Pub Date : 2022-08-01DOI: 10.1017/s0940739122000297
Agnieszka Plata
Abstract The conference report from the international conference “Decolonizing Heritage: The Return of Cultural Objects to Africa – An International Law Perspective,” which was held on 23–24 September 2021 at the Université de Genève.
{"title":"International Conference “Decolonizing Heritage: The Return of Cultural Objects to Africa – An International Law Perspective,” 23–24 September 2021, Université de Genève","authors":"Agnieszka Plata","doi":"10.1017/s0940739122000297","DOIUrl":"https://doi.org/10.1017/s0940739122000297","url":null,"abstract":"Abstract The conference report from the international conference “Decolonizing Heritage: The Return of Cultural Objects to Africa – An International Law Perspective,” which was held on 23–24 September 2021 at the Université de Genève.","PeriodicalId":54155,"journal":{"name":"International Journal of Cultural Property","volume":"29 1","pages":"387 - 390"},"PeriodicalIF":0.7,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42041651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1017/S0940739122000169
J. Leach
Abstract Drawing on the contributions to this special issue, this article offers a synthetic description of the principles of ownership, sharing, and reward that guide and stimulate the creative practices of contemporary dance. Irish traditional music is also considered. The article aims to contextualize creative practices within a series of concerns around the protection and perpetuation of valuable cultural and artistic practices. This contextualization establishes the relevance and interest of the contemporary dance for other domains and attends to the contemporary conditions of cultural production, including those of intellectual property law, commercialization, and community/commons formation. I show how this work offers an illuminating model of social process in which value created in common is linked – through reputation, attribution, recognition, and innovation – to people, without private property becoming the dominant mode of ownership.
{"title":"Principles of ownership and the transmission of knowledge in contemporary dance and Irish traditional music: Social norms and legal contexts","authors":"J. Leach","doi":"10.1017/S0940739122000169","DOIUrl":"https://doi.org/10.1017/S0940739122000169","url":null,"abstract":"Abstract Drawing on the contributions to this special issue, this article offers a synthetic description of the principles of ownership, sharing, and reward that guide and stimulate the creative practices of contemporary dance. Irish traditional music is also considered. The article aims to contextualize creative practices within a series of concerns around the protection and perpetuation of valuable cultural and artistic practices. This contextualization establishes the relevance and interest of the contemporary dance for other domains and attends to the contemporary conditions of cultural production, including those of intellectual property law, commercialization, and community/commons formation. I show how this work offers an illuminating model of social process in which value created in common is linked – through reputation, attribution, recognition, and innovation – to people, without private property becoming the dominant mode of ownership.","PeriodicalId":54155,"journal":{"name":"International Journal of Cultural Property","volume":"29 1","pages":"107 - 121"},"PeriodicalIF":0.7,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46390344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1017/S0940739122000170
H. Blades
Abstract This article considers the “commons” in relationship to contemporary dance in the United Kingdom. I highlight the norms and expectations that shape the sharing of dance in this context by outlining four implicit rules that govern circulation and ownership. I go on to highlight how dance’s circulation outside of legal structures is in part due to its ontology through the examination of choreographer and visual artist Florence Peake’s work RITE (2018) and its relationship to choreographer Vaslav Nijinsky’s Le Sacre du printemps (The Rite of Spring) (1913).
{"title":"Ownership, ontology, and the contemporary dance commons","authors":"H. Blades","doi":"10.1017/S0940739122000170","DOIUrl":"https://doi.org/10.1017/S0940739122000170","url":null,"abstract":"Abstract This article considers the “commons” in relationship to contemporary dance in the United Kingdom. I highlight the norms and expectations that shape the sharing of dance in this context by outlining four implicit rules that govern circulation and ownership. I go on to highlight how dance’s circulation outside of legal structures is in part due to its ontology through the examination of choreographer and visual artist Florence Peake’s work RITE (2018) and its relationship to choreographer Vaslav Nijinsky’s Le Sacre du printemps (The Rite of Spring) (1913).","PeriodicalId":54155,"journal":{"name":"International Journal of Cultural Property","volume":"29 1","pages":"123 - 140"},"PeriodicalIF":0.7,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45505502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1017/S0940739122000182
James Leach
Abstract The aim of this special issue is the investigation and contextualization of specific arts practices for what they can show us about the transmission and ownership of knowledge. Our authors make explicit the modes of sharing that are part of the creative process in contemporary dance and in Irish traditional music and examine the principles of transmission and social mores that allow ideas to move between practitioners. This introduction sets out some context for the issue and our approach, which is to work alongside practitioners to understand and reveal the social principles and expectations of ownership that are part of the process of producing these art forms.
