dorset chiapas solidarity

September 15, 2016

EZLN: One House, Other Worlds

Filed under: Zapatista — Tags: , , , — dorsetchiapassolidarity @ 2:56 pm



EZLN: One House, Other Worlds




July/August/September, 2016

To whom it may concern:

Topic: Invitation to “CompArte and ConCiencias for Humanity.”

Yes, we know. Days and nights go by in which bitterness is the only thing that appears on the horizon. Our steps drag along in pain, rage, and indignation, stumbling every so often over the impertinent gaze of cynicism and our own disappointment; over the stupidity exalted in government positions and polls; over simulation as a way of life; over the substitution of frivolity for culture, art, and science; over the multiple tiers of disrespect for the different (the problem isn’t that the other exists, but that it shows itself”); and over a wholesale resignation in the political market sphere (“oh well, the only option left is to choose not the lesser evil, but the least scandalous”). Yes, things are hard, harder every day. It is as if the night has become longer. It is as if the day has postponed its stride until no one and nothing is left, until the path is empty. It is as if there was no breath left. The monster lies in wait in every corner, countryside, and city street.

Despite all this, or precisely because of it, we send you this invitation.

It may seem that it is not the moment nor the matter at hand, but we Zapatistas invite you to participate in the festivals “CompArte and ConCiencias for Humanity.” So, respecting etiquette, we have to send an invitation. This should be something that details a calendar and a geography, because we know that you have your own path, your own pace, your own company on that path, and your own destiny. And we don’t want to add another difficulty to those that you already confront. Thus, an invitation must include the when and where.

But you know who we are. You know how we are, that is. And the question that we think an invitation must address is not the when and where, but rather the why. Perhaps that is why this invitation does not comply with the etiquette of the occasion and does not arrive on time, but rather too late or too early. But as you’ll see, it doesn’t matter. That is why this invitation is very other, and why it includes as a crucial element this little story:


One House, Other Worlds




It’s more of a legend than a story. That is, there’s no way to confirm the truthfulness of what is told here. This is partly because it details no specific calendar or geography; it could have happened, or not, in any undefined time or place. It is also because the supposed non-protagonist of this story is dead, deceased, done, defunct. If he was alive, we could just ask if he actually said what it says here that he said. And as he was always tenacious in his wanderings through the tree tops, it is likely that he would go on at length to describe this imprecise calendar.

In any case, since we don’t have the exact date, we’ll just say it was more than two decades ago. The geography? The mountains of the Mexican Southeast.

It was Comandante Tacho who told us the story in the wee hours of the morning at the EZLN headquarters. He was describing the house of the system, the home of capital, the storm, and the ark. We were in our headquarters, the headquarters where what would later become the seedbed/seminar was born. We think we took a coffee break… or that we adjourned the meeting in order to continue the next day… to tell you the truth, we don’t really remember. The point is that we were talking to Tacho and it was he who told us what we’re going to tell you now. There is of course a little bit of finagling involved because we have added to and rearranged Tacho’s original words. We did this not out of bad faith, disrespect, or an attempt to mend faulty memories, but because both of us who are writing now knew the deceased quite well and can reconstruct his words and feelings. Here goes:

This is Comandante Tacho speaking:

I don’t remember very well when it was, but it was when the deceased Sup was not yet deceased. He was just the Sup, staying up all night and smoking his pipe. Yes, chewing on the pipe, as usual. We were in the shelter that was the EZLN headquarters, although it wasn’t a shelter because it wasn’t finished yet. That is, it wasn’t EZLN headquarters yet.  Perhaps it was going to be, but not yet.

We were telling funny stories, things that happened in the communities, in the meetings, in the work of the struggle. The Sup was just listening, sometimes laughing, sometimes asking more about what happened. Before I really knew him I didn’t understand why. Later I realized that these accounts would appear later as stories in the communiques. I think he called them ‘postscripts.’ I asked him once why he called an account of what had really happened just a story. He said, ‘The thing is that they don’t believe the accounts, they think I am making things up or imagining things. So I write it like it’s a story because they are not ready to see the reality.’

Anyway, so there we were.

So then he asked the Sup…”

Yes, Tacho has used the third person singular: “he.” In order to clarify we asked him if by “he” he meant the Sup. “No,” he answered us, annoyed, “he asked the Sup.” We didn’t want to insist because we thought, perhaps mistakenly, that that wasn’t the point of the story, or that it was merely one piece of a puzzle still being sketched out. So Comandante Tacho used the word “he.” Not “she,” not “I,” not “we.” He said “he” in referring to the person who was questioning the Sup.

Hey Sup, how come every time we are building a house, you ask if we are building it according to traditional custom or by scientific method?”

Here Tacho took the time to clarify:

“Every time that we built a house, the deceased SupMarcos would come and stare at the beams and rafters. Then he would always ask:

‘That crossbeam that you’re putting there, are you putting it there because it is necessary for the construction of the house?’ Then I would respond, ‘Yes, if you don’t put it there the roof will fall in.’

‘I see,’ the Sup said, ‘but how do you know that if you don’t put it there that the roof will fall in?’

I just looked at him because I knew that wasn’t the real question. It wasn’t the first time he had asked it. He continued, ‘do you put it there because you know scientifically that if you don’t the roof will fall in, or do you put it there because it is traditional custom to do so?’

‘Because it’s traditional custom,’ I answered him, ‘because that is how I was taught. That is how my father built houses, and he learned from my grandfather, and so on going way back.’ The Sup was not satisfied, and always ended up climbing up onto the central beam before the supports were finished and, balancing as if he were riding a horse, would ask, ‘so if I get up here, is the beam going to fall?’ And boom, he would fall. ‘Ouch!’ was the only thing he’d say. He’d take out his pipe from where he landed on the ground, light it, and with his head resting on the broken beam, gaze up at the roof. We would all laugh of course.

So that’s why he asked the Sup why the Sup was always asking about whether something was done by traditional custom or scientific method.  The thing is that it wasn’t just that one time. Every time that our headquarters had to be moved and I had to oversee the construction of a new structure for the headquarters, that is what happened. The Sup would come, he would ask that question, I would respond, he wouldn’t be satisfied, he would climb up on the beam, it would break, and he would fall to the ground.”




(Note: in discussing this between the two of us, we have concluded that the approximate dates for what Tacho is recounting were the first months of 1995 when there was such heavy governmental persecution against us that we had to continually pick up and move our headquarters, accompanying the community of Guadalupe Tepeyac in exile. End of note and Tacho continues):

“I am telling you this so that you understand why he asked the Sup this question. At other times I had also asked him this question, but he hadn’t responded fully. It wasn’t that he hadn’t wanted to respond, but that always at that moment they called him on the radio, or someone came to talk to him. So I wanted to know the answer too.

The Sup took his pipe out of his mouth and put it to one side. We were sitting on the ground. It was very hot like it always is before a hard rain. I knew the answer would take a while, because when the Sup answered quickly, he didn’t even take the pipe out of his mouth; the words would just come out all chewed up.

So then the Sup said… well really, he asked:

‘Hey Tacho, how big is this house?’
‘3 by 4 [metres],’ I answered quickly, because it wasn’t the first time he asked.

‘And if it were 6 x 8, would it need more rafters for support?’ he asked me.

‘It would indeed,’ I responded.

‘And if were 12 x 16?’

I didn’t respond quickly, so the Sup continued:

‘And if it were 24 x 32? Or 48 x 64? What about 96 x 128?’

Then, to tell you the truth, I laughed. ‘That’s a really big house, I don’t know,’ I answered.

‘Correct,’ he said, ‘houses are made according to one’s own or one’s inherited experience. Traditions and customs, that is. To make a bigger house, one would have to ask or try something different.’

‘But let’s say that no one has ever built a house measuring 192 x 256…’

I laughed right before the Sup finished:


‘Umm, who would want a house that big?’ I asked laughing.

He lit his pipe and said, ‘well, let’s make it easier: what if the house were the size of the world?’

‘Ah no, that’s rough. I don’t think we can imagine a house that big, nor what it would be for,’ I said, more serious now.

‘We can,’ he said. ‘The arts can imagine this house, and can put it into words, sounds, images, figures. The arts can imagine what seems impossible and, in this process of imagination, sew doubt, curiosity, surprise, admiration—that is, they make it possible.

‘Ah, okay,’ I replied, ‘but it’s one thing to imagine and another thing to do. I don’t think a house that big can be made.’

‘It can,’ he said, and put the broken pipe aside.

‘The sciences know how. Even if a house the size of the world has never been made, the sciences can say with certainty how a construction that size would be built. I don’t know what it’s called, but I think it has to do with the strength of the materials, geometry, economics, physics, geography, biology, chemistry, and who the hell knows what else.

But even without previous experience, without traditional customs, science can in fact say how many beams, supports, and rafters are needed to make a house the size of the world. Scientific knowledge can determine how deep the foundation needs to be, how high and how long the walls need to be, what angle the roof should have if it is a pitched roof, where the windows should be given the climate, how many doors there should be and where, what material should be used for each part, and how many beams and supports it must have and where.’”

