First, watch the above video.
Then, watch the response video below.
The Guardian has done a nice recap of what inspired the response video. I can’t think of a better example of taking lemons from a well-publicized battle and turning them into a massive vat of lemonade!
Here is the link to the Guardian posting:
The copyrighting of choreographed movement designed for the stage and screen has not been fully resolved in the court system – if you’d like even a hint of the complexity of this issue, I highly recommend Julie Van Camp’s work in this area – her analysis of the case of copyright infringement on the use of photographs from Balanchine’s “The Nutcracker” (just the images of captured moments from the choreography, mind you) addresses how complicated it has been to define choreographic work in a legal sense.
So, what say you, Dance 6 students and others: can one truly say, “Hey, that’s my work – stop, thief!” Is it a single moment (think Bob Fosse’s iconic turned-in, rounded posture, with hat and cane…or his exactly isolation and tilted body positions…and another of Beyonce’s “inspirations” by the way) or does it need to be a phrase within the context of a larger work, such as Martha Graham’s “Appalachian Spring” or Paul Taylor’s “Piazzolla Caldera”? When does a movement emerge out of the general pool of “common movements” and enter the individual realm of personal creation and presentation?