specifically, the authors explore topics from health disparities, politics, religion, literature, music, social work, psychology, sports, distance learning, media bias, affirmative action, to education policies, practices and scholarship. The chapters in this volume should help navigate the tensions in the academy and beyond to work toward alleviating institutionalized racism. Praise for Critical Race Theory in the Academy: "The field of Critical Race Theory is enriched by this important collection of new and original scholarship. Vernon Farmer has brought together a dynamic and eclectic mix of radical voices, from multiple disciplinary backgrounds, including both established and early career scholars. The result is a volume that constantly challenges and surprises the reader." David Gillborn Professor of Critical Race Studies University of Birmingham UK Founding Editor of Race Ethnicity & Education "Critical Race Theory in the Academy has excavated the terrain of critical race theory to unearth multiple perspectives that are central to defining the fundamental contours of the field. Each essay enhances the ways in which we read and understand the complexity of critical race theory. It will be an invaluable resource for building a critical academy." Aileen Moreton-Robinson Queens and University of Technology, Australia Author of The White Possessive: Property, Power and Indigenous Sovereignty "Vernon Lee Farmer has done it again and for the final time. He has pulled together a star-studded cast of academics of color to address an essential concern of the academy. Throughout his career, Farmer has demonstrated the uncanny ability to identify matters that require attention, and attacked them with vigor. In doing so, he provided us with high impact resources that are beneficial to the professional trajectory of scholars of color. This book is no different, and we all should race to the bookstore to add this instant classic to our personal library." Jerlando F. L. Jackson Vilas Distinguished Professor of Higher Education University of Wisconsin-Madison Former Editor, ASHE Reader Series on Higher Education "Critical Race Theory in the Academy adds substantially to our understanding of the roles that race, racism, and social justice play as we tackle the myriad problems of pre-K through higher education. For those interested in gaining a deeper understanding of the issues in higher education -- from curriculum to the lack of diversity in the professoriate -- this work provides helpful insights that can enrich conversations and problem-solving across sectors of society." Freeman A. Hrabowski, III President University of Maryland Baltimore County, Baltimore, Maryland