Was the now-deceased already thinking about the transgression of the law gravity and all of the straight lines linked to it? Did he imagine or already know about the subversion of Euclid’s Fifth Postulate? No, Tacho didn’t ask him. To tell you the truth, the two of us wouldn’t have asked either. It is hard to imagine, in those days of no tomorrow, with warplanes shaking the earth and sky, that there was time to think about art, much less science.

Everyone remained silent, Tacho recalls. Us, too. After a moment of silence and tobacco, he continued:

“The Sup took up his pipe again and saw with sorrow that there was no more tobacco. He looked in his pockets. Smiling, he pulled out a little plastic bag with some black strands. It took him awhile to light the pipe, I think because the tobacco was damp. Then he continued:

‘But I’m not concerned about whether the arts can imagine this house, its colours, its shapes, its sounds, where the day comes in, where the night falls, where the rain falls, where the wind blows, where the earth sits.

Neither am I concerned about whether science can solve the problem of how to make it a reality. Of course it can. It has the knowledge… or it will.

What concerns me is that this house that is a world not be the same as the one we live in. The house must be better, even bigger. It must be so big that it can hold not one world but many, those that already exist and those yet to be born.




Of course, one would have to meet with those who do art and science. That won’t be easy. At first they won’t be willing to help, not because they don’t want to but because they will be sceptical. Because we have a lot going against us. Because we are what we are.

Those who are artists think that we will constrain the subject, form, and pace of their work; that their artistic horizon will hold only males and females (never others), members of the powerful proletariat showing off their muscles and bright shining gazes in images, sounds, dances, and figures; that they could not even insinuate the existence of the other; that if they comply they will receive praise and applause, and if not, seclusion or repudiation. In other words, they think we will command that they not imagine.

Those who do science think that we are going to ask them to create mechanical, electronic, chemical, biological, and interstellar weapons of mass (or individual) destruction. They think that we will force them to create schools for exceptional minds where of course one will find the descendants of those currently in power who have a salary guaranteed before they are ever conceived. They think that what will be recognized is political affiliation and not scientific capacity, and that if they comply they will receive praise and applause, and if not, seclusion or repudiation. In other words, they think that we will command them not to do science.

In addition, because we are indigenous peoples, there are some [un@s and otr@s] here and there who think that what they do is art and culture, and that what we do is folk art and ritual. They think that what for them is analysis and knowledge, for us is belief and superstition.

They are ignorant of the fact that we have produced colours that, hundreds of years later, still challenge calendars. They do not know that when “civilization” still believed that the earth was the centre of the universe, we had already discovered celestial bodies and numerical systems. They think that we adore ignorance, that our thinking is simple and conformist, that we prefer to believe rather than to know. They think that we do not want advancement but rather regression.

In other words, they neither see themselves, nor do they see us.

The issue then is going to be to convince them to see themselves as we see them, to make them realize that, for us, they are what they are and also something else: hope. And hope, friends and enemies, cannot be bought, cannot be sold, cannot be coerced, cannot be contained, and cannot be killed.’

He fell silent. I waited to see if he would ask something else of the Sup, but since he didn’t say anything, I asked: ‘so what must we do?’ The Sup just sighed and said:

‘Our job is first of all to know that this house is possible and necessary. Then comes the easier part: to build it. For this task we need knowledge, feeling, imagination—we need the sciences and the arts. We need other hearts. The day will come when we will meet with those who make art and science. On that day we will embrace them and welcome them with one sole question: “And what about you?”’

I wasn’t satisfied with this answer though, and I asked the Sup: ‘And after we meet with these people, what are we going to do?’ The Sup smiled and said:



That is where the story or the legend that Comandante Tacho told us that morning ends.  All of this is relevant at the moment because we want to invite you to come, or to be present in some way, in this earth that we are.

We have this curiosity, you could say, that has been nagging at us over the course of many pages of the calendar and we think that perhaps you will accept this invitation and help us to resolve a particular doubt:

What do we need to build a new house, a house so big that it holds not one but many worlds?

That’s all. Or not, depending on you.

From the mountains of the Mexican Southeast.

In the name of the Zapatista children, elders, women, and men,

Subcomandante Insurgente Moisés

Subcomandante Insurgente Galeano

Mexico, July/August/September of 2016.



August 21, 2016

Sup Moisés at the conclusion of CompArte

Filed under: Zapatistas — Tags: , — dorsetchiapassolidarity @ 11:49 am



Sup Moisés at the conclusion of CompArte


EZLN: “22 years later we are showing that we don’t want to use these weapons, that it isn’t necessary.”


dancers-in-roberto-barriosDance performance at CompArte in Roberto Barrios

From the Desinformémonos Editors

Mexico City

Subcomandante Moisés, commander and spokesperson of the Zapatista National Liberation Army (Ejército Zapatista de Liberación Nacional, EZLN), stated that: “the soldiers should not have to kill us because we have not wanted to kill them.” As an example, he said, “the compañero support bases have demonstrated it (because) for 22 years we have kept our weapons stored, like tools.”

During the closing of the CompArte Festival in the Caracol of Roberto Barrios, in the Northern Zone of Chiapas, the Zapatista leader thanked the support bases for the demonstration of their art: “They have given us something great. For now, we want to tell you that we understand that the word war is using a weapon, but here we are demonstrating, 22 years later, that we don’t want to use those weapons, that it isn’t necessary. We are demonstrating that there is [another] way to achieve freedom, justice and democracy; that it isn’t necessary to kill the soldiers that the rich, the capitalist has, with which he is defended.”

The CompArte Festival, according to reports from the alternative communications media that had access, toured the five Zapatista regions (Oventik, La Garrucha, La Realidad, Morelia and Roberto Barrios), in Los Altos (the Highlands), the Lacandón Jungle and the Northern Zone of Chiapas, with demonstrations of poetry, dances, songs, paintings and other artistic activities in which Zapatista support bases and organizations and collectives from Mexico and from many parts of the world participated.

Below is the whole comunicado published by the Free Media:

“Good afternoon bases of support, the Sixth, brothers and sisters who listen to us!

We really can’t find the words to say to you because of the big surprise that the EZLN’s bases of support artist compañeros have shown us.

You have given us a lesson, an instruction, a class; that’s how we, our comandante and comandanta compañeros, feel.

We are representing our Caracoles, you have helped us a lot; you have taught us a lot; you give us strength and, well, power. We have a big task that you have given us, a big job that you have given us, and because of our practice we have to think it through collectively with our compañera comandantas and compañero comandantes.

You have given us something great. For now we want to tell you that we understand the word war is to use the weapon, but here we are demonstrating, 22 years later, that we don’t want to use those weapons; it isn’t necessary. We are showing that there is a way to achieve freedom, justice and democracy; that it’s not necessary to kill the soldiers that the rich, the capitalist has, with which he defends himself.

The soldiers would not have to kill us, because we have not wanted to kill them. The example the support base compañeros have shown, for 22 years we have preserved our weapons like tools.

We want to construct our autonomy and we are showing our brothers of Chiapas, Mexico and the world, but you aren’t going to stop, because you won’t like capitalism. You oblige us and we have to look for the way in which that doesn’t happen, but if it’s necessary to defend, one must defend oneself.

We are able to understand without killing and without dying. To finish with capitalism we need to get organized, to construct a new house or to set capitalism aside. But for now that lesson that you have given us, there is a lot of work to do and to think about.

Here in Mexico they have us so divided, into the countryside and the city, they have us so distracted so that we don’t realize how we are subjected in manipulation, but this class that you gave us, EZLN support base compañeros from the five Caracoles, we are not able to say more right now, because it was more what you told us and presented to us.

It’s really recharging the battery for us and for the comandante compañeros. We are seeing the fruits of the labour of our compañero representatives that is the EZLN’s structure.

What would happen if the thousands of Zapatista artists from the five Caracoles were seen? Something much greater would come from it. There are many types of weapons, but not the ones that kill, but rather the ones that change the life, the thinking and the idea. In all the Caracoles that we have passed through, we have met and we didn’t find the words because we need to get deeper into it, but with that material that the compañeros from the tercios compas [1] are making, that will help us a lot.

For now, we have enough material to get to work, to think about it and to concretize it so that if the bases approve it, it will be a real practice. That is the wisdom that we hear, see and later think about to put into practice, that is the spark of the art of seeing, of the art of listening, so that later it will be seen in practice for the benefit of one’s own people.

Art and science are really necessary to be able to destroy capitalism. We don’t know how, but we must think about it. There is no reason that we will see things differently, we are of the same original peoples in the countryside and also in the city. Our job is to think of how to unite because capitalism is going to destroy us.

And that is the importance of art and not only for Mexico. So, the instruction that you gave us hasn’t fit in our head, we have to go over it again, that is what we feel.

Thank you to the bases of support from the five Caracoles and the invitees for accompanying us. Our thinking about what we are going to tell you will arrive soon and you will decide if it’s so or not. We will look for the art of how to reach consensus on what will emerge in the practical work of what we said in this art of struggle.

