![]() ![]() ![]() ![]() Gonzalez has also implemented the collective songwriting method in schools, correctional facilities, detention centers, and college classrooms throughout the western United States. Gonzalez his academic interests have been fueled by her singer songwriter and percussionist role for the Grammy Award winning band Quetzal Gonzalez and her partner, QSL florists, have been instrumental in catalyzing the trans national dialogue between Chicanos, Latinos, and hiroto communities. Martha Gonzalez is a Chicano art Avista feminist music theorist and Associate Professor in the intercollegiate department of Chicano Chicano Latina Latino Studies at Scripps Claremont college, Dr. Podcast a professional development network at music exploring intersections of peacebuilding, sacredness, community, creativity and imagination through research and story. You were listening to the music and peacebuilding Make gives them an aha moment it says, I've been wrong. But you might influence them or plant a seed in such a way that walking away and humming to that song that they help right. How are you going to influence with dignity? How are you going to without really imposing your thought or your own aesthetic on to the practice? As a musician who loves to do this and value songwriting? How can I be a good facilitator, but also a good instigator, finding ways of influencing also thought and getting people to not alienate people that you don't agree with, but trying to find ways of, of also including them in this dialogue that you may not change their mind in that instant. How does communal (musical) practice represent a restorative or "artavista" practice through embodiment? Gonzalez notes that these senses of embodiment were able to construct practiced, artistic spaces that stood against violent practices of disembodiment and the extraction of capital from enslaved bodies. How have our imaginations led to violence or destructive tendencies?ĥ) Working from the model of Fandango Fronterizo, when can imagination become liberatory? How might liberatory imagination be constructed in community?Ħ) Fandango and many African and Indigenous traditions are fully-embodied traditions. 1) How/when does our search for more within structures of capitalism become a form of violence? When does music become an object for consumption? When is music a practice of togetherness?Ģ) What is Indigenous relationality? What are the structures within our language that reinforce mindsets of domination and consumption?ģ) Drawing on traditions of testimonio, what are practices of truth-telling and storytelling that hold power to account? What is the power of story when an oppressed person or group seemingly has very few opportunities for voice? (Idea: read Rigoberta Menchú's book and discuss the impact of this testimonio)Ĥ) Many forms of imagination across history imagined notions of "superior races," "pure people," or a "great nation" that led to genocide, slavery, or colonization. ![]()
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