5/4 Draft Questions
1. In "Caminos y Canciones en Los Angeles", Martha Gonzalez writes that she wants to "supplant the idea that we must be proactive in our music experiences". What do you think Gonzalez means by this, based on the rest of her essay?
2. In "Sounding Out Tarima Temporalities: Decolonial Feminista Dance Disruption", the author writes about rhythm as a form of feminism and giving voice to racialiszed groups/ What does she mean by this? How can women's rhythmic zapateado by women be a reflection of this idea?
3. Martha Gonzalez writes a lot about the creation of music and it's connection to feminism and activism. How is the music she creates in "Entre Mujeres" representative of this?
2. In "Sounding Out Tarima Temporalities: Decolonial Feminista Dance Disruption", the author writes about rhythm as a form of feminism and giving voice to racialiszed groups/ What does she mean by this? How can women's rhythmic zapateado by women be a reflection of this idea?
3. Martha Gonzalez writes a lot about the creation of music and it's connection to feminism and activism. How is the music she creates in "Entre Mujeres" representative of this?
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