Thank you brothers and sisters bases of support and compañeros of the Sixth.”

[1] The tercios compas – the Zapatista media team


Originally Published in Spanish by Desinformémonos

Monday, August 15, 2016

Re-Published with English interpretation by the Chiapas Support Committee

Posted with minor edits by Dorset Chiapas Solidarity



August 18, 2016

CompARTE Festival Closes

Filed under: sipaz, Uncategorized, Zapatistas — Tags: — dorsetchiapassolidarity @ 12:47 pm



CompARTE Festival Closes


comparteCompARTE, Oventik Caracol, July 29, 2016


In a communiqué on July 26, the Zapatista Army of National Liberation (EZLN) announced that something will always be presented “in different calendars and geographies, something of artistic creation that the Zapatistas prepare to show you” in all of the Zapatista Caracoles. Since July, the EZLN reported to have registered 1,127 national artists and 318 from other countries; as well as 1,819 Zapatista artists and 1,566 ‘eyes and ears’ (escuchas-videntes) from the Zapatista support bases for the CompARTE Festival. The event was partially cancelled when they opted to give all the supplies collected for the festival to the striking teachers, before being re-scheduled under a different format.

After an inauguration in CIDECI-Unitierra, in San Cristobal de Las Casas, CompARTE moved on through the Caracoles of Oventik, La Realidad, La Garrucha, Morelia, and Roberto Barrios between July 29 and August 12, coinciding in Morelia with the 13th anniversary of the foundation of the Zapatista Caracoles. The Zapatistas shared their path from the 70s to the present with us through theatre, poetry, music, paintings, and photos.

Posted by Dorset Chiapas Solidarity on 18/08/2016



August 15, 2016

Closing of Comparte in the Caracol of Roberto Barrios

Filed under: Autonomy, Uncategorized, Zapatista — Tags: , — dorsetchiapassolidarity @ 12:19 pm



Closing of Comparte in the Caracol of Roberto Barrios


COMPARTE-1-660x330 (1)


Palenque, Chiapas. August 12th.

Zapatista support bases, artists in the Comparte festival, and artists from the national and international sixth, to the rhythm of the voices, the drum, the revelry, the guitar and the applause, began to express their art, their history, and their autonomy, from Thursday evening.




The evening was enlivened by the musical group The Originals of San Andrés, in their first appearance at the Caracol of Roberto Barrios. Cicadas, crickets and howler monkeys accompanied participants for the rest of the early morning.

At about 10 o’clock (south eastern time) on Friday, with a greeting to the Zapatista delegation from the five Caracoles, the Good Government Council of Roberto Barrios began the presentation of the Zapatista CompArte.




“The art of how we resist” was performed in four sections about the history of the struggle, which looked at the formation of the EZLN and the repression perpetrated until today by the bad government and the capitalist hydra.

The presentations introduced the collective works, dance, theatre, poetry, history of the Chol, Tzeltal and Tzotzil peoples of northern Chiapas.




This lesson of autonomy released by the Zapatistas artists in CompArte, has opened the minds and hearts of those who struggle daily for another possible world.


Posted by Dorset Chiapas Solidarity on 15/08/2016



August 13, 2016

Art for Revolution’s Sake: Voices from the EZLN’s CompArte Festival in Chiapas

Filed under: Zapatista — Tags: — dorsetchiapassolidarity @ 12:43 pm



Art for Revolution’s Sake: Voices from the EZLN’s CompArte Festival in Chiapas           


Written by Ryan Mallett-Outtrim

It’s not every day that a guerrilla movement hosts an alternative art festival, but that’s exactly what just happened in southern Mexican city of San Cristobal, in the state of Chiapas.

From July 23 to 30, over a thousand artists from 45 countries flocked to the city’s outskirts to participate in CompArte for Humanity, a festival of art, poetry and music organized by the left-wing militant group, the Zapatista Army of National Liberation (EZLN). The EZLN declared war against the Mexican government in the 1990s, and today administers a handful of indigenous communities in the highlands of Chiapas. The movement’s ideology, Zapatismo, has garnered support across Mexico and abroad with its blend of Marxism and indigenous forms of horizontal community organization.

In a statement explaining their motivations for holding an art festival, the EZLN indicated it views artists as playing crucial role in promoting social change.

“We think that indeed, in the most difficult moments, when disillusionment and impotence are at a peak, the arts are the only thing capable of celebrating humanity,” read a joint statement from EZLN spokespeople Subcomandante Insurgente Moises and Subcomandante Insurgente Galeano.

Describing art as “perhaps the last bastion of humanity in the worst situations,” they suggested the art festival was about more than promoting the EZLN.

“The arts are the hope of humanity, not a militant cell,” Moises and Galeano stated.


The EZLN’s Definition of Art

The art on display at CompArte wasn’t limited to easels and paintbrushes. Rather, the EZLN said, “For Zapatismo, an artist is anyone who considers their activity as art.”

The result was a festival boasting an eclectic mix of everything from paintings and sketches to music, documentaries, theatre, poetry and philosophy workshops. Much of the art had distinctly political and social themes, promoting social movements from every corner of the world.

On the first day of the festival, Mexican wood carver David Arias Dijard told Upside Down World his art sought to promote real life heroes. Dijard’s exhibition featured a collection of handmade wooden “action figures.” However, instead of depicting superheroes like Batman or Superman, Dijard’s action figures were of revolutionaries like Mexico’s 20th Century rebel leader Emiliano Zapata, Argentine Marxist Ernesto “Che” Guevara, and EZLN icons Subcomandante Marcos and Comandanta Ramona.


28098096213_c2a2cece39_c(Pictured: Dijard and his exhibition of real life action heroes. (Ryan Mallett-Outtrim))


Explaining his exhibition, Dijard said, “I’m fighting through my art to make children consider real heroes, like Zapata, Che and Marcos.”

“The superheroes like Spiderman just destroy… but these heroes like Zapata … fought for the people,” he told Upside Down World.

Another artist, Mexico City resident Ana Zoebisch, said her pieces were intended to promote the EZLN’s struggle. In particular, she said she has a passion for highlighting the role of women in the movement. Gender equality is a key pillar of Zapatista ideology, and women reportedly make up around a third of the EZLN’s armed forces.

“The objective of my art is to introduce people to the Zapatista struggle, because there’s so much inaccurate information out there about them. People say they’re terrorists or killers, but this is a dignified fight,” she said.


28713972765_bf437133e1_c(Pictured: Zoebisch’s art focuses on themes of women’s rights and Zapatismo. (Ryan Mallett-Outtrim))


British poet Raga Woods said for her, CompArte was an opportunity to not only redefine art, but to also learn from other artists.

“[Comparte] is like a big marketplace of people looking to find out about each other, and to find themselves. That’s rarely admitted: that we need to find out about ourselves,” she said.

Her contribution to the festival was to host a workshop that quickly became an impassioned group discussion on misogynistic language. Even after some intense debate, the workshop ended with a group hug.

Afterwards, Woods explained the workshop was almost entirely unplanned. “I work spontaneously and intuitively,” she said.

Woods’ workshop was just one of many events at CompArte with a strong focus on engagement and dialogue between artists and audiences. The loose organization of the festival meant there was plenty of room for artists and visitors to debate and exchange ideas. The openness of the festival was even emphasized in the name, which is a play on the Spanish words for share (compartir) and art (arte). The Spanish word for share is also often used to describe a social gathering, or exchange of ideas.

For painter and crafter Nadia Mandiejano, the festival was a chance to “gather with, reunite and to meet other artists.”

“Comparte is … an opportunity to see and experience another world, and the human creation,” she said.


Art as a Shared Experience

This open approach to dialogue between artists and other visitors set CompArte apart from conventional art festivals, according to Argentine painter Martin Motta. “I don’t feel like this place is vertically organized, like most art galleries, universities, etc,” he said while taking a break from painting on the sixth day of the festival.

“The artist isn’t treated like an inferior here. We’re all equal – horizontal and equal,” he said

This sentiment of artist autonomy was reflected in another communique from the EZLN’s spokespeople, Moises and Galeano.

“No one should give orders to the arts,” they stated.

“For us Zapatistas, you … are so important that we cannot imagine a future without your work,” they added.


28681359476_ffebd3fd58_c(Pictured: Mexican artist Mario Martinez shows festival goers his exhibit, featuring works celebrating the country’s diverse social movements. (Ryan Mallett-Outtrim)


According to Moises and Galeano, the oldest artist to participate in CompArte was an 80-year-old folk singer.

Moises and Galeano said, “His songs, which revive popular culture and its musical parodies (surpassed only by reality), are still heard in the Zapatista mountains, and perhaps in some of the places where the teachers resist.”

The youngest artist was a six-year-old boy who danced to Son Jarocho, a form of folk music from the Mexican state of Veracruz.


Surprises From the EZLN

The vast array of art on offer wasn’t the only surprise for CompArte visitors. Shortly before the festival started, in early July the EZLN said they were suspending their involvement in organizing CompArte, so they could focus on providing solidarity to teachers protesting against the federal government’s controversial education reforms. Teachers and their supporters have blocked roads and established protest camps across Chiapas and neighboring Oaxaca states, prompting a violent police crackdown.

