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 feminist, diasporic desires for a world beyond Black and white nationalist logics, refusing to be “properly” placed in national hierarchies of female objecthood, while affirming the capacity to desire differently by proposing alternative terms for belonging in the world.

中文翻译：

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通过 Fe White 和 Homestretch：琼·米勒的讽刺“阅读”、拒绝和肯定

这篇文章探讨了琼·米勒在她的独奏中对编排引用的使用，通过铁白（1970）和家庭伸展（1973 年）。独奏“解读”了在对获得国家归属感的机构——名人、教育和婚姻——的批判中体现理想化的女性白人的愿望——讽刺地揭露了抽象“人类”形象的性别和种族排斥是“适当的”公民。米勒的作品表现出对一个超越黑人和白人民族主义逻辑的世界的酷儿、黑人女权主义和流散的渴望，拒绝“恰当地”置于女性客体的国家等级制度中，同时通过提出对世界归属的替代术语来确认不同欲望的能力.