{"title":"Ownership and transmission in contemporary dance and beyond: A short introduction to the special issue","authors":"James Leach","doi":"10.1017/S0940739122000182","DOIUrl":"https://doi.org/10.1017/S0940739122000182","url":null,"abstract":"Abstract The aim of this special issue is the investigation and contextualization of specific arts practices for what they can show us about the transmission and ownership of knowledge. Our authors make explicit the modes of sharing that are part of the creative process in contemporary dance and in Irish traditional music and examine the principles of transmission and social mores that allow ideas to move between practitioners. This introduction sets out some context for the issue and our approach, which is to work alongside practitioners to understand and reveal the social principles and expectations of ownership that are part of the process of producing these art forms.","PeriodicalId":54155,"journal":{"name":"International Journal of Cultural Property","volume":"29 1","pages":"103 - 106"},"PeriodicalIF":0.7,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45476678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1017/s0940739122000327
Alexander Bauer
{"title":"JCP volume 29 issue 2 Cover and Front matter","authors":"Alexander Bauer","doi":"10.1017/s0940739122000327","DOIUrl":"https://doi.org/10.1017/s0940739122000327","url":null,"abstract":"","PeriodicalId":54155,"journal":{"name":"International Journal of Cultural Property","volume":"29 1","pages":"f1 - f7"},"PeriodicalIF":0.7,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48182249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1017/S0940739122000157
Scott delahunta
Abstract This article explores the possibility that dance is a field of expert knowledge that can be studied from the perspective of documents created by dancers and choreographers whose anticipated viewers/readers are mainly other practitioners. These documents include written texts and annotated video recordings created with the aim of sharing processes, techniques and ideas. These documents seek, in a variety of ways, to partially transform experiential knowledge from the tacit/ implicit to the explicit. As such, they suggest a form of trade literature that circulates dance knowledge within its professional network, but with the potential to generate productive exchanges with others outside of this network. By drawing on a number of examples of this trade literature and discussing their methods of circulating dance knowledge, this article makes a link to the theme of this special issue which is dance as a vehicle to discuss and debate ownership and cultural property.
{"title":"Knowing: Dance’s trade literature","authors":"Scott delahunta","doi":"10.1017/S0940739122000157","DOIUrl":"https://doi.org/10.1017/S0940739122000157","url":null,"abstract":"Abstract This article explores the possibility that dance is a field of expert knowledge that can be studied from the perspective of documents created by dancers and choreographers whose anticipated viewers/readers are mainly other practitioners. These documents include written texts and annotated video recordings created with the aim of sharing processes, techniques and ideas. These documents seek, in a variety of ways, to partially transform experiential knowledge from the tacit/ implicit to the explicit. As such, they suggest a form of trade literature that circulates dance knowledge within its professional network, but with the potential to generate productive exchanges with others outside of this network. By drawing on a number of examples of this trade literature and discussing their methods of circulating dance knowledge, this article makes a link to the theme of this special issue which is dance as a vehicle to discuss and debate ownership and cultural property.","PeriodicalId":54155,"journal":{"name":"International Journal of Cultural Property","volume":"29 1","pages":"157 - 169"},"PeriodicalIF":0.7,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47184128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1017/S094073912200011X
Luke McDonagh
Abstract Dance has rarely been accepted as the subject of copyright protection because works of dance and choreography have lacked commodified property-object status in intellectual property law. If dance is “haunted by its own ephemerality” and, thus, rarely embodied as property, then what of dance music? Music composed, performed, and recorded with a dance audience in mind has formed, on many occasions, the subject matter of intellectual property law claims, as the rancorous recent litigation over the nightclub (and online-streaming) hit “Blurred Lines” demonstrates. In this article, I utilize the case study of traditional Irish dance music to explore how traditional music occupies a space somewhat outside the formal legal system, defined by informal social norms such as reciprocity, sharing, and acknowledgment (attribution). I consider how Irish traditional music can be represented as heritage and as property, reflecting on the type of ownership at play in the Irish traditional music community. I observe that Irish traditional dance music provides an example of “heritage as resistance” – a mode of cultural and social practice that continues to thrive as a living tradition, even in the contemporary market-oriented world of the global North.