As part of the EZLN’s support for the teachers, they donated around MX$290,000 (US$16,000) of food and medicine to the demonstrators on the barricades and in the protest camps. The food had originally been earmarked for feeding EZLN attendees at CompArte. In a statement, the EZLN said the funds for the basic goods were donated by Zapatista communities across Chiapas.

“That is, it’s clean money, earned the way the immense majority of people of Mexico and the world earn: from work,” Moises and Galeano said.

Despite initially pulling back from the festival, the EZLN surprised visitors by offering CompArte participants the chance to visit their de facto capital, the administrative centre of Oventic. During the visit, guests were treated to indigenous folk music, and plays depicting the struggles of communities in the highlands.


28616441302_6e2c71c3ec_c(Pictured: A Zapatista folk band treated visitors to songs about the struggles of life in the impoverished highlands of Chiapas state. (Ryan Mallett-Outtrim)


Between the songs and dances, Moises addressed visitors with a call for all of Mexico to organize and rebel against the government in their own ways.

“It isn’t up to us to say how you must organize. Yes, we want to share all of our experiences, but we don’t know what the particularities of life are like for the workers, for the teachers, or for other people,” he told festival goers.

He continued, “But we all know that we all want justice, freedom, and democracy, and this goal [is common to all of us].”

“This [Capitalist] system doesn’t work, it is rotten, it cannot be fixed … we must organize ourselves to build a … new society,” he said.

The EZLN again surprised visitors on the final day of CompArte, when hundreds of masked militants came down from the mountains to observe the last performances and exhibitions of the festival.


28429303380_ac8041ba17_c (Pictured: A column of masked EZLN women arrive at the CompArte festival on July 30. (Ryan Mallett-Outtrim)


The visit was an exceptional moment for the EZLN, which has rarely appeared in force in San Cristobal since their short lived capture of the city in 1994. Over the past decade, the EZLN’s armed conflict with the Mexican state has been largely defensive, with the movement focusing more on promoting its ideals across Mexico and internationally of direct democracy and community autonomy. CompArte’s larger than expected turnout could be a sign this strategy is paying off. In total, 1,445 artists turned out, including over 300 from abroad.

The EZLN’s next major public event is a festival commemorating the 20th anniversary of their Indigenous Congress, and will take place on October 12 in San Cristobal. Details of how to attend as an observer are available on the  EZLN’s website.


Posted by Dorset Chiapas Solidarity on 13/08/2016



August 9, 2016

EZLN: The Art that is Neither Seen nor Heard

Filed under: Uncategorized, Zapatista — Tags: , , — dorsetchiapassolidarity @ 6:06 pm




(Note: the following are the comments made by Subcomandante Insurgente Moisés to mark the conclusion of the Zapatistas’ contribution to the CompArte, in the Caracol of Oventik, on July 29, 2016. The threat of rain and the pressure of time did not allow for the compañero to fully develop some of his points and there were others that he was unable to touch on at all. Here we present the original version that he was going to give. In his voice, our Zapatista word).






July 29, 2016.

Artists of Mexico and the world:

Sisters, brothers, and hermanoas:

For us, Zapatistas, art is studied by creating many imaginations, reading the gaze, studying in listening, and practicing.

It is by putting it into practice, that is, by doing it, that you will begin to see the result of the science and the art of imagination – the art of creativity.

There is some science and art that is needed immediately, the kind that helps us imagine how to do it.

There can be medium term science and art, and there is long term science and art that improves over the course of time.

For example: To even make something tiny that will contribute to the new world requires that we involve ourselves profoundly in the science and art of imagination, in the gaze, in listening and in creativity, patience, and attention. It requires that we think about how to move forward while building and many other things that must be taken into account.

Because what we want, or what we think about, is a new world, a new system. We don’t want a copy of what we have, we don’t want to improve it a little bit. This is a problem, we say, because there is no book or manual that explains how to create this new world. This book or manual hasn’t been written yet, it is still in the heads of those with imagination, in the eyes that are ready to gaze at the new world that they want to see, in the ears that are attentive in order to hear the new world that they want.

This requires a lot of wisdom and intelligence, a good understanding of many words and thoughts.

We say that it works like this because this is how the development of our autonomy has been and will continue to be.

It was built by thousands of Zapatista men and women, with science and art, and for now it can be seen in the 5 zones of the caracoles.

The art that we are showing you, our compañeras and compañeros, had a crude birth, it emerged from the heads of those women and men who themselves decided how to present it to you, [it is] about how they have worked as Zapatistas and autonomous people, with their resistance and their rebellious ways.

The entire process was a chain of art – from the thinking about what they would present, whether it would be a dance number, song, poetry, sculpture, theatre, or pottery, to the words, the ideas about how they would get from place to place, then where they were going to get the money for their rehearsal and performances, because they are collectives from the community, the region, the municipalities and the zone.

There were three rounds of selection. For the first round, the people got together in their regions; then the regions met as autonomous municipalities for the second selection; and the municipalities met in zones for the final round.

Their preparations took months.

For the communities of thousands of Zapatista men and women, it was another iteration of what we are, but in a different form, it didn’t happen through conversation or blah blah blah, but through the technique of Art, and everyone participated – children, teenagers, fathers, mothers, and grandparents.

In artistic form, in the art form of the Zapatista compañer@s, they were practicing their resistance and rebellion, their autonomous government of the Junta de Buen Gobierno, their MAREZ (Zapatista Autonomous Municipalities in Rebellion), their local authorities (comisariadas, comisariadosagentas, and agentes), their autonomous health systems, their autonomous education system, their autonomous radio stations, their 7 principles of lead by obeying in their new system of autonomous government, their democracy as communities, their justice, their freedom, their defence of mother earth, and their collective work on mother earth. This will all be the basis on which new generations of young women and young men will be formed, the basis for the Zapatista future.

This is what we presented to you, compañeras and compañeros of the national and international Sixth from Mexico and the world; only a small portion of the compañer@s that were going to participate actually participated. One day we will present the rest to you, but right now there isn’t time, because if we had all come, it would have taken over a month to do all of our presentations, and so that means that there is also an art and a science to how we planned to do a one-day presentation. Because the most marvellous of all of the arts is collective mutual support.




Compañeras and compañeros from the National and International Sixth.

Sisters and brothers of Mexico and the world.

The storm and the hydra of monstrous capitalism wants to prevent us from seeing one another, but through our great effort we are seeing one another here and now.

The compañeras and compañeros from the thousands of Zapatista bases of support for the Zapatista Army for National Liberation want to show you their art.

You have seen one part here and in other caracoles you could see other parts. Because more than two thousand artists have been selected and there were even more who didn’t come, not because they didn’t make it through the selection process, but because we didn’t have the money to transport thousands of compañera and compañero artists.

Our compañera and compañero artists aren’t professional artists, but rather their profession is what we call “Everythingologist [Todólogo]” because they are carpenters, masons, shop keepers, they work the land, are radio hosts, milicianos and milicianasinsurgentas and insurgents, autonomous authorities, teachers at the Zapatista little school, health and education promoters, and they still find the time to be artists.

They are true artists in the art of constructing a new system of governance, the autonomy where the people command and the government obeys.

It is an art that you can see, study, and that exists in practice, that you can know through its sharing.

But the compañeras and compañeros also make other art that you don’t know about, that isn’t disclosed in any press releases.

It is the art of solidarity, the support for the people who struggle.

Because the other art and science that the compañera and compañero Zapatista bases of support practice is their support for the struggle of the teachers’ movement.

You did not see this science and art, but the way it was delivered; the food support was like the art of a hornet’s nest, but there was also an art and science that preceded this.

This is what happened:

We realized that we needed to support this struggle by the teachers who are resisting the capitalist hydra and storm, which we have been talking about for a year.

So then we figured out how much support we were able to give. First we used our word to support them, to say that their struggle is a just one.

Then we tried to figure out how to support the resistance at the sites where they were putting up roadblocks and sit-ins and we realized that we could support them by providing food.

Then we assessed how much support we could send them, and first, how our compañeras and compañeros would respond if we supported them with food from the little that we have as a result of our collective labours.

We figured out how, for example, the food support could work—the delivery, the bags, and all of that. But what you don’t see is the organization of the food collection community by community, the division of how much each community was supposed to provide, figuring out how many tons they were going to be able to get together so that they could figure out how they were going to transport it. Then there was the timing, because the news was saying that the blockades were still there, and then that the teachers were going to take them down to avoid being forcefully evicted because what they were doing was really hurting the rich, and this put a lot of pressure on us because the food that we collected would spoil if there wasn’t any place to take it to.

They had meetings everywhere in order to come to an agreement, because all of the compañer@ssaid that the support that we needed to give to the teachers’ movement was just and necessary.




