JAQUEL: It was something we have never seen before in the commercial dance industry. NGOZI: Why was it an important move for you? I'm happy you're speaking up for yourself." About time." There's so many other key players in the industry that are like, "This has been needed forever. ![]() JAQUEL: Pharrell is often like, "Brother, good job. NGOZI: Have you gotten support from the artists you've worked with? So when it comes to a sequence, your sequence belongs to you, and once it's done and presented in a tangible form that the copyright office can say, "The public has access to this," you then have created something that is your intellectual property, belongs to you and should always belong to you. The copyright office isn't so much worrying about steps as they are looking to allow you to have ownership of a sequence. So now when we start to speak in the commercial space, when you create something, it's done in sequences. Choreographers in those worlds own their work off jump. JAQUEL: It's very common in the concert space. NGOZI: I think the question that a lot of people have is: How exactly do you copyright a move? JAQUEL KNIGHT: July of 2020 it was officially awarded I was the official owner – copyright owner – of "Single Ladies," the choreography I choreographed for Beyoncé back in 2008. NGOZI EKELEDO: Can you fill us in on the copyright move that you made? The following interview has been edited and condensed for clarity. NBCLX storyteller Ngozi Ekeledo headed to Los Angeles to interview Knight about his new business venture and how he’s changing the entertainment industry for Black creators. to copyright his iconic dance moves, and now he’s trying to help other Black creators, especially in the social media dance world, own their work and reap the rewards. ![]() ![]() In 2020, Knight became the first commercial choreographer - meaning his work typically appears in music videos, TV shows, movies, etc.
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