One man created a series of bodily movements to be performed with musical accompaniment by a group of people. Another man created a different series of bodily movements to be performed with different musical accompaniment also by a group of people. The first man was Vaslav Nijinsky, and the creation was the choreography for the ballet Le Sacré du Printemps. The second man was Richard Simmons, and the creation was Sweatin’ to the Oldies. Is there a difference between these creations for purposes of their copyrightability? If so, where does it lie
The legal literature on intellectual property has rarely focused on choreographies. Choreographic ...
Copyright is typically described as a mechanism for encouraging the production of creative works. On...
Although approaches rooted in copyright law are available, choreographers tend to rely instead on co...
This essay uses the Ninth Circuit’s opinion in Bikram’s Yoga College of India v. Evolation Yoga as a...
This article will present specific legal cases involving the need for choreographers to copyright th...
The article studies the authorship of the choreographic work. The author determined that the creator...
Recent publicity around the Bikram’s Yoga College of India v. Yoga to the People dispute has taken y...
Choreography has long been a subject of controversy in the world of copyright. Despite its significa...
This paper expands on whether copyright protection may be available for certain new and non-conventi...
The American dance scene has been growing, both in popularity and profitability, since its inception...
Copyright protection in the United States begins from the moment of a work’s “creation.”1 Although t...
The primary economic and cultural significance of copyright today comes from works and rights that w...
Despite gaining copyright protection for their works in 1976, choreographers infrequently register t...
Many scholars have suggested that current copyright law is ill-equipped to the challenges of determi...
One of the improvements in the 1976 Copyright Act was the specific recognition of choreographic work...
The legal literature on intellectual property has rarely focused on choreographies. Choreographic ...
Copyright is typically described as a mechanism for encouraging the production of creative works. On...
Although approaches rooted in copyright law are available, choreographers tend to rely instead on co...
This essay uses the Ninth Circuit’s opinion in Bikram’s Yoga College of India v. Evolation Yoga as a...
This article will present specific legal cases involving the need for choreographers to copyright th...
The article studies the authorship of the choreographic work. The author determined that the creator...
Recent publicity around the Bikram’s Yoga College of India v. Yoga to the People dispute has taken y...
Choreography has long been a subject of controversy in the world of copyright. Despite its significa...
This paper expands on whether copyright protection may be available for certain new and non-conventi...
The American dance scene has been growing, both in popularity and profitability, since its inception...
Copyright protection in the United States begins from the moment of a work’s “creation.”1 Although t...
The primary economic and cultural significance of copyright today comes from works and rights that w...
Despite gaining copyright protection for their works in 1976, choreographers infrequently register t...
Many scholars have suggested that current copyright law is ill-equipped to the challenges of determi...
One of the improvements in the 1976 Copyright Act was the specific recognition of choreographic work...
The legal literature on intellectual property has rarely focused on choreographies. Choreographic ...
Copyright is typically described as a mechanism for encouraging the production of creative works. On...
Although approaches rooted in copyright law are available, choreographers tend to rely instead on co...