Choreographers across the country started using mattresses in their own dances, after watching Kherington Payne and Stephen “t Witch” Boss in Mia Michaels’ bed routine on Season 4 of “So You Think You Can Dance.” “Ideas always come from someplace else,” says Shely Pack-Manning, national president of Dance Masters of America and director of The Shely Pack Dancers in California.
She recalls one particularly popular routine by Mia Michaels on “So You Think You Can Dance” that used a bed as a prop.
“The technical moves themselves are like words for an author,” she says, and therefore are available for anyone to use.
“Our advisory board will consider whether it was copied and if there should be a fine or penalty,” Pack-Manning says. This month's winner is a lyrical piece to "Wounded Animal" by Mary Lambert, performed at the Turn It Up Dance Challenge.
"I remember that all the guests would form a circle around me," he says, "and I would execute what I had prepared for that event." Now, as one of the most exciting and wholly original choreographic voices today, Assaf has harnessed that ability to transfix onlookers by creating straight-from-the-gut, highly physical dances that intimate complex inner narratives.
The bodies in his Israel-based company weave, rebound, change direction, pant heavily and always move with purpose.
But what can you do to make—and keep—your work your own?
We’ve compiled advice from both a professional and a legal perspective. There are ways to identify if someone has actually—by legal standards—copied your work.