By Omolade Ayodele
Choreography stands as one of the most profound yet legally misunderstood forms of artistic expression. From the early struggles of dancers like Loie Fuller, whose ethereal “Serpentine Dance” was denied copyright protection, to the modern legal battles of Kyle Hanagami against Epic Games, the question persists: how does the law protect something as fluid as movement?
This article “The Place of Choreographic Works in the Copyright Parlance” explores the recognition of choreography within copyright law. It examines how legal systems, from the United States to Nigeria, now strive to define and protect the expressive arrangements of dance as literary. It also highlights the challenges choreographers face in proving originality, fixation, and infringement in an age where a dance can go viral within seconds.