So they started to do the math (i.e division), the accounts as we say, say of how much each zone, MAREZ, region, and community was responsible for. There were a few zones where the commissions failed to meet their goal, they didn’t fail in a bad way, but in a good way, because they had reported that their commission would provide 2 tons of food and when the time came they actually provided 7 tons more than they had promised, which was the case with the Zapatista bases of support in the North Zone of Chiapas, from the caracol of Roberto Barrios. And so, well, resolving the problem was Art, because no one had even imagined that they could provide 9 tons. We only had a 3-ton truck.

The compañeras’ work is really art, because they were asked how long it will take them to have 100 thousand tostadas ready – how could they calculate that when the corn is still on the cob?

Well the compañeras responded that the tostadas would be ready on x day at x time. Because they know how many hours it takes to cook the corn, and how many tostadas you can get from a kilo of corn.

And the compañeras even add flavour to the tostadas, from a little bit of beans, and salt, because they know that the tostadas are to support the teachers at the sit-ins and in resistance.

And that is how they did it and now it is done, but you can’t see it because it is already in people’s stomachs, or it has become fertilizer because the companer@ teachers have already consumed it.

Collective work, the common, made it so that they could move things easily, from one hand to another, others moved things on horses, others by foot and on their back, others by car.

Thanks to the collective work of the compañeras and compañeros.

It was all a mathematic calculation, from beginning to end.

All of this, it is all an expenditure, and the great majority is from collective work, communities, regions, autonomous municipalities. It is the real fruit of our work as organized communities of men and women.

But you didn’t see any of this and you wouldn’t know about it if we didn’t tell you about it, and it’s all the work of our Zapatista compañera and compañero bases of support, in order to show that we care about a people who struggles with resistance.

Why do we do this? Well, because we know and understand what it is to resist in struggle and how much work it takes to maintain a struggle in resistance.

Figuring out how to provide this support is an art of imagination by the Zapatista communities.  The “resistance” of the compañeras and compañeros has gone on for 22 years, and that’s a lot of experience and is a great building block solidarity. It is the demonstration of collectivity. For 22 years we Zapatistas have been in resistance and rebellion against capitalism, and we’ve had, for 22 years, a new system of governing ourselves where the people command and the government obeys.


There are those who think that we should go out and struggle for the teachers. But if they think that way, then they haven’t understood anything at all. Because that would mean that that I want someone to come and struggle for me. We Zapatista men and women don’t ask for anyone to come and struggle for us. Each person must struggle, and we should mutually support one another, but that support cannot replace each person’s struggle. Whoever struggles has the right to decide the direction of their path and with whom they walk that path. If others insert themselves, then they are no longer supporting that struggle, but supplanting it. Support is respect, not trying to direct or command. Just as we have understood that no one is going to give us what we need to eat if we don’t work for it ourselves – it’s the same thing. No one is going to liberate us except for ourselves.

That is how we peoples of Mexico and the world organize ourselves, how we struggle in the world where we are in order to change it, as workers, teachers, peasants, all kinds of workers, we don’t hold out hope that someone is going to come and struggle for us.

This is how we already live, and they [the bad government] only come to try to manipulate us, to fool us and to do the all of the things they do to us.





Art, brothers and sisters, compañeras and compañeros, is very important, because it is what provides us with an illustration of something new in life, something that illustrates something very different in real life—it doesn’t lie.

Art is so powerful because it is already real life in the communities where the people command and the government obeys, thanks to the art of the imagination and the knowledge of how to create a new society, how to create a life in common. Our art shows that it is possible to create another form of governing, one that is totally different, that it is possible to create another life working in common to benefit the community itself.

This makes me think of the deceased Subcomandante Insurgente Marcos, who often asked us questions when we were building a little house, there in the jungle, with Comandante Tacho. The deceased asked us, “These crossbeams, what are they for? Can you explain to me scientifically what they are for? And we were about to answer, when he hit us with another question, “Is it science, or is it custom?” Comandante Tacho and I looked at each other, and since he was in charge of the construction it was up to him to respond, “Well, I learned from my father, and my father learned from my grandfather, and so on,” said Comandante Tacho. The deceased responded, “Ah, well then it’s custom, and it’s not based on a scientific study.” So he explained to us why the sciences and the arts are so important. And now we are coming to understand this. But wait, I’ll tell you what the deceased scribbled down or wrote to us from the place where he now lives six feet under; we’re going to ask him to send it to us and we are going to publish it, those of us who are still alive here where he had been living before. So compañeras and compañeros, sisters and brothers. We Zapatistas think that now more than ever, we need ART, ORIGINARY PEOPLES, AND THE SCIENTISTS in order to give birth to a new world.

So compañera and compañero artists from the National and International Sixth, get involved in the work of art with a lot of enthusiasm.

Join us, brothers and sisters of Mexico and the world, in dreaming of an art where the people command, for their own good and the good of the people themselves.

Thank you,

From the mountains of Southeastern Mexico.

Subcomandante Insurgente Moisés.

Mexico, July 29, 2016.

Song, “The Capacity of Women”. Lyrics, music, and choreography from the young, female and musical Zapatista group “Dignity and Resistance,” bases of support from the Altos Zone of Chiapas. When they performed in Oventik, on June 29 in the afternoon, the sound system failed and it made them a little bit sad. And so on June 30, in CIDECI, SubMoy asked the compañero musicians Panteón Rococó and Oscar Chávez to stop for a minute and they gave up a few minutes of their time (Thank you Don Óscar, thank you Panteones). The compañeras were able to present what they had been preparing for more than 5 months. When they finished they reported back to SupMoy. “We’re back,” they said. SupMoy said, “How did it go?” and they said, “we won.” SupMoy didn’t say anything but he was definitely thinking,” “All in all, 500 years is a short time, but I never thought that I would get to hear this.”  They continued, “We felt a little bad because the people were asking for another. A lot of people were yelling ‘One more! One more!’ but we didn’t know another one. It took us a long time just to make this one. If they want another one, they are going to have to wait a another six months.” SubMoy asked, “And so what did you do?” “We left the stage quickly and hid ourselves among the compañeros.” That’s what they said and then they went to the dance floor for the Panteones’ ska.

Song. “The Capacity of Women.”


Dance number: “The Dance of the collective work of Maize.” Choreography by the Zapatista bases of support of the Altos Zone in Chiapas. This is the version that they presented during the selection process. For the presentation on July 29 in Oventik they added a few more things, as those who were there got to see. Maybe in the compa media they have a video of July 29 in Oventik.

Dance number: “The Dance of the Collective work of Maize.”


Poetry: “When the Horizon looks to tomorrow.” Written by a young Zapatista base of support from the Altos Zone in Chiapas. This is the version that he presented in the selection process. When he presented it, he was told that there would be a lot of people there, but not to get nervous. “Keep your eyes on your notebook and don’t look up,” they recommended. He said that he wasn’t scared but he was confused about one thing. “What is it?” they asked him. He said, “I don’t know if you are supposed to say ‘poem’ or ‘poetry’. And so we ask you for a reply to his question.

Poetry: “When the Horizon Looks to Tomorrow.”


Posted by Dorset Chiapas Solidarity on 09/08/2016 .





August 5, 2016

Sharing the Creative Resistance “PROUDLY ZAPATISTA” -July 2016 –

Filed under: Zapatistas — Tags: , — dorsetchiapassolidarity @ 5:29 am



Sharing the Creative Resistance “PROUDLY ZAPATISTA”  -July 2016 –

By Carlos Ogaz and Andalusia Knoll


The seventh day of Comparte en el Caracol II de Oventic began promptly at 10 am, in the middle of a blistering sun, unusual for the Chiapas Highlands, and with the presence of members of Zapatista support communities and domestic and international volunteers. People from the Tzotzil, Zoque and Tzeltal indigenous communities, dawning ski masks, bandanas (some without) presented a diverse repertoire of art: poetry, music, dance, and theatric songs. Various well-formed groups of performers showed us the history of the indigenous people, from the oppression and resistance following the arrival of the Spanish to the counterinsurgency strategies that the people of southeastern Mexico are fighting in their struggle for liberation.

The following 18 images show the evolution of the Festival por la Humanidad en el Comparte del Caracol de Oventic (CompArte Festival for Humanity held at the Oventik Caracol (Zapatista Autonomous Government Center).


oventic_ftr_1.jpg small

The festival, organized by the Zapatistas in their autonomous territory, began promptly at 10 in the morning. The human heat and blazing sun draped those that arrived at first hour to enjoy the artistic works of the Zapatistas. At the entrance of Caracol de Oventik, those that arrived where invited to self-reflect on “the art of solidarity” – with a sign that asked if they had already visited the teachers, a reference to the blockades and encampments of teachers who have been protesting the Mexican neoliberal education reform.


oventic_ftr_2.jpg small

The inaugural message was delivered by SCI Moisés commenting on the recent bloodshed in the indigenous town of San Juan Chamula where the mayor and many residents were murdered the week before: “We don’t care whether you are Zapatistas in the town of Chamula or not, you are indigenous and members of our first nations people that engaged in deadly violence in the town of San Juan Chamula. We do not approve of indigenous people killing amongst themselves even it is between political parties or whatever the case may be.”


oventic_ftr_3.jpg small

Between the sun and mist, thousands of members of the zapatista bases of support from the region of the highlands Chiapas, assembled at the Caracol II to both observe and share their art with the people present from both the national and international civil society.


oventic_ftr_4_1.jpg small

The stage, built on top of the basketball court and covered with a tin roof, was fenced off to ensure all activities ran smoothly, as hundreds of men and women of the Zapatista combatants held firm for 10 hours, interrupted only by a light rain.


oventic_ftr_4.jpg small

Many men, women, and young people acted out dozens of plays over the course of the nine-hour-long program. Entire theater companies performed the stories of the conditions that led to the Zapatista uprising; stories they have now been telling little by little in the last 20 years of struggle.


