Ownership, ontology and the contemporary dance commons

Research output: Contribution to journalArticlepeer-review

5 Downloads (Pure)


This article considers the “commons” in relationship to contemporary dance in the United Kingdom. I highlight the norms and expectations that shape the sharing of dance in this context by outlining four implicit rules that govern circulation and ownership. I go on to highlight how dance’s circulation outside of legal structures is in part due to its ontology through the examination of choreographer and visual artist Florence Peake’s work RITE (2018) and its relationship to choreographer Vaslav Nijinsky’s Le Sacre du printemps (The Rite of Spring) (1913).
Original languageEnglish
Pages (from-to)123–140
Number of pages18
JournalInternational Journal of Cultural Property
Issue number2
Early online date20 Dec 2022
Publication statusE-pub ahead of print - 20 Dec 2022

Bibliographical note

Copyright © and Moral Rights are retained by the author(s) and/ or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders.

This document is the author’s post-print version, incorporating any revisions agreed during the peer-review process. Some differences between the published version and this version may remain and you are advised to consult the published version if you wish to cite from it.


  • commons
  • gift
  • dance ontology
  • social obligation
  • ownership


Dive into the research topics of 'Ownership, ontology and the contemporary dance commons'. Together they form a unique fingerprint.

Cite this