Charmian Wells
Biographic Data
| ID | 6189957 |
|---|---|
| NAME | Charmian Wells |
| GIVEN NAMES | Charmian |
| FAMILY NAME | Wells |
| SIGNATURE | WELLS C |
| ORCID | 0000-0002-2748-1401 |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Behind the Screen
Reviewed by: Behind the Screen: Tap Dance, Race, and Invisibility During Hollywood's Golden Age by Brynn W. Shiovitz Charmian Wells BEHIND THE SCREEN: TAP DANCE, RACE, AND INVISIBILITY DURING HOLLYWOOD'S GOLDEN AGE. By Brynn W. Shiovitz. New York: Oxford University Press, 2023; pp. 385. Brynn Shiovitz's Behind the Screen advances a theory of covert minstrelsy, which proposes that four interrelated guises of blackface performance—the sonic, protea…
Pass Fe White and Homestretch
This article examines Joan Miller's use of choreographic citation in her solos, Pass Fe White (1970) and Homestretch (1973). The solos “read” the desire to embody idealized, feminine whiteness in a critique of institutions for accessing national belonging—celebrity, education, and marriage—satirically exposing the gendered and racialized exclusions of the figure of the abstract “human” as “proper” citizen. Miller's work performs queer, Black femi…
Harlem Knows”
This article examines Eleo Pomare's concept of vitality in his piece Blues for the Jungle (1966) as a black aesthetic approach to choreography. Vitality seeks to connect with black audiences in Harlem by referencing and affirming shared cultural knowledge, conveying an embodied epistemology of the US political economy defined by the lived experiences of Harlem: “Harlem knows.” Using a lens of diaspora citation, I argue that Pomare's choreographic…
Harlem Knows”
This article examines Eleo Pomare's concept of vitality in his piece Blues for the Jungle (1966) as a black aesthetic approach to choreography. Vitality seeks to connect with black audiences in Harlem by referencing and affirming shared cultural knowledge, conveying an embodied epistemology of the US political economy defined by the lived experiences of Harlem: “Harlem knows.” Using a lens of diaspora citation, I argue that Pomare's choreographic…
Harlem Knows”
This article examines Eleo Pomare's concept of vitality in his piece Blues for the Jungle (1966) as a black aesthetic approach to choreography. Vitality seeks to connect with black audiences in Harlem by referencing and affirming shared cultural knowledge, conveying an embodied epistemology of the US political economy defined by the lived experiences of Harlem: “Harlem knows.” Using a lens of diaspora citation, I argue that Pomare's choreographic…
Pass Fe White and Homestretch
This article examines Joan Miller's use of choreographic citation in her solos, Pass Fe White (1970) and Homestretch (1973). The solos “read” the desire to embody idealized, feminine whiteness in a critique of institutions for accessing national belonging—celebrity, education, and marriage—satirically exposing the gendered and racialized exclusions of the figure of the abstract “human” as “proper” citizen. Miller's work performs queer, Black femi…
Behind the Screen
Reviewed by: Behind the Screen: Tap Dance, Race, and Invisibility During Hollywood's Golden Age by Brynn W. Shiovitz Charmian Wells BEHIND THE SCREEN: TAP DANCE, RACE, AND INVISIBILITY DURING HOLLYWOOD'S GOLDEN AGE. By Brynn W. Shiovitz. New York: Oxford University Press, 2023; pp. 385. Brynn Shiovitz's Behind the Screen advances a theory of covert minstrelsy, which proposes that four interrelated guises of blackface performance—the sonic, protea…
Art (3 works) · Diversity and Impact of Dance (3 works) · Gender Studies (3 works) · Sociology (3 works) · Aesthetics (2 works) · Art history (2 works) · Dance (2 works) · Political science (2 works) · Theater, Performance, and Music History (2 works) · Theatre and Performance Studies (2 works)