Dance is a small, important and thriving part of our creative economy, but one that has been little explored in the context of the relevance of the law of copyright and how it applies to the art-form. This chapter considers two case studies at the intersection of copyright and dance, which concern copyright authorship and ownership: InVisible Difference: Disability, Dance and Law, and the dispute that arose in 2011 between Beyoncé and Belgian choreographer Anne De Keersmaeker over the use of dance routines by Beyoncé in her Countdown video. These case studies will be analysed within broader developments taking place within the dance sector more generally most particularly in relation to digitization, and in response to our age of austerity and reduction in public funding for the arts.
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Front Matter
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PART I: SETTING THE SCENE: WHAT IS INTELLECTUAL PROPERTY AND WHY IS IT RELEVANT TO CREATIVE INDUSTRIES
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PART II: NATIONAL AND REGIONAL PERSPECTIVES
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PART III: INTELLECTUAL PROPERTY, CREATIVITY AND REWARD: SHARING AND ENFORCEMENT
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PART IV: CASE STUDIES: COPING WITH LEGAL, SOCIAL AND TECHNICAL CHANGE
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PART V: CROSS-SECTOR ISSUES
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PART VI: FORESIGHTING
