Own Your Movement
KINEX is the movement licensing marketplace.Institutions license at the gate.
This door is for choreographers. Admission is open now. The catalog is being built now.
- At intake: your work is fixed provisionally. A hash and a timestamp are recorded.
- If it passes: it is sealed into the registry, with the full record around it.
- You receive: a registration packet, ready to file, documenting the work and its provenance.
- Every use: licensed before it is used.
- Every license: a direct agreement between you, the rights holder, and the institution licensing the work.
- The split: under the standard economics of a KINEX Verified listing, 80 percent of license income flows to the authorized rights holder pool and 20 percent to KINEX.
- KINEX: the marketplace where the work is licensed. Never a counterparty trading rights in it.
WHAT KINEX READS
One performance, captured by the Lens and sealed as one record, is read for the movement itself:
Timing, measured to the frame, and spoken in counts of 8 wherever the work carries a declared tempo.
Joint ranges, measured joint by joint and side by side, each range read against the dancer's own baseline in the record and each side read against the other, never against a population grade.
The foot's contact sequence, derived from the steps the record shows: heel, whole foot, heel lift, toes, with any stage that did not happen named as the missing stage.
Waist decoupling, derived phrase by phrase: whether the pelvis and the ribcage traveled as separate units or as one block, and a twist that held named as twist held.
The girdle, read on each side: the shoulder line's travel, drops, and one-sided holds, with the heights measured, the tilt derived, and the frontal and depth split stamped modeled.
The plyometric landing chain, derived landing by landing: the order the ankle, knee, and hip fold and how deep, the order they begin to move at push-off and at touchdown, ties printed as ties, and every landing read against the mover's own other landings in the same record.
Breath is forthcoming: the row is named and designed, and it carries no read until the validation behind it passes.
Admission for creators is open now, as intake only, and licensing opens in 2027.
Apply for admissionEvery record is sealed and digest-bound, and every record carries a citable identity in public: a KXR number and a Zenodo DOI.
Every read carries its standing in the open, measured, derived, modeled, or forthcoming, and a standing is never upgraded in copy.
Consent is two decisions, taken separately: attribution, and the training corpus, which stays inert until its own instruments exist.
Every work passes this review before it enters the catalog. The audit was created by Blacka Di Danca and Seiky Stephanie as part of the DKA Framework.
What a sealed record returns, read by read, each read stamped with its standing, is set out in full under What KINEX reads.
- 1Identity first. You are verified before any work is read.
- 2The work is recorded. Checked for copyright eligibility.
- 3Ownership is cleared. Any gap in the chain is repaired in writing.
- 4Capture quality is judged. Falls short? It is captured again. Never waved through.
- 5A score sets the tier. The score never decides admission.
- 6Sealed and listed. The work is sealed and listed as KINEX Verified.
The score sets the tier. It never gates.
Every assessment is advisory, with human review and an appeal behind borderline calls. It is not a legal determination.
Work that does not pass leaves with the reason named, and a path to resubmit.
DKA Certified is the gold seal for full DKA Framework work. KINEX Verified is for work that clears the full Lens audit without DKA implementation. Every asset passes the same audit; certified always ranks first.
From the founders
Blacka Di Danca and Seiky Stephanie built KINEX for the work they already made and watched travel without them. Seiky Stephanie is the architect; Blacka Di Danca is the engineer; and every choreographer reading this already knows why the building had to exist.
Here is the confession: they were taught to call it the price of the work. The steps were the show, and still the credit traveled one way and the money followed it, and the contract called it work for hire, which meant the leak was legal and the loss was theirs. If you have ever found your own movement on a screen with somebody else's name on it, you do not need this explained to you. You have been paying the price choreographers were taught to accept.
They do not accept it anymore. Movement is intellectual property, and federal law has recognized choreography as a protectable work since 1978; what was missing was never the right, it was the infrastructure to prove the work, seal it at the moment of creation, and license it on terms the creator sets. So they built the infrastructure.
This is your door. Your work is captured and sealed when it is made, your chain of title is documented before anyone can question it, and when a buyer licenses what you built, 80 percent of every license flows to you, not as a favor but as the published terms of the marketplace.
Seiky Stephanie and Blacka Di Danca are founding partners of KINEX and of DANCA Media. Bring them the work you already made. The door is open, and this time the movers hold the keys.
Application received.
Your application is recorded, in the order received.
REFERENCE
Admission is not guaranteed. Applications enter the audit queue, and cohorts are taken up in the order buyer demand sets. The audit team will write to you to complete intake of your work, and your provisional record is issued when the work is received.
Choreographers apply here · Institutions license at the gate
In plain words: choreography has been protected by United States copyright law since 1978, and works in KINEX are captured and sealed at fixation. The full basis follows.
Since January 1, 1978, choreographic works have been a named category of authorship under United States federal copyright law (Copyright Act of 1976; 17 U.S.C. § 102(a)(4)). Protection covers a composition of movements organized into a coherent whole. It does not cover individual steps, social dances, or commonplace movements. A work must be fixed in a tangible medium to be protected, and video recording is an accepted form of fixation (U.S. Copyright Office, Circular 52). Works in KINEX are captured and sealed at fixation. A registration packet is documentation prepared for filing. It is not a government registration, and KINEX issues no certificate. A KINEX eligibility assessment is an advisory assessment, not a legal determination, and admission decisions rest with human review.