May 4th- Teresa Bonilla

1. In her bio Martha Gonzalez talks about the importance of community, to student success saying, “Classes can be great. But if you don’t have a community, you won’t retain students.” in what ways have you benefited from different communities you are a part of on campus? Are their certain communities you feel more connected to than others?
2. In the Seattle Fandango project music video at 7:36 Yesenia Hunter talks about how fandango is not for the purpose of entertaining it's about playing music and living life together. Martha Gonzalez adds on to that saying that fandango challenges the ideas about who can do music and who cant, and helps to break down the alienation from music that has come to be. How does this connect to the ideas Audrey Lourde proposes with the term socially erotic that we read about in the chapter “Dissident Globalizations, Emancipatory Methods, Social-Erotics” from the book Queer Globalizations by Chela Sandoval?
3. How much of the art we enjoy today is created in these same communal ways, is it more or less popular? How does communality in art production change the way it's consumed and who consumes it?
4. In the article "Sounding Out Tarima Temporalities: Decolonial Feminista Dance Disruption" author Iris C. Viveros Avendaño says "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." I am not sure if I understand what she is saying, maybe you guys can help me think through it. My understanding is this functions as an act of decolonialization because traditionally western music with its very strict rythmic time and defined rules was pushed onto indigenous peoples in the Americas (whose music was not exactly like that). One way to fight back is to create a style of music that is less strict and more inclusive. Where we see the overlaping of two rythms working together instead of restricting each other. Additionally the dancer is making up parts of the dance and thus the rhythm as they go, so that ryhthm too is fighting back against the strict colonial structures. What did you guys think?