1. In "Seattle Fandango Project" Martha Gonzalez says that Fandango is more than just having performers and an audience rather "there are only participants" in making the music. How does this method of music-making and community mirror social activism and protest for equality?
2. In "Sounding Out Tarima Temporalities" the concept of relational knowledge is brought up in relation to individual knowledge. How are the two different and how is this relational knowledge expressed through the zapateado?
3. When looking at the fandango and its polyrhythm roots from its different cultural origins, how has it continued to evolve as it adapts to more cultural regions in the United States and around the world?
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