(1) In “Sounding Out Tarima Temporalities: Decolonial Feminista Dance Disruption,” Avendaño writes that in fandango, “The dancer, processing and articulating rhythms through the body, engages in decolonial (learning) practices that generate a shift in consciousness from individual to relational knowledge.” Relationality is a prominent theme in this piece as well as many others we have read, particularly those around Indigenous practices and knowledge. How does being in right relation with the earth and all the life it supports constitute a decolonial praxis?
(2) In “Caminos Y Canciones En Los Angeles, CA”, Gonzalez argues that fandango represents social change in that it’s “physical and ideological formation democratizes music in a way that disrupts how music functions in capitalist societies” (272). What functions does music play in our capitalist society that we need to be critical of?
(3) In the video “Entre Mujeres: Translocal Musical Dialogues,” convivencia seems to be a lot about telling one’s story (testimonio). How is the process of telling one’s story through song maybe different from hearing a song that relates to your life in some way?
(4) We learn from Gonzalez’s bio that she was a member of East Los Angeles’s community that used art as activism before coming to UW. What is the role of public space in the work of artist-activists? How does the shift in space change the activism that one engages in? What actions do not resonate within academic institutions?
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