5/4 Draft Questions - Kimia Preston

1. In the Kickstarter article, they describe this project as “an attempt to make visible the struggles and balance motherhood and music have on a woman’s life and how mechanical and social technologies could help document musical convivencia amongst women”. In what ways does this connect to the ideals of Chicana feminism?

2. In Martha Gonzalez’s UW biography piece, there is a strong emphasis on integration of both practice and academia to create a more whole product and space. How does this integration facilitate community, activism, and change better than either practice or academia on their own?

3. The Seattle Fandango Project serves as a space for individuals to come together and learn as “participants not performers”. How does this distinction create a space for equality and community for everyone?

4. In the Sounding out Tarima Temporalities piece, there is a large emphasis on how participating in the Fandango allows people to unlearn colonial power dynamics and internalize the power of one’s self. What are the some of the ways that this unlearning/relearning happens through practicing Fandango based on this reading?