Fwd: [dancephilosophers] Moving Online Seminar: Love and Theft in Dance Economies
Lena Leson
From: Hetty Blades <hetty...@gmail.com>
Date: Fri, Nov 8, 2024 at 4:16 AM
Subject: [dancephilosophers] Moving Online Seminar: Love and Theft in Dance Economies
To: DancePhilosophers <dancephi...@googlegroups.com>
Moving Online Seminar Two
Love and Theft in Dance Economies
21st November, 4-5.30 BST via Teams
We are delighted to welcome Dr Juan Manuel Aldape Muñoz for the second Moving Online Seminar. Aldape Mũnoz will discuss his article ‘Love and Theft in Dance Economies’ (published in Performance Philosophy Journal in 2024). The article explores themes that emerged in Seminar One, including appropriation and Jalaiah Harmon’s Renegade (2019). Aldape Mũnoz will give and overview of the paper and then be in conversation with Hetty Blades and the audience about its key themes. The article is available open access via the link below and we recommend reading it before the session if possible.
Abstract
The emergence of blockchain dance tokens is reshaping the dynamics of race in short-form dance videos within digital economies. While blockchain technologies primarily have been associated with cryptocurrencies like bitcoin, they are changing the arts sector, particularly dance and choreography. This transformation has significant implications for understanding the valorization of Black labor and aesthetics. By examining two distinct choreographic initiatives, we can grasp the profound impact of blockchain cultural production and distribution ecosystems. One example is the work of JaQuel Knight, renowned for choreographing iconic music videos, including Beyoncé’s. Knight’s efforts to copyright his dances and empower Black choreographers reflect a shift towards artist ownership of dance steps. Another case study involves the Renegade dance, initially popularized on TikTok. Despite its viral success, choreographer Jalaiah Harmon struggled for recognition. Now, with the advent of dance Non-Fungible Tokens (NFTs), artists can monetize their work and bridge the gap between labor and circulation. These innovative legal and financial pathways mark the emergence of crypto-choreographies, enabling Black artists to reimagine and carry out a post-extractive dance world. This transcends conventional debates of dance appreciation versus appropriation, signaling a transformative shift in aesthetic economies and the limits of choreographic copyright law
Article:https://www.performancephilosophy.org/journal/article/view/485
Registration: https://forms.office.com/e/BHkgtPFQGe
This event is part of Moving Online: Ontology and Ownership of Internet Dance, funded by the Arts and Humanities Research Council [grant number AH/W01002X/1]. For more information about the project, please see here: https://movingonline.coventry.domains/
Please contact Hetty Blades with any questions: hetty....@coventry.ac.uk
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