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The harvest dance took place in the middle of the fog. With this act, they showed us how to harvest cornfields and the importance of collective work for the resistance.


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The Zapatista discipline and effort was apparent; dances were very well executed, plays, poems and songs were performed masterfully, and the audio and sound were superb.



The attendees showed enthusiasm for the diversity of the indigenous participants, made up of Tzeltal, Tzotzil, and Zoque communities from the Chiapas Highlands.


oventic_ftr_8.jpg small

Men, women and children focused their gaze on stage, where the lives of their grandparents in the time of farms and ranches were portrayed.


oventic_ftr_9.jpg small

The performances included the history of indigenous peoples starting with their oppression and historical resistance since the arrival of the Spanish, to the counterinsurgency strategies that the people of southeastern Mexico are fighting in their struggle for liberation.



Many artistic performances were part of the CompArte in the Oventic Caracol (Zapatista autonomous government center), including poetry, songs, dances and dance music, paintings, music, and various plays performed by the various Zapatista regions.


oventic_ftr_12.jpg small

In the faces of the festival attendees there was joy and hope. Many words and smiles were shared by all during the course of the day.


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The Tercios Compas [Zapatista Media] set up their media teams to document the activities with video, audio and pictures to “share with the people and the leadership”.


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The young Zapatistas ska dance performance of the “Worker’s Waltz” produced elation in the crowd, and the audience’s ovation generated energy and resistance among attendees.


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The “Bolonchón” dance was performed by members of the autonomous municipality of Magdalena de la Paz, from the Vicente Guerrero region.


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All the festival participants from the Highlands took the stage at the end to acknowledge all the civil society members in attendance and stated “we will come back tomorrow to see your art.”


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Los Originales de San Andrés closed out the event for artists and festival goers alike. Zapatista corridos played over the sound system as we said goodbye and walked down towards San Cristobal de las Casas.


oventic_ftr_20.jpg small

Gradually the Zapatista artists picked up their instruments and tools, and in between reciting rhymes and poems they slowly walked away from the main stage that housed their art for the day on July 29 in Oventic.


Posted by Dorset Chiapas Solidarity on 04/05/2016

With our thanks to REGENERACIÓN RADIO





August 4, 2016

“Comparte for Humanity” Festival in CIDECI-Unitierra comes to an end. It continues now in the Zapatista Caracoles.

Filed under: Uncategorized, Zapatista — Tags: , — dorsetchiapassolidarity @ 8:42 am




“Comparte for Humanity” Festival in CIDECI-Unitierra comes to an end. It continues now in the Zapatista Caracoles.




Saturday 30 July The Festival “Comparte for Humanity” in CIDECI-Unitierra, finishes today with great joy, celebration, colours and flavours. The Comparte festival comes to an end in CIDECI, and the party, creativity, art and life that the Zapatusta compañeros and compañeros share with us will continue in the caracoles of La Realidad, La Garrucha, Morelia and Roberto Barrios.




Without doubt this week of art and sharing was full of life, hope and creativity, wherever we are, we can feel it, and it touches our hearts and thoughts. From the different geographies we were celebrating and building what the Zapatista compañeros have taught us, “a world where many worlds fit.”

With this happiness of the experience we lived during this week, we share the materials for this day to be heard by your hearts and thoughts and to be shared, used and transformed freely.

All these efforts are bearing true fruits which can be heard by closing your eyes and opening up to the experience of listening to those who have made every effort to bring light and life in the midst of the storm.




From Sakamchen de los Pobres, México City, Tijuana, Guatemala, Ciudad Juárez, Torreón, Guerrero, Veracruz, Chile, Monterrey y Perú; Óscar Chavez, Makila 69, Lengualerta, Yerbabuena, Roco, Pedro Mo, Psiquesónimas, Sonidero Sabotaje, Panteón Rococo, Chintete, Manik B, Banda La Mixanteña de Santa Cecilia, La Orquesta Juvenil de San Cristóbal, Maix Xel Ha, Moyenei y others who shared together…



Posted on 4/8/16 by Dorset Chiapas Solidarity



August 1, 2016

Words of the EZLN at CompARTE in Oventik

Filed under: Uncategorized, Zapatistas — Tags: , , , , — dorsetchiapassolidarity @ 10:25 am



Words of the EZLN at CompARTE in Oventik





In the name of the compañeras and compañeros bases of support of the Zapatista Army of National Liberation, I want to tell you how we feel about the things that they do to us as originary peoples of Mexico. I think it is the same all across the world.

We want to tell you, explain to you once again, how much suffering this rotten capitalist system has caused us.

Don’t feel bad, compañeras and compañeros from the national and international Sixth, brothers and sisters of the world, about everything that I am about to tell you because it isn’t about you. It’s about what the capitalist system does to us and the conditions that it forces on us, especially those of us who are ORIGINARY PEOPLES in this country called Mexico.

I am going to talk about how we Zapatista men and women feel about what they did to our indigenous brothers and sisters from the town of San Juan Chamula, on June 23 of this year.

What happened there pains us as Zapatistas.

I mean what really happened there, not what the paid media (those who sell out for a few pennies) say happened there.

We know perfectly that the paid media says that in Chamula the municipal president from the Verde Ecologista (PVEM, Green Ecological Party of Mexico) was killed. Because this is the party of the overseer Velasco,[i] the paid media are there crying and lamenting what happened, but they say nothing of the rest of the dead. They say nothing of those who later died in their homes or of those whose dead or dying bodies were taken away by their families. For the government and the press those deaths don’t matter. There were actually dozens of dead, not just five corrupt officials.

Everyone in Chamula and in all of the indigenous communities of the Altos of Chiapas knows what really happened. They know that it was the guards of the corrupt municipal president (of the Verde party) who initiated the shootout and who killed and injured many of the people who were in the plaza. It wasn’t until later that another armed group arrived to finish off these (Verde) officials. Yes, finish them off, because they had already been killed with clubs and machetes.

The government and its journalist employees want to present what happened as just a small problem. They talk about the municipal president as a “poor thing.” They claim that he was simply trying to respond to the people’s complaints but that those “savage” Chamulans, as the press calls them, had to go and kill him.

All of this is a lie. Every single thing that they have said in the paid media is a lie. It is a lie that was bought for a few pennies, and the paid media would rather interview “experts,” as they call them, than go and actually investigate what happened.

We are not going to report what happened in detail. We will leave this task to those who were the real victims that day and who have been the victims for a long time now. They will know perfectly well how and when to explain things.

But what we will tell you is that what followed pains us to no end: how the paid media began to report a bunch of nonsense and lies about indigenous peoples. Even those media who claim to be very progressive did the same thing. It pains us how they made a corrupt politician into a hero. It pains us that they lied to everyone, becoming accomplices to the crime. And it pains us how they knelt before Velasco so he could climb on their backs and present himself as some great saviour. It’s on them [the media] that they sell out for mere pennies.

It does not matter to us that the people of Chamula are not Zapatistas. They are our brothers. Those people who killed each other in the community of San Juan Chamula are indigenous peoples, originary peoples, part of our originary race. It brings us no satisfaction to see indigenous people killing one another, even if they support the political party system. It gives us no pleasure to see indigenous people presented as “savages” by those who are the true savages—the criminal government, their political party supporters, and their obedient paid press.

What matters to us is who planned this, who wanted things to happen this way.

We suffer an immense and seemingly incurable pain from all those things that those above have done to us.

We understand clearly that no one else can cure this pain. Only we can do so that, and to do so we will have to work and work very hard.

All of the bad things that happen in our communities, towns, barrios, and neighbourhoods HAPPEN BECAUSE OF THE POLITICAL PARTIES, RELIGIONS, AND DRUG TRAFFICKERS THAT MEDDLE THERE.

They use us indigenous people for anything and everything that those above want.

They want to turn us into servants of those above by having us work as mayors, councilmen, and state and federal representatives. Why do they want us to do this? So that we will learn to make money without working, so that we will learn to be corrupt while we disguise ourselves as servants of the people.

I don’t know what they see us as, because even garbage is good for fertilizer. In our case they don’t even see us as garbage. We are nothing but shit to those above.

They treat us like shits, and because they’ve already made use of that shit they have to throw it out, however they feel like.

I cannot even say that they treat us like animals or pets because they at least treat their pets like living things.

They look at us indigenous peoples of the world and say “backward,” “uncivilized,” “nuisances,” “primitives,” “revolting,” and countless other absurdities that they have said about us and done to us.