{"title":"Exploring “ownership” of Irish traditional dance music: Heritage or property?","authors":"Luke McDonagh","doi":"10.1017/S094073912200011X","DOIUrl":"https://doi.org/10.1017/S094073912200011X","url":null,"abstract":"Abstract Dance has rarely been accepted as the subject of copyright protection because works of dance and choreography have lacked commodified property-object status in intellectual property law. If dance is “haunted by its own ephemerality” and, thus, rarely embodied as property, then what of dance music? Music composed, performed, and recorded with a dance audience in mind has formed, on many occasions, the subject matter of intellectual property law claims, as the rancorous recent litigation over the nightclub (and online-streaming) hit “Blurred Lines” demonstrates. In this article, I utilize the case study of traditional Irish dance music to explore how traditional music occupies a space somewhat outside the formal legal system, defined by informal social norms such as reciprocity, sharing, and acknowledgment (attribution). I consider how Irish traditional music can be represented as heritage and as property, reflecting on the type of ownership at play in the Irish traditional music community. I observe that Irish traditional dance music provides an example of “heritage as resistance” – a mode of cultural and social practice that continues to thrive as a living tradition, even in the contemporary market-oriented world of the global North.","PeriodicalId":54155,"journal":{"name":"International Journal of Cultural Property","volume":"29 1","pages":"183 - 200"},"PeriodicalIF":0.7,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47468991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1017/S0940739122000108
Sarah Whatley
Abstract This article discusses the implications of recording and digitizing a variety of cultural and contemporary dance performance practices, core to a European project known as WhoLoDancE, which focused on issues of reuse, ownership, property, and responsibility. The recordings and subsequent processing of dance material into digital data raised questions about the responsibilities to the dancers who have contributed their material to the project, particularly when it is transformed into data visualizations that can be accessed and reused by others. The article not only focuses on how value accrues in these kinds of resources and sometimes in unexpected ways but also draws attention to how dance remains bound to the communities in which it is performed and tends to resist its abstraction from the body to be commodified as a form of cultural property. This then points to how dance, as intangible cultural heritage, is self-regulating in terms of principles of ownership and attribution.
{"title":"Embodied cultural property: Contemporary and traditional dance practices","authors":"Sarah Whatley","doi":"10.1017/S0940739122000108","DOIUrl":"https://doi.org/10.1017/S0940739122000108","url":null,"abstract":"Abstract This article discusses the implications of recording and digitizing a variety of cultural and contemporary dance performance practices, core to a European project known as WhoLoDancE, which focused on issues of reuse, ownership, property, and responsibility. The recordings and subsequent processing of dance material into digital data raised questions about the responsibilities to the dancers who have contributed their material to the project, particularly when it is transformed into data visualizations that can be accessed and reused by others. The article not only focuses on how value accrues in these kinds of resources and sometimes in unexpected ways but also draws attention to how dance remains bound to the communities in which it is performed and tends to resist its abstraction from the body to be commodified as a form of cultural property. This then points to how dance, as intangible cultural heritage, is self-regulating in terms of principles of ownership and attribution.","PeriodicalId":54155,"journal":{"name":"International Journal of Cultural Property","volume":"29 1","pages":"171 - 181"},"PeriodicalIF":0.7,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43958028","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1017/s0940739122000339
Sarah Whatley, Luke McDonagh
{"title":"JCP volume 29 issue 2 Cover and Back matter","authors":"Sarah Whatley, Luke McDonagh","doi":"10.1017/s0940739122000339","DOIUrl":"https://doi.org/10.1017/s0940739122000339","url":null,"abstract":"","PeriodicalId":54155,"journal":{"name":"International Journal of Cultural Property","volume":" ","pages":"b1 - b1"},"PeriodicalIF":0.7,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44561888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1017/s0940739122000145
Siobhan Davies, James Leach
Abstract In this transcript of an extended interview, Dame Siobhan Davies discusses her biography and oeuvre in the context of an enquiry into aspects of learning, transmission, and claims to ownership over the material that makes modern dance. The creative practice of contemporary dance makers offers an opportunity to describe the “coming into being” of both knowledge and persons in a unique domain, but one also connected to other areas of the arts and collaborative practice. Davies describes an approach to making dance that explicitly rejects two key notions: that the body merely performs what the mind creates and, thus, that the choreographer and the dancer are in a hierarchical relationship of control mirroring the control of mind over matter. She then describes how her creative processes with others have been increasingly shaped to allow non-proprietorial and non-hierarchical outcomes that are substantive to the art works themselves.
{"title":"Making something together: A conversation about creating and sharing dance knowledge","authors":"Siobhan Davies, James Leach","doi":"10.1017/s0940739122000145","DOIUrl":"https://doi.org/10.1017/s0940739122000145","url":null,"abstract":"Abstract In this transcript of an extended interview, Dame Siobhan Davies discusses her biography and oeuvre in the context of an enquiry into aspects of learning, transmission, and claims to ownership over the material that makes modern dance. The creative practice of contemporary dance makers offers an opportunity to describe the “coming into being” of both knowledge and persons in a unique domain, but one also connected to other areas of the arts and collaborative practice. Davies describes an approach to making dance that explicitly rejects two key notions: that the body merely performs what the mind creates and, thus, that the choreographer and the dancer are in a hierarchical relationship of control mirroring the control of mind over matter. She then describes how her creative processes with others have been increasingly shaped to allow non-proprietorial and non-hierarchical outcomes that are substantive to the art works themselves.","PeriodicalId":54155,"journal":{"name":"International Journal of Cultural Property","volume":"29 1","pages":"141 - 155"},"PeriodicalIF":0.7,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42346589","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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