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<\/figure>\n\n\n\nTheory and practice of intellectual property
\u2116 1 \/ 2026<\/p>\n\n\n\n
ISSN (Print) 2308-0361
ISSN (Online) 2519-2744<\/p>\n\n\n\n
![\"\"](\"https:\/\/test.inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153.png\"){kind=icon}
PDF (Ukrainian)<\/a><\/div>\n<\/div>\n\n\n\nDOI: https:\/\/doi.org\/10.33731\/tpip.2026.1.2<\/a><\/p>\n\n\n\n Submitted\u00a0 \u00a0\u00a0 2026-01-12 <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n<\/div>\n\n\n\n Dance notation systems as a mean of fixation of choreographic works<\/strong><\/p>\n\n\n\n Artem Bakutin<\/strong> Abstract Keywords: <\/strong>choreographic work, four-dimensional work, movement notation, recording of a work, Labanotation, copyright, artificial intelligence, digital preservation<\/p>\n\n\n\n References<\/strong><\/p>\n\n\n\n Arbeau, T. (1589). Orch\u00e9sographie: Et traict\u00e9 en forme de dialogue, par lequel toutes personnes peuvent facilement apprendre & practiquer l\u2019honneste exercice des dances. Jehan des Preyz. Bernstein, N. A. (1996). On dexterity and its development: An approach to physical therapy. Human Kinetics. Feuillet, R.-A. (1700). Chor\u00e9graphie, ou l\u2019art de d\u00e9crire la danse par caract\u00e8res, figures et signes d\u00e9monstratifs. Chez l\u2019Auteur. Franko, M. (2002). The work of dance: Labor, movement, and identity in the 1930s. Wesleyan University Press.<\/p>\n\n\n\n Gorman, R. A. (2006). Copyright law (2nd ed.). Federal Judicial Center. Guest, A. (1989). H. Choreographics: A Comparison of Dance Notation Systems from the Fifteenth Century to the Present. Routledge.<\/p>\n\n\n\n Guest, A. H. (2005). Labanotation: The system of analyzing and recording movement (4th ed.). Routledge.<\/p>\n\n\n\n Hilton, W. (1981). Dance of court and theater: The French noble style, 1690\u20131725. Princeton Book Company. https:\/\/archive.org\/details\/danceofcourtthea0000hilt<\/a><\/p>\n\n\n\n Knust, A. (1979). Dictionary of kinetography Laban (Labanotation) (Vols. 1\u20132). Macdonald and Evans Ltd.<\/p>\n\n\n\n Kraut, A. (2015). Choreographing copyright: Race, gender, and intellectual property rights in American dance. Oxford University Press. Laban, R. V. (1971). The mastery of movement. Macdonald & Evans. Lakes, J. M. (2005). A pas de deux for choreography and copyright. New York University Law Review, 80(6), 1829\u20131859. Lepecki, A. (2004). Of the presence of the body: Essays on dance and performance theory. Wesleyan University Press. Nimmer, M. B. (2019). Nimmer on copyright: Treatise on the law of literary, musical, and artistic works (M. B. Nimmer & D. Nimmer, Eds.). LexisNexis.<\/p>\n\n\n\n Phelan, P. (1993). Afterword: Notes on hope. In Unmarked: The politics of performance. Routledge. Rameau, P. (1725). Le ma\u00eetre \u00e0 danser: Qui enseigne la mani\u00e8re de faire tous les diff\u00e9rens pas de danse dans toute la r\u00e9gularit\u00e9 de l\u2019art, & de conduire les bras \u00e0 chaque pas. J. Villette.
Accepted \u00a0\u00a0 \u00a0 2026-02-09
Published \u00a0\u00a0\u00a0\u00a0\u00a02026-03-12<\/p>\n\n\n\n![\"\"](\"https:\/\/inprojournal.org\/wp-content\/uploads\/2025\/11\/CC-2.png\")
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3rd-year PhD Student of the Department of Intellectual Property Law and Patent Justice,
National University \u201cOdesa Law Academy\u201d
Odesa, Ukraine
https:\/\/orcid.org\/0009-0004-6857-6222<\/a><\/p>\n\n\n\n
<\/strong>The article studies the evolution of notation systems for choreographic works as tools for their material fixation, the transformation of dance recording methods from historical graphic schemes to the modern digital models based on artificial intelligence and motion capture technologies. The theoretical distinction between the \u2018recording\u2019 and \u2018notation\u2019 is revealed, with the latter defined as an analytical system for encoding the author’s intention. The key notation systems (Labanotation, Benesh Movement Notation) are analysed through their ability to serve as evidence in legal disputes. The article examines US precedents on choreography protection in the digital age and the current legislative framework. The result of the study is a justification of the notation\u2019s role as a mechanism for transforming ephemeral movement into structured data that embodies a choreographic work in an objective form on a medium and serves as evidence. The integration of classical systems with the latest technologies (blockchain, AI descriptors) allows the unique structure of a work to be identified to prove plagiarism. Modern notation is an effective legal tool that provides legal certainty for authors in the global digital environment.<\/p>\n\n\n\n
https:\/\/www.loc.gov\/item\/55003658\/<\/a><\/p>\n\n\n\n
https:\/\/archive.org\/details\/dexterityitsdeve0000unse<\/a><\/p>\n\n\n\n
https:\/\/www.libraryofdance.org\/manuals\/1700-Feuillet-Choregraphie_(BNF).pdf<\/a><\/p>\n\n\n\n
https:\/\/www.govinfo.gov\/content\/pkg\/GOVPUB-JU13-PURL-LPS72353\/pdf\/GOVPUB-JU13-PURL-LPS72353.pdf<\/a><\/p>\n\n\n\n
https:\/\/doi.org\/10.1093\/acprof:oso\/9780199360369.001.0001<\/a><\/p>\n\n\n\n
https:\/\/archive.org\/details\/masteryofmovemen0000laba<\/a><\/p>\n\n\n\n
https:\/\/www.nyulawreview.org\/wp-content\/uploads\/2018\/08\/NYULawReview-80-6-Lakes.pdf<\/a><\/p>\n\n\n\n
https:\/\/archive.org\/details\/ofpresenceofbody0000unse<\/a><\/p>\n\n\n\n
https:\/\/doi.org\/10.4324\/9780203359433<\/a><\/p>\n\n\n\n
https:\/\/archive.org\/details\/lematredanserq00rameuoft<\/a><\/p>\n\n\n\n