For centuries and centuries, we have resisted all of this.

We are flesh, blood, and bone, just like them.

But we indigenous men and women are not hurting ANYONE.

They have wanted to destroy and disappear us, but they will never succeed.

They have divided us with religion, miseducation in the schools, and the political party system. They have imposed on us another culture, a bad politics, and a harmful ideology.

Compañeras and compañeros from the national and international Sixth, brothers and sisters of the world:

We say to you clearly: we are not the shit of those above to be treated like this. We are humans of blood, bone, and flesh just like they are. We are not the same colour as they are, but we are living beings.

We do not want to be bad like they are, those who use other humans.

Yet today what they are trying to show is that it is we indigenous that are bad, that we kill one another as happened in San Juan Chamula.

The ones who wanted this to happen are the political parties above, from the ruling PRI and the PVEM and all of the political parties.

That is what happens with the other political parties too, including those who say they are on the left. They use us as their shock troops, but these parties are the ones who are backwards and evil, and yet we are always the ones who end up paying the price.

I am not saying that we originary peoples are all good; we have our own problems but we can resolve them ourselves. What happened in Chamula was the fault of the political parties and the leaders of those parties.

The media doesn’t mention this because they don’t get paid to tell the truth. On the contrary, they make more money by hiding information.

The journalists who work for the newspapers have to do what their bosses tell them if they want to get paid. They have already lost their dignity, and the same goes for the religious leaders who are well aware that they are deceiving us. They too have lost their dignity.

Who taught them to be corrupt, to steal and crook? Those above did.

The municipal president from San Juan Chamula who died was from the Verde party and he didn’t want to pay what he owed to the indigenous peoples, his own people. They had already said to him many times before to hand over the money already! But he didn’t open his ears and listen to them. Where did this municipal president learn to act this way? He learned it in the service of the bad government.

For decades and decades and hundreds of years they have deceived, mistreated, and used us, which is why no one pays attention to us indigenous peoples.

The teachings of above are bad, horrible. Those indigenous who have let themselves be used by those above and become mayors, councilmen, like the councilwoman from Las Margaritas (Florinda from the PAN) in La Realidad, and the ex-federal representative of the CIOAC (Antonio Hernández Cruz), both Tojolabales. They have learned to ignore the communities and not take them into account. They are the ones who planned the murder of our compañero Galeano, a teacher of the Zapatista Little School. We have not forgotten.

The bad things that they want to teach us could fill volumes. For example, I’m indigenous, a small landholder with ten hectares.  But I begin to call myself a rancher. Yet an ejido commoner who has the right to 20 hectares…they are not considered a rancher even though they have 20 hectares. But those 20 hectares aren’t worth anything; what’s considered worthwhile is to be a property owner.  So now those people that now consider themselves ranchers believe that they are no longer indigenous. And that’s not even counting those who have become mayors or councilmen, because they now consider themselves middle class. They even begin to say that they don’t know how to speak their indigenous language.

Why is it that we indigenous peoples have to pay with our lives just so that others can have money to eat?

All of the paid media compete over the price at which they will sell their photos of the dead in San Juan Chamula. But they don’t report who is responsible for the deaths, and all levels of government pay whatever is necessary so that the names of those actually responsible—they themselves—don’t come out in print.

The press only prints what the bad governments say. Why didn’t the reporters and photographers show the rest of the dead? Why didn’t they show those who were killed by the municipal president’s guards, his opponents? The media doesn’t care about that because it doesn’t make them any money, and because the people who died there were Indians, and it doesn’t even matter that those Indians belonged to political parties. They were all just Indians. Isn’t this racism? From the same people who supposedly speak out against racism.

Those who supposedly “work” for the paid media have already received their pay for selling and situating lies, despite the gravity of the situation, even for them. They do not print the truth because the truth doesn’t make them any money. Shame on them, they are the masterminds of falsehood.

They arrive late to the scene of the crime just so that they can take pictures of the dead, but not to investigate the causes of decades of injustice.

They do arrive on time when their paymasters, that is the bad government, want to show the press what supposedly happened. The bad government gives them an opportunity to snap a picture and tells them that everything is under control in that place where the good president and his guards were killed by “Indian savages.” They print everything that the bad government says on this topic.

Within minutes they release this misinformation only to delete it just as quickly. They want people to see it but then forget it quickly. They do this so that people don’t demand to know who is really responsible for what has happened to the indigenous peoples of this country. This is the function of the paid media.

Damn it! We all know that the rich aren’t rich because they work from dawn to dusk. They don’t have to sweat and stink of sweat. They don’t have to worry about being mutilated in accidents with machinery. Their bodies aren’t covered in sweat. They don’t end up deaf because they are subjected to unbearable noise for 8 to 12 hours a day. They don’t get sick from fatigue; they don’t get stressed because they don’t have money for medicine, for food, for their rent, or for the education of their children. They don’t lack anything, thanks to us, the workers in the country and the city.

Without exploiting us, they would not be rich.

This world they have forced on us has come apart.

What is our pay in this capitalist world? Poverty, exploitation, mistreatment, and injustice.

Today they treat us all the same whether we are workers from the country and the city.

Their foremen, the municipal presidents, mistreat us; their butlers, the governors, mistreat us; and their overseers, the federal government, mistreat us. All of them are acting on the orders of their boss: neoliberal capitalism.

We have suffered so much from all of the things that they have done to us, the indigenous peoples from across the whole country, and what they have done to the compañeras and compañeros of the National Indigenous Congress.

But if we defend ourselves, then ah yes, we are “backward-thinking” “savages.”

If we steal a little bag of potato chips, we go to jail. But if the government of Juan Sabines Gutiérrez steals 40 billion pesos, no one goes to jail. They walk away scot-free so that they can continue to steal.

What a bunch of shit! What horror! How racist! There isn’t a single mainstream newspaper in Mexico that would publish this.

There is only injustice for us, the exploited peoples. There was NEVER justice for our great-grandparents; there was no justice before 1968; there was no justice for the slaughter of ’68; there was no justice for the slaughter of women in the city of Juarez, or for the slaughter of the children in the ABC Daycare. There has been no justice for Acteal. There has been no justice for the 43 disappeared students from Ayotzinapa, nor has there been any justice for the many many other injustices.

People of Mexico: we must all organize ourselves and struggle as we indigenous peoples are organized with our new system of government.

But it isn’t up to us to say how you must organize. Yes, we want to share all of our experiences, but we don’t know what the particularities of life are like for the workers, for the teachers, or for other people. But we all know that we want Justice, Freedom, and Democracy, and in this goal is our commonality.

What this system imposes on us is an impossible situation. For example: if I am part of an originary people and a federal representative and my congressional seat is next to federal deputy Diego Fernandez de Ceballos, the large landowner and landlord, and I begin to discuss the agrarian law, proposing the equal division of the land, that no one should have more land than anyone else, how would it be possible for me to come to an agreement with him, me an indigenous person, and him, a large landowner?




This system doesn’t work, it is rotten, it cannot be fixed. It will fall piece by piece and people will die as a result. We better figure out how to get out of there.

We had better organize ourselves to build a new house, that is, a new society.

No one is going to struggle for us. Just like for us Zapatistas, no one came here and struggled for us. In other words, we had to give our lives because we want more than just our lives.

So, teachers, organize and struggle until the end. Public health workers of Mexico, organize yourselves because the storm is already coming for you. The same goes for every sector of workers: the storm is coming for us.

People of Mexico and poor people of the world: organize yourselves.

Thank you.

From the mountains of Southeastern Mexico.

Subcomandante Insurgente Moisés. Oventik, Chiapas, Mexico.

July 29, 2016

[i] Manuel Velasco Coello, governor of Chiapas.


Posted by Dorset Chiapas Solidarity on 01/08/2016



Zapatista Creative Resistance Shines a Light on Path to Freedom

Filed under: Uncategorized, Zapatistas — Tags: , , , — dorsetchiapassolidarity @ 9:24 am



Zapatista Creative Resistance Shines a Light on Path to Freedom


zapatista_mural.jpg_1718483346A Zapatista shows a mural depicting the movement. | Photo: teleSUR / Road to Resistance


Art has historically been a key pillar in the fight for self-determination and against capitalism´s destructive impulses.

As dissident Mexican teachers struggle to combat neoliberal education reforms, and political violence continues unabated across the country, the question most frequently raised on Friday by the storied Zapatista movement in the southern state of Chiapas was this: Care to dance?

Thousands converged on the Zapatista community of Oventic on Friday to share a wide selection of art representing the culture, history, and resistance of the Zapatista Army of National Liberation, or EZLN. Dance, theatre, music, painting, poetry, and more were put on display by the Indigenous people of the Tzotzil, Zoque, and Tzeltal communities of the Los Altos region of Chiapas for an audience of local, national, and international visitors.

Under the banner CompArte — a play on words emphasizing art within the Spanish word for sharing — the EZLN aimed to highlight the role that creativity, imagination and art has historically played in revolutionary movements, from the expressionist murals of Mexican painters to the traditional African dance of independence fighters in the former Portugese colonies of Guinea Bissau, Cape Verde, Angola and Mozambique.

