question: How can Choreography channels use popular music without copyright strikes?
comment: Because in those cases, the rights holders opted to have the monetization from the video redirected to them.
passages: The choreography of a dance routine—which is the design of movement and flow of steps in the routine—is copyrightable. Consequently, video recording is often prohibited at dance competitions in order to steer clear of copyright infringement issues. Some competition production companies employ professional videographers to capture and sell video recordings of competitive performances with the restriction that video recordings may only be sold to the subject performers or members of their studios, thus avoiding infringement. When no professional videographer is available, competition production companies will sometimes permit each attending dance school to designate a videographer to record performances of students from that school.
   BULLET::::- 2020 "Starika"
  
  BULLET::::- 2009 "Dance India Dance (season 1)"
  
  BULLET::::- 2010 "Dance India Dance (season 2)"
  
  BULLET::::- 2012 "Dance India Dance (season 3)"
  
  BULLET::::- 2014 "Dance India Dance (season 4)"
  
  BULLET::::- 2012 "Dance India Dance Li'l Masters (season 1)"
  
  BULLET::::- 2013 "Dance India Dance Li'l Masters (season 2)"
  
  BULLET::::- 2014 "Dance India Dance Li'l Masters (season 3)"
  
  BULLET::::- 1995 "Sa Re Ga Ma"
  
  BULLET::::- 1996 "Sa Re Ga Ma"
  
  BULLET::::- 1997 "Sa Re Ga Ma"
  
  BULLET::::- 1999 "Sa Re Ga Ma Pa"
  
  BULLET::::- 2000 "Sa Re Ga Ma Pa"
  
  BULLET::::- 2005 "Sa Re Ga Ma Pa Challenge 2005"
   If the production is not a work for hire, many of the artists involved have copyrights once the production is complete. For example, the choreographer's work is copyrighted. According to the U.S. Copyright Office, in order for choreography to be protected under copyright, it needs to be "fixed in a tangible medium of expression from which the work can be performed." In a typical musical, this would make the choreographer's work copyrighted. This means that his or her copyrighted dance routine cannot be used again without his or her permission and payment.
   Unlike videography, still photography does not infringe copyrighted choreography. Because of this, many competition production companies permit photography at their competitions. Virtually all competitions prohibit flash photography, however, both for the safety of performers and to prevent undesirable distractions. Some competition production companies employ professional photographers to capture and sell photographs of dance performances. In such cases, photography by audience members is typically prohibited so as to provide an exclusive market for the official photographers.
  
  Section::::Competitions.:Judges Critiques.
   Section::::Copyright issues.:United States.
  
  In the United States, the Copyright Act of 1976 acts as the basis of copyright law to protect the rights of the original creators. It protects the original works of authorship. To some extent, it allows artists to reproduce the work and create derivative works of the original work.
  
  Fair use is a limitation and exception to the copyright law. According to the "Hofstra Law Review", “If mashup artists could prove that they use others’ songs or clips to criticize, comment, or teach, then mashup artists might be able to use the copyrighted material without authorization." 
   BULLET::::- CHOREOGRAPHY COMES TO SMITHSONIAN: DANA TAI SOON BURGESS DANCE COMPANY TO INTERPRET PORTRAIT GALLERY’S “THE FACE OF BATTLE"
  
  BULLET::::- BBC News: Nasa has collaborated with one of America's leading choreographers to create a modern dance about space exploration
  
  BULLET::::- National Portrait Gallery: Dana Tai Soon Burgess, Smithsonian's First Choreographer-in-residence
  
  BULLET::::- ARIRANG TV: The INNERview with Dana Tai Soon Burgess
  
  BULLET::::- National Endowment for the Arts, Art Works Podcast: Dana Tai Soon Burgess, dancer and choreographer
  
  BULLET::::- Dana Tai Soon Burgess Dance Company at National Portrait Gallery
  
  BULLET::::- Burgess: Art vs. Entertainment
   In industry, the concept of choreography is generally considered to be "non-executable". Standards, such as those proposed by the Web Services Choreography Description Language , present the choreography as a more formal model to describe contracts between autonomous entities (generally distinct organizations) participating in a composition services analyzed globally. From this perspective, the composition itself must be implemented centrally through the different orchestration mechanisms made available by companies: naive code composition or the use of specific orchestration languages and engines such as BPEL (Business Process Execution Language) , rule engines, etc.
   The music used in competitive dance routines is typically adapted from commercially available songs created by professional recording artists. Dance routines are subject to time limits at most dance competitions, and consequently the original, commercial music is usually edited to conform to such time limits.
  
