Sonic Bridges, Cultural Production, and Teaching

Thursday, April 15, 2021, 10:00 AM - 11:30 AM

Type: Workshop

Tags: Archives and Bibliography; Music; Public History and Memory

Abstract

No pre-registration required

This panel puts four humanities scholars in dialogue with one another coupled with a workshop that invites audience participation. In their work, the workshop leaders practice collaborative cultural production as educators and community artists and are dedicated to bridging connections through embodied means such as sound, dance, and art. Together their work demonstrates the tactics scholars utilize in pedagogy, in bridging community with academic spaces, and in collective archivista praxis and public-facing facing work. Workshop participants will work through tensions of cultural production, appropriation, and marking moments in community.

Session Participants

Chair and Presenter: Yesenia Navarrete Hunter, University of Southern California
Yesenia Navarrete Hunter is a PhD student in the History Program at the University of Southern California. Her experience of growing up on the Yakama Indian Reservation as a migrant farmworker is at the root of her scholarly interest in the history of migrant labor and place-making in the Pacific Northwest. Her dissertation project is called Entitled Histories of Land and Labor on the Yakama Reservation in the 20th Century. This project responds to questions of migration, culture, and the shaping of a racialized agricultural landscape by interrogating the spatial history of the region through archival research, oral histories, and testimonies.

Presenter: Martha Gonzalez, Scripps College
Dr. Martha Gonzalez is a Chicana artivista (artist/activist) musician, feminist music theorist and Associate Professor in the Intercollegiate Department of Chicana/o Latina/o Studies at Scripps/Claremont College. Born and raised in Boyle Heights she is a Fulbright (2007-2008), Ford (2012-2013) and Woodrow Wilson Fellow (206-2017), her academic interests have been fueled by her own musicianship as a singer/songwriter and percussionist for Grammy Award (2013) winning band Quetzal. Quetzal has made considerable impact in the Los Angeles Chicano music scene. The relevance of Quetzal’s music and lyrics have been noted in a range of publications, from dissertations to scholarly books. Their latest release is titled “The Eternal Get Down” on Smithsonian Folkways (2017). In addition, Gonzalez along with her partner Quetzal Flores has been instrumental in catalyzing the transnational dialogue between Chican@s/Latin@ communities in the U.S and Jarocho communities in Veracruz, Mexico. Gonzalez has also been active in implementing the collective songwriting method in correctional facilities throughout California and Seattle WA. Most recently, and as a testament to the body of music and community work Gonzalez has accomplished on and off the stage, in the summer of 2017 Gonzalez’s tarima (stomp box) and zapateado dance shoes were acquired by the National Museum of American History. Gonzalez’s book Chican@ Artivistas: Music, Community, and Transborder Tactics in East Los Angeles is due out on University of Texas Press in the Spring of 2020. Gonzalez lives in Los Angeles with her husband Quetzal Flores and their 14 year-old son-Sandino.

Presenter: Michelle Habell-Pallan, University of Washington
Michelle Habell-Pallán, is Professor of Gender, Women & Sexuality Studies at the University of Washington (UW). She is the Director of the Certificate for Public Scholarship, co-directs Sound Practices: Sound, New Media, and Difference Collaboratory, and co-directs the UW Libraries Women Who Rock: Making Scenes, Building Communities Oral History Archive. She co-authored the bilingual book American Sabor: Latinos in U.S. Popular Music/Latinos y latinas en la musica popular estadounidense, published by the University of Washington Press in 2018, and curated the award-winning bilingual Smithsonian Institution’s Traveling Exhibition Service exhibit American Sabor: Latinos in U.S. Popular Music. She recently authored “‘Girl in a Coma' Tweets Chicanafuturism: Decolonial Visions, Social Media, and Archivista Praxis" and collaborates in community music with Seattle Fandango Project. For her 15+ years of community engagement and the arts she was awarded the 2017 Barclay Simpson Prize for Scholarship in Public. Habell-Pallán authored Loca Motion: The Travels of Chicana/Latina Popular Culture (NYU Press). Her in-progress book is titled: The Sound of Chicanxfuturism: To the“Eternal Getdown” from Punk’s “No Future.” She is co-Director of the UW Honors Summer Study Abroad Program in Quito, Ecuador.

Presenter: Iris Viveros, University of Washington
Iris Viveros’s scholarly work focuses on Fandango, a polyrhythmic collective music-making practice from Mexico, as a space of resistance, recovery, and healing from trauma. Lastly, a central idea throughout her scholarly work is the exploration of the feminized body in fandango–In its collective and individual manifestation– as a decolonial space where knowledge is produced, reproduced, and transmitted.