5/4 Draft Questions
1. Martha Gonzalez says that “Departments are seeing the value in academics who are also practitioners,” proving this "by landing a tenure-track assistant professor position at Scripps College," (https://grad.uw.edu/student-alumni-profiles/martha-gonzalez/). How are professors who have been active participants in their field of study more effective at teaching than those who have spent most if not all of their time in academia?
2. Gonzalez states that her musical, "goal was not to create “political art” to sell or disseminate, but rather to engage in creative processes with community to initiate dialogue," (Caminos y Canciones en Los Angeles, 268). How does community Fandango as an art form challenge the confines of capital logic?
3. Gonzalez says that "we've been alienated from music practice," and "even as we get more advanced in society, it doesn't mean that we don't need each other," (Seattle Fandango Project, 08:32). Is this cultural convening, or convivenica, seen in the US outside of Chicano communities?
4. Through her Entre Mujeres project, Gonzalez learned that traditional, time-constrained, industry techniques "exclude women's and mothers' participation" and that the "convivial moments previously shared through fandango had generated a sense of intimacy that made it easier for them to take risks and compose," (Mixing in the Kitchen, 76-77). How do capitalist practices indirectly exclude certain groups from the music industry? And how can this be combatted?
2. Gonzalez states that her musical, "goal was not to create “political art” to sell or disseminate, but rather to engage in creative processes with community to initiate dialogue," (Caminos y Canciones en Los Angeles, 268). How does community Fandango as an art form challenge the confines of capital logic?
3. Gonzalez says that "we've been alienated from music practice," and "even as we get more advanced in society, it doesn't mean that we don't need each other," (Seattle Fandango Project, 08:32). Is this cultural convening, or convivenica, seen in the US outside of Chicano communities?
4. Through her Entre Mujeres project, Gonzalez learned that traditional, time-constrained, industry techniques "exclude women's and mothers' participation" and that the "convivial moments previously shared through fandango had generated a sense of intimacy that made it easier for them to take risks and compose," (Mixing in the Kitchen, 76-77). How do capitalist practices indirectly exclude certain groups from the music industry? And how can this be combatted?
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