Digital Echoes pp 301-319 | Cite as

Preservation and Paradox: Choreographic Authorship in the Digital Sphere

  • Hetty Blades


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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© The Author(s) 2018

Authors and Affiliations

  • Hetty Blades
    • 1
  1. 1.Centre for Dance ResearchCoventry UniversityCoventryUK

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