  Section::::Competition.:Standards.
   BULLET::::- The second highest-scoring WGI PIW performance at World Championships is held by Rhythm X's 2013 show "The Man in the Arena" with a score of 98.263.
  
  BULLET::::- Rhythm X is one of only 6 ensembles to ever win the PIW gold medal at WGI World Championships.
  
  BULLET::::- During the 2007 season, Rhythm X became the first independent WGI indoor percussion ensemble to ever tour Europe.
  
  BULLET::::- Rhythm X and the Blue Knights Percussion Ensemble are tied for the second-most consecutive WGI PIW gold medals.
  
  Section::::Staff.
   In June 2011, Fox broadcast a portion of the audition piece of contestants D*Day (Damon Bellmon and Deon Lewis) on Season 8 of the dance competition So You Think You Can Dance. Although they were accused by many of plagiarizing their choreography from Les Twins' World of Dance San Diego performance on YouTube, D*Day was allowed to proceed to the next stage of the competition. In 2012, Bellman and Lewis returned on the SYTYCD Season 9 Atlanta auditions show claiming (with archived footage from the Show) their prior year’s routine was a homage to Les Twins’ work.
  
  Section::::Artistry.
  
  Section::::Artistry.:Dance style.
   In honor of the 25th Anniversary of Michael Jackson's "Thriller" album, each crew was assigned a Michael Jackson song from the album "Thriller" and was given a DVD compilation of some of the Michael Jackson's dancing. They then had to perform to the song and demonstrate how much they knew about Michael Jackson's moves in their performance. Kaba Modern randomly selected Michael Jackson's Thriller.
   MTV and Randy Jackson were sued by entertainer and activist Dwight McGhee, publicly known as rapper Citizen Charlie Kane, in 2010. Kane had pitched the show concept to MTV in 2004 and MTV "passed" on the concept. When Charlie Kane saw a commercial that depicted the 1970s Warriors' movie that looked exactly like his pitch demo DVD, he filed the suit. Many production elements between the show and Kane's 2003 copyright registration of a "break-dancing league" were identical. TMZ and NYPost were a couple among the many major media organizations to run the story. Viacom/MTV and Charlie Kane came to a mutual settlement in 2011.
   Courts in the United States balance four factors when considering fair use:
  
  BULLET::::1. Purpose and character of the use (including: commercial nature, non-profit education purposes)
  
  BULLET::::2. Nature of the copyrighted work
  
  BULLET::::3. Amount and substantiality of the portion used in relation to the copyrighted work as a whole
  
  BULLET::::4. Effect of the use upon the potential market or value of the copyrighted work
   In the United States, there is no federal statutory right in unfixed works such as performances, and no federal exclusive right to record a performance; some states, notably California, have performer rights laws, but as of 1988 these remain untested.
  
  Section::::Performers.:Performers rights in the United States of America.
  
  The US Copyright Statute does not explicitly recognize a copyright that is vested in the performer for their work. Therefore as a matter of statutory law, a performer, being either an actor, dancer, sportsperson or musician cannot claim a separate copyright.
   While Section 115 of United States copyright law provides that a compulsory license be offered to perform copyrighted musical compositions, as administered by performance rights organizations, the provision's scope only applies to non-dramatic performances. As such, the license agreements of major PROs such as ASCAP and BMI only cover what are known in contrast as "small rights", and exclude the usage of compositions within "dramatic" or "dramatico-musical" works, or the use of compositions that originated from a dramatico-musical work. Unlike small rights, grand rights must be negotiated directly with the publisher or copyright holder of the composition.
   Copyright requires a material fixation of the work, as for example a speech or a choreography work, although it is an intellectual work (an "œuvre de l'esprit"), they will not be protected if they are not embodied in a material support. Such requirement does not exist under the "droit d'auteur". As a consequence, an improvised live performance would still benefit from the protection of "droit d'auteur".
  
