{"title":"一封写给变装的情书","authors":"Andrew Farrell","doi":"10.1177/11771801241253228","DOIUrl":null,"url":null,"abstract":"Drag as an enduring artform has reached the masses through the hit reality television show RuPaul’s Drag Race (2009–2024). This article explores an intimate reflection on the series through the lens of a queer Aboriginal person who is both a fan and practitioner of the art of drag. Beyond the scope of niche fandoms at queer margins, this letter points to the violent and liberatory entanglements generated by the mainstreaming of drag.","PeriodicalId":45786,"journal":{"name":"Alternative-An International Journal of Indigenous Peoples","volume":null,"pages":null},"PeriodicalIF":1.6000,"publicationDate":"2024-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"A love letter to drag\",\"authors\":\"Andrew Farrell\",\"doi\":\"10.1177/11771801241253228\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Drag as an enduring artform has reached the masses through the hit reality television show RuPaul’s Drag Race (2009–2024). This article explores an intimate reflection on the series through the lens of a queer Aboriginal person who is both a fan and practitioner of the art of drag. Beyond the scope of niche fandoms at queer margins, this letter points to the violent and liberatory entanglements generated by the mainstreaming of drag.\",\"PeriodicalId\":45786,\"journal\":{\"name\":\"Alternative-An International Journal of Indigenous Peoples\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":1.6000,\"publicationDate\":\"2024-05-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Alternative-An International Journal of Indigenous Peoples\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1177/11771801241253228\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"ETHNIC STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Alternative-An International Journal of Indigenous Peoples","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1177/11771801241253228","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"ETHNIC STUDIES","Score":null,"Total":0}
Drag as an enduring artform has reached the masses through the hit reality television show RuPaul’s Drag Race (2009–2024). This article explores an intimate reflection on the series through the lens of a queer Aboriginal person who is both a fan and practitioner of the art of drag. Beyond the scope of niche fandoms at queer margins, this letter points to the violent and liberatory entanglements generated by the mainstreaming of drag.
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