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This chapter considers how the work of Merce Cunningham (1919–2009) and Pina Bausch (1940–2009) is being preserved and ‘protected’ through online mechanisms. Blades then goes on to talk about how preservation questions are being addressed by living artists, focusing on how Anne Teresa De Keersmaeker’s authorial positioning during the ‘referencing’ of her choreography by pop star Beyoncé Knowles (2011) and the subsequent development of the online project Re:Rosas! The fABULEUS Rosas Remix Project (2013) demonstrates how the online circulation of dance poses important questions about what it might mean to preserve, author and own a work of dance art.
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Judson Dance Theatre were a group of dance artists working in New York in the 1960s and 1970s who were instrumental in the development of Western contemporary dance, including artists such as Yvonne Rainer, Steve Paxton, Deborah Hay and Lucinda Childs, amongst many more.
Sarah Whatley ( 2005) discusses this process in the work of UK choreographer Siobhan Davies.
For example, Helen Thomas ( 1995) discusses the restaging of early modern dance pioneer Doris Humphrey’s work.
See Climenhaga (ed.) ( 2012) for an extensive overview of the development of tanztheater.
In 2013 it was announced that Brown was to retire and that her company would commence a three-year tour, as well as establishing archival practices (Trisha Brown Company n.d.). Brown sadly died in March 2017.
The idea of a dance ‘transmitter’ is explored in depth by Gardner ( 2014).
Bench ( 2014) discusses this phenomenon in relation to Michal Jackson’s Thriller (1983).
Anderson, Zoe. 2015. Tanztheater Wuppertal Commissions. Accessed 29 October 2015. http://www.dancing-times.co.uk/dance-today-news/item/1813.
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Bench, Harmony. 2010. Screendance 2.0: Social Dance-Media. Participations 7 (2): 183–214.
———. 2014. Monstrous Belonging: Performing “Thriller” After 9/11. In The Oxford Handbook of Dance and the Popular Screen, ed. Melissa Blanco Borelli, 393–411. New York: Oxford University Press.
Climenhaga, Royd. 2012. The Pina Bausch Sourcebook: The Making of Tanztheater. Abingdon, Routledge.
Copeland, Roger. 2004. Merce Cunningham: The Modernizing of Modern Dance. New York and London: Routledge.
De Keersmaeker, Ann Teresa, and Bojana Cvejić. 2012a. A Choreographer’s Score: Fase, Rosas danst Rosas, Elena’s Aria, Bartok. Metacarfonds: Brussels.
———. 2012b. A Choreographer’s Score: En Atendant and Cesena. Metacarfonds: Brussels.
———. 2012c. A Choreographer’s Score: Drumming and Rain. Metacarfonds: Brussels.
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Frisbie, Claire. 2013. The Internet Danst Rosas: Anne Teresa De Keersmaeker for the YouTube Generation. BAM Blog, 16 October. Accessed 29 October 2015. http://bam150years.blogspot.co.uk/2013/10/the-internet-danst-rosas-anne-teresa-de.html.
Gardner, Sally. 2014. What Is a Transmitter? Choreographic Practices 5 (2): 229–240. CrossRef
Impulsetanz. n.d. Dance Your Own ‘Rosas danst Rosas’. Accessed 29 October 2015. https://www.impulstanz.com/en/news/aid1643/.
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———. 2011. The Philosophical Aesthetics of Dance: Identity, Performance and Understanding. Southwold: Dance Books.
McKinley, James C., Jr. 2011. Beyoncé Accused of Plagiarism Over Video. New York Times, 10 October. Accessed 29 October 2015. http://artsbeat.blogs.nytimes.com/2011/10/10/beyonce-accused-of-plagiarism-over-video/.
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Pakes, Anna. 2013. The Plausibility of a Platonist Ontology of Dance. In Thinking Through Dance: The Philosophy of Dance Performance and Practices, ed. Jenny Bunker, Anna Pakes, and Bonnie Rowell, 84–101. Southwold: Dance Books.
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Pina Bausch Foundation. n.d. Archive. Accessed 29 October 2015. http://www.pinabausch.org/en/archive.
Rosas. n.d. Rosas. Accessed 29 October 2015. http://www.rosas.be/en/rosas.
Rosas and fABULEUS. 2013. Re:Rosas: The fABULEOUS Rosas Remix Project. Accessed 29 October 2015. http://www.rosasdanstrosas.be/en/.
Rubidge, Sarah. 2000. Identity and the Open Work. In Preservation Politics, ed. Stephanie Jordan, 205–215. London: Dance Books.
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Thomas, Philippa. 2014. Single Ladies, Plural: Racism, Scandal and “Authenticity” Within the Multiplication and Circulation of Online Dance Discourses. In The Oxford Handbook of Dance and the Popular Screen, ed. Melissa Blanco Borelli, 289–303. Oxford: Oxford University Press.
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Whatley, Sarah. 2005. Dance Identity, Authenticity and Issues of Interpretation with Specific Reference to the Choreography of Siobhan Davies. Dance Research 23: 87–105. CrossRef
Yeoh, Francis. 2013. The Copyright Implications of Beyoncé’s Choreographic ‘Borrowings’. Choreographic Practices 4 (1): 95–117. CrossRef
- Preservation and Paradox: Choreographic Authorship in the Digital Sphere
- Chapter 16