Discussion of copyright and fair use best practices for curators, archivists, documentary filmmakers, librarians and other collectors of dance-related materials. An examination of The Dance Heritage Coalition's published statement "Best Practices in Fair Use of Dance-Related Materials" including it's history and interpretation. Speakers: Professor of Law Peter Jaszi, Jacob's Pillow Director of Preservation Norton Owen and American Dance Festival Archivist Dean Jeffrey. Moderated by Jacob's Pillow Scholar-in-Residence Philip Szporer.
The statement of best practices in fair use clarifies what librarians, archivists, curators, and others working with dance-related materials currently regard as reasonable application of the Copyright Act's fair use doctrine, where the use of copyrighted materials is essential to significant cultural missions and institutional goals.
To download a PDF of the complete 32-page statement Click Here.
PillowTalks feature world-renowned choreographers, dancers, authors, filmmakers, historians, and critics in live hour-long moderated discussions of the cultural forces shaping the field of dance. Curated by Jacob's Pillow Director of Preservation Norton Owen and moderated by Jacob's Pillow Scholars-in-Residence, PillowTalks use dance as a prism to explore the world at large.
Professor of domestic and international copyright law, as well as law and literature, Peter Jaszi also directs the Glushko-Samuelson Intellectual Property Law Clinic and helped to establish the Program on Intellectual Property and Information Justice.
Mr. Jaszi is a frequent speaker to professional audiences in the United States and abroad. With Craig Joyce, Marshall Leaffer and Tyler Ochoa, he co-authors a standard copyright textbook, Copyright Law (Lexis, 8th ed., 2010). Alone and with Martha Woodmansee, he has written several articles on copyright history and theory; together they edited The Construction of Authorship, published by Duke University Press.
In 1994, Mr. Jaszi was a member of the Librarian of Congress Advisory Commission on Copyright Registration and Deposit, and in 1995 he was an organizer of the Digital Future Coalition. He is a Trustee of the Copyright Society of the U.S.A., and a member of the editorial board of its journal. In 2007, he received the American Library Association's L. Ray Patterson Copyright Award, and in 2009 the Intellectual Property Section of the District of Columbia Bar honored him as the year's Champion of Intellectual Property.
Since 2005, Mr. Jaszi has been working with Professor Patricia Aufderheide of the American University's Center for Social Media on projects designed to promote the understanding of fair use by documentary filmmakers and other creators.
American Dance Festival Director of Archives and Preservation, Dean Jeffrey, administers ADF's records and archival collections. He coordinates all aspects of the video documentation of ADF's summer festival, directs ADF's archival programs, and prepares and installs season exhibitions. He holds a master's degree in Library Science from the University of North Carolina at Chapel Hill and has a background in film and video production. He has served on the Board of the Dance Heritage Coalition since 2008.
As Director of Preservation for Jacob's Pillow Dance Festival, Norton Owen programs the PillowTalks series, directs all activities involving the extensive Archives, and serves as curator for several exhibitions each season. He is a contributing author to numerous books and publications, Past Chair of the Dance Heritage Coalition, President of the O'Donnell-Green Music and Dance Foundation, and was for many years the Institute Director of the José Limón Dance Foundation. In 2000, Dance/USA honored Owen with its Ernie Award for "unsung heroes who have led exemplary lives in dance."
Exclusive right to reproduce, publish, or sell an original work of authorship. It protects from unauthorized copying any published or unpublished work that is fixed in a tangible medium (including a book or manuscript, musical score or recording, script or dramatic production, painting or sculpture, or blueprint or building). It does not protect matters such as an idea, process, or system. Protection in the U.S. now extends for the life of the creator plus 70 years after his or her death. Works made for hire are now protected for a maximum of 95 years from the date of publication or 120 years from the date of the creation of the work. In 1988 the U.S. joined the Bern Convention, an agreement that governs international copyright. The Digital Millennium Copyright Act, adopted in the U.S. in 1998, expanded owners' control over digital forms of their creations and penalized persons who sought to evade technological shields (such as encryption) for copyrighted material. See alsointellectual property; patent; trademark.