Abstract

Dance reflects a snapshot of its time and a shared cultural consciousness. This is epitomised by the global phenomenon of Dr Rachael Gunn’s (aka B-Girl Raygun) breakdancing performance at the 2024 Olympics. While media discussions have centred on the class barriers that enabled her participation, accusations of trivialising Australian participation in a sport on an international stage, and the appropriation of First Nations movements, this paper explores the legal implications of the aftermath: the rapid dissemination and reinterpretation of Gunn’s dance moves in parodic performances. Specifically, this paper investigates the status of dance as an intellectual property (IP) asset. The controversy that surrounds Gunn’s Olympics breakdancing performance is used as a stepping off point to consider the legal status of dance under Australian IP laws. The relationship between the monopoly rights granted to choreography via copyright and trade marks versus unauthorised uses is examined. Critical questions are raised about law’s role in regulating what the body can—and cannot—do without permission. Does the commodification of choreography and dance movements by IP law undermine the status of iconic dances like Gunn’s as a shared cultural text?

How to Cite:

Hook, S., Hadley, M. & Huang, V., (2026) “Bad Moves as an Intellectual Property Asset”, Law Text Culture 29(1), 175–194. doi: https://doi.org/10.14453/ltc.1860