"This book argues that the effort to win federal copyright protection for dance choreography in the United States was a simultaneously racialized and gendered contest. Copyright and choreography, particularly as tied with whiteness, have a refractory history. Unlike Lo?i Fuller and Martha Graham, George Balanchine, a Russian grand his estate), succeeded in gaining and maintaining full control of his choreographic creations. A hyperwhitened aesthetic and Balanchine's authority as a white male ballet-master--both manifestations of whiteness as status property--were crucial to that success. It also compares the cases of Josephine Baker, Katherine Dunham, Merce Cunningham and Alvin Ailey"--
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