1. One aspect of Madrid's argument (and also quintessential to Kun's) is the concept of music-making as identity formation. I completely agree with what they say regarding this, the kind of music one listens to is oftentimes at the center of who that individual is. However, and this is what I wrote about in my paper, I'm concerned that at face value, if this concept of identity formation were taken too far, it would further entrench the "us versus them" concept that continually cycles through racism and xenophobia. Where is the line between music-making for the joy of declaring personal identity, and music-making declaring and entrenching an "us versus them" mentality?
2. As I think about dance that has been especially politically charged or just controversial, I think of Elvis shaking his hips and the polarizing nature that it had in American society in the 50's. In this new era of globalization and desensitization, is it possible for dance to have that kind of impact still? More specifically, do quebradita, Nor-Tec dance, or pasito dance styles accomplish what their artists set out to do?
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