5/4 Draft Questions - Sadie Van den Bogaerde

Martha Gonzalez writes in her chapter “Caminos y Canciones” that when she encountered the Chicano art and activism scene in East LA, her focus in music changed from “product-based to process-based art interactions.” Why is this a significant distinction in the context of art and activism?

I love the analysis of Zapateado as an act of decolonial resistance through its connection between the women dancing as well as the connection to the natural world. What other art practices- even just small aspects of art practices- can be seen to function in such a profound way? 

Martha Gonzalez describes the challenge she experienced in initially forming a community on UW campus. Now she leads the Seattle Fandango project, an incredible organization with the main goal of bringing people together over a common love of music. How can one begin to form a community and create convivencia among people? Does this differ in the context of a college campus versus a greater community?

In “Community Stories: Seattle Fandango Project”, Yesenia Hunter describes her daughter’s found love of dance and her pride in her Mexican heritage. (7:00) What is the importance of children of any background becoming educated about and forming their own connections to their heritage?