  Section::::Difference between copyright and "droit d'auteur".:Moral rights.
   The use of copyrighted material to create new content is a hotly debated topic. The emergence of the musical "mashup" genre has compounded the issue of creative licensing. A moral conflict is created between those who believe that copyright protects any unauthorized use of content, and those who maintain that sampling and mash-ups are acceptable musical styles and, though they use portions of copyrighted material, the end result is a new creative piece which is the property of the creator, and not of the original copyright holder. Whether or not the mashup genre should be allowed to use portions of copyrighted material to create new content is one which is currently under debate.
   Having programs and program lists allows the caller to form his/her choreography from an agreed-upon and widely known list of calls that the dancers are understood to be able to carry out. Dancers can be assured that others who dance the same program know identical calls.
  
  Having managed program lists allows modern Western square dance to be an international activity.
  
  When a dance is advertised as being a multi-program dance then there are either "tips" or special rooms available for the dancer at the various programs.
  
  Section::::See also.
  
  BULLET::::- Modern Western square dance
  
  Section::::External links.
   Section::::Finals.
  
  Section::::Finals.:Performances.
  
  Section::::Finals.:Performances.:Top 10 (July 11, 2016).
   On December 17, 2012, U.S. District Court Judge Otis Wright ruled that Bikram Choudhury does not have copyright protection for the sequence of 26 yoga postures and two breathing exercises commonly known as “Bikram Yoga.” The ruling, in favor of Evolation Yoga LLC and its founders Mark Drost and Zefea Samson, meant that non-Bikram studios are allowed to offer hot yoga classes utilizing that same 26-posture sequence—a legal right Choudhury actively and vigorously contested for several years.
   In the early years of DanceAbility, the majority of inclusive dance teachers were self-taught. DanceAbility offered teacher certification in 1997. Teacher training remains one of its core projects. Teacher training is now given in several countries, including:
  
  BULLET::::- the United States (Eugene, Oregon)
  
  BULLET::::- Buenos Aires, Argentina
  
  BULLET::::- Milan, Italy
  
  BULLET::::- Amsterdam, Netherlands
  
  BULLET::::- Trier, Germany
  
  BULLET::::- Vienna, Austria (at ImPulsTanz Festival)
  
  BULLET::::- Helsinki, Finland
   Section::::Performance nights.:Week 1: Top 14 Showcase (13 April 2011).
  
  BULLET::::- Group Dance: Forget You — Cee Lo Green (Jazz; Choreographer: Geneviève Dorion-Coupal)
  
  BULLET::::- Musical Performance: Patricia Kazadi - Look Around
  
  BULLET::::- Guest Dancers:
  
  BULLET::::- Jakub Jóżwiak & Paulina Figińska - season 5 Winner & Runner-Up (Contemporary) - La Ritournelle - Sebastian Tellier
   BULLET::::- Duets choreographed by all-stars:
  
  Section::::Finals.:Performances.:July 25, 2016 (final 9).
   Section::::Segments.:January–November 2018 segments.:ASAP MYX (The Maja-Yassi Experience).
  
  A segment that showcases a dance showdown between Yassi Pressman and Maja Salvador, dancing to three different song remixes of a single international hit artist. This segment was originally launched on April 15, 2018, but was removed after the reformatting of the program.
  
  Section::::Segments.:January–November 2018 segments.:ASAP G!
   BULLET::::- 2011–12 (including Olympics): "Memories (Fuck Me I'm Famous Remix)" by David Guetta feat. Kid Cudi & "We No Speak Americano" by Yolanda Be Cool and DCUP
  
  BULLET::::- 2012: "Bon Bon" by Pitbull, DJ Alvaro mix of "We No Speak Americano" by Yolanda Be Cool and DCUP.
  
  BULLET::::- 2015–16: "Dare (La La La)" by Shakira
  
  Section::::Senior international routines.
  
presuppositions: All popular music can be used in choreography channels. Popular music holders want to enforce their copyrights directly against choreography channels.
corrections: Only popular music that have opted for monetization  can be used in youtube videos. Popular music holders have given up their copyrights against choreography channels so the money gets redirected to them.
raw_presuppositions: All popular music can be used in choreography channels. Popular music holders want to enforce their copyrights directly against choreography channels.
raw_corrections: Only popular music that have opted for monetization  can be used in youtube videos. Popular music holders have given up their copyrights against choreography channels so the money gets redirected to them.