Monday 5/4 Draft Questions - Paul Druta
1. The Seattle Fandango Project is built off of the idea of community music making. In the Seattle Community Story video (1:05), it is mentioned that instead of audience and performer there are only participants. However, since there are so many people involved in this process, are there ever any difficulties in making sure that that the music still has a cohesive sound? What if some participants have no musical experience at all?
2. In the Sounding Tarima Temporalities article, Avendanos talks about the concept of Nepantlas in fandango, which are "'places of constant tension, where the missing or absent pieces can be summoned back, where transformation and healing might be possible, where wholeness is just out of reach but seems attainable.' Nepantla is the space where change happens, the kind of change that requires more than words on a page: it takes perseverance, and creative ingenuity." (Avendanos). Seeing as bailadoras of the fandango have to always be thinking about Nepantlas, does playing the tarima help one improve their ability to practice decolonial thinking?
3. In Martha Gonzalez's graduate student bio, she talks about the value of her musical background on her work in academia and the need for universities to rethink about academia: "Departments are seeing the value in academics who are also practitioners" (Dr Martha Gonzalez bio). Expanding the academy to include more artists and community activists helps legitimize their work and expand their influence. What are some other ways that universities and academic institutions can help support underrepresented communities through academia?
4. In Caminos y Canciones en Los Angeles, CA, Martha Gonzalez talks about the expansion of the practice of fandango and son jarocho to various communities in the United States. Over the years, how has the art form changed in Mexico in a response to this expansion?
2. In the Sounding Tarima Temporalities article, Avendanos talks about the concept of Nepantlas in fandango, which are "'places of constant tension, where the missing or absent pieces can be summoned back, where transformation and healing might be possible, where wholeness is just out of reach but seems attainable.' Nepantla is the space where change happens, the kind of change that requires more than words on a page: it takes perseverance, and creative ingenuity." (Avendanos). Seeing as bailadoras of the fandango have to always be thinking about Nepantlas, does playing the tarima help one improve their ability to practice decolonial thinking?
3. In Martha Gonzalez's graduate student bio, she talks about the value of her musical background on her work in academia and the need for universities to rethink about academia: "Departments are seeing the value in academics who are also practitioners" (Dr Martha Gonzalez bio). Expanding the academy to include more artists and community activists helps legitimize their work and expand their influence. What are some other ways that universities and academic institutions can help support underrepresented communities through academia?
4. In Caminos y Canciones en Los Angeles, CA, Martha Gonzalez talks about the expansion of the practice of fandango and son jarocho to various communities in the United States. Over the years, how has the art form changed in Mexico in a response to this expansion?
Comments
Post a Comment
Do you have any pic to share? Use this code [img]image-url-here[/img]