“If the machine imposes a perverse logic in which every tragedy numbs rather than enrages,” the EZLN wrote in a statement leading up to the event, “perhaps it could be the Arts that remind humanity that people not only kill and destroy, impose and dominate, humiliate and doom to oblivion, but can also create, liberate, and remember.”

According to a photo essay by journalists Carlos Ogaz and Andalucia Knoll on Regeneracion Radio, many performances and works of art recounted the long history of oppression and resistance of the Zapatista peoples from colonization to the conditions that paved the way for the formation of the EZLN in the early 1990s to the movement’s more than 20 years fighting neoliberal capitalism and building local alternatives for economic, political, and cultural autonomy.




International guests at the artistic festival included Emory Douglas, U.S. artist and former Minister of Culture for the Black Panther Party. Douglas previously collaborated with the EZLN artists “Zapantera Negra,” a multimedia art project that explored artistic and political links between the Black Panther Party and the Zapatista movement. Zapantera Negra-inspired art also made an appearance at the festival.

Cultural resistance in Chiapas is also set to continue Sunday as movements hold a march and cultural event in defense of “Mother Earth and territory” against mining and unwanted hydroelectric projects in the community of Pijijiapan.

Showing the artistic side of the movement in Chiapas comes after police and paramilitaries violently evicted a blockade held by dissident striking teachers in the town of San Cristobal de Las Casas on July 20, just one month after at least 10 were killed in a repressive crackdown on teacher protests in the Oaxacan town of Nochixtlan on June 19.

Meanwhile, Mexico saw one of its most violent days between Friday afternoon and Saturday with 51 murders reported across nine states, including seven members of one family in the violence-ridden state of Guerrero and 10 bodies found in Michoacan, La Jornada reported Sunday.

Reflecting on recent violence — particularly the massacre of an estimated 20 people including the mayor in the Chiapas town of San Juan Chamula on July 23 — the Zapatistas expressed through a statement by Subcomandante Moises at the kick off of the CompArte festival that tragedies in their communities are the result of meddling by political parties, drug gangs, and organized religion.




“Better for us to organize ourselves to build a new house, a new society,” said Moises, who was introduced as a new subcomandante by the iconic Subcomandante Marcos in 2013 as one of the “many selves” of the EZLN. “No one is going to fight for us.”

The EZLN declared war against the Mexican state on January 1, 1994, launching the Indigenous movement in Mexico’s southern state of Chiapas into the international spotlight as an example for autonomous social movements around the globe.

Over two decades after the masked Indigenous army emerged from the Lacandon jungle and announced its resistance to Mexico and to the world, the Zapatista struggle continues to be an international icon for its ongoing work toward self-determination and new alternatives to global capitalism.


Posted by Dorset Chiapas Solidarity on 01/08/2016



July 31, 2016

The art of organization to enable the art of solidarity.

Filed under: Indigenous, Zapatista — Tags: , , , — dorsetchiapassolidarity @ 8:27 am



The art of organization to enable the art of solidarity.




Koman Ilel. San Cristobal de Las Casas, Chiapas. July 30, 2016.

The art is installed in Oventic

If the multiple artistic demo7-333x500nstrations throughout the week at CIDECI surprise by their diversity and quantity, the Zapatista compas expected no less. Dozens of performances covering all the arts delight those present: theatre, music, dance, painting, poetry … Hundreds of Zapatistas from the original Tzotzil. Tzeltal and Zoque peoples of Los Altos de Chiapas shared their creations throughout the day, all closely linked to the history of Chiapas, the Zapatista struggle, the struggle of the organized Mexican people and values such as autonomy, freedom, justice and dignity.

On Friday July 29, the seventh day of the festival CompArte for Humanity, dozens of cars, taxis, vans and pick-ups left San Cristobal heading towards Oventic, where for the first time at the festival, the protagonists and creators of the artistic manifestations were the Zapatista compas. The day dawned sunny, and from 9 am caracol II Resistance and Rebellion for Humanity, Oventic, began to receive hundreds of Zapatistas and artists, participants and spectators who had enjoyed the festival throughout the week.

Musical performances went through various styles, including traditional, ranchera, corrido. hip hop or pop. They played instruments such as the harp, guitar and accordion among others. Dances, often set to live music, were a favourite art of the compañer@s. Many of the dances were traditional, but there were also some surprises, such as the Vals del Obrero, in which the compas danced ska and enthused the public. The plays were warmly applauded, because through these processes or moments in the history or the present of the people of Chiapas, the Zapatista struggle and the Mexican people were reproduced. Poetry also played a major role both in Spanish and Tzotzil. And finally, painting, which was publicly and always accompanied with a presentation that contextualized it.



Subcomandante Moisés gives the welcome

The day began with the words of Subcomandante Insurgente Moisés, who welcomed everyone and dedicated a few words to expressing the feelings of the Zapatistas in the context of the festival. With his words, he made a strong criticism of paid journalists, whom he defines as “intellectuals of lies”, and who have focused in their journalistic work on the events in San Juan Chamula; he accused them of treating the case superficially, in the best interests of power and not contemplating the depth of the facts, conditioned by a history full of repression and injustice. He also spoke of the relations of economic power and the inequality latent in all contexts: “We mistreat workers in the country and the city equally.” He added: “Without their exploitation of us, they would not be rich.” Moisés set the present in the context of a lack of justice throughout history, especially for the Mexican people and their ancestors. A reality that in recent years has been reflected in events like the massacre of Acteal, the ABC nursery, Ayotzinapa and many others. The opening words ended with a call to struggle and to the organization of all the sectors, the teachers, the health sector and the Mexican people. “There are differences, but we all want health, justice and democracy, and that unites us”.




The art of organization and solidarity

In the closing speech, Subcomandante Insurgente Moisés invited all the attendees to go to the rest of caracoles to enjoy the “thousands of artists” who are still to be seen, as he exclaimed with his usual sense of humour. But his message focused on talking about the meaning of art for the Zapatistas, the art of solidarity and the art of organization to make solidarity possible. As an example he explained how Zapatista women and men had organized to feed the Chiapan teachers of the CNTE who are in resistance. In this collective work also the art of mathematics, of calculation is needed. He also spoke of the need for art to develop the imagination. “Poor women and men from the countryside and the city have the imagination to create a new society, but lack the ability to organize ourselves,” he said.




Translated and posted by Dorset Chiapas Solidarity on 31/07/2016



July 30, 2016

With dance, theatre and poetry, the Zapatistas show their struggle and resistance in CompArte in Oventik

Filed under: Zapatistas — Tags: , , , — dorsetchiapassolidarity @ 12:58 pm



With dance, theatre and poetry, the Zapatistas show their struggle and resistance in CompArte in Oventik




Oventik, Chiapas, Mexico. July 29, 2016. Around noon today the festival CompArte for Humanity began in Zapatista territory in the caracol of Oventik. To the sound of revolutionary ballads (corridos) such as “el Campesino”, “el 69”, “Comandante Insurgente Pedro” the musical group “Los Originales de San Andrés” welcomed national and international artists who responded to the call of the rebel group.


Subcomandante Insurgente Moisés read the communiqué from the Clandestine Indigenous Revolutionary Committee-General Command in which they called on those who work work in teaching and in health and the people of Mexico and the world, to organize and fight to the end.


Also, in respect of recent events in San Juan Chamula, the Zapatistas reported “what hurts us is what really happened and not what the paid media says, they do not say anything about the others who went to die in their home places, there were not only five dead “.




Later, among the artistic activities, they began the dance, poetry and theatre where they showed those attending and indeed the whole world the struggle and resistance of the Zapatistas.


Posted by Dorset Chiapas Solidarity on 30/07/2016 13221



July 28, 2016

EZLN confirms and extends its participation in CompArte

Filed under: Zapatistas — Tags: , , , , , — dorsetchiapassolidarity @ 9:22 am



EZLN confirms and extends its participation in CompArte





Zapatista Army of National Liberation.


July 26, 2016

To the participants and attendees of CompArte:

To the National and International Sixth:

Compañeros, compañerascompañeroas:

Although we could not replace the money that had been allocated for food and transportation for our artistic community, as Zapatistas we sought a way not only to reciprocate the efforts of the artists who responded to our invitation to CompArte, but also to make them feel the respect and admiration their artistic work inspires in us.

We would like to inform you of the decision that we have come to:

We will present, though in different calendars and geographies, some of the artistic work that we Zapatistas prepared for you. The presentations will take place according to the following schedule:

Caracol of Oventik: July 29, 2016, from 10:00 national time to 19:00 national time. Participation by Zapatista artists of the Tzotzil, Zoque, and Tzeltal originary peoples from Los Altos in Chiapas.

CIDECI, San Cristóbal de Las Casas: July 30, 2016. A Zapatista delegation will attend CompArte as listener-viewers.

Caracol of La Realidad: August 3, 2016, from 09:00 on August 3 through the early morning hours of August 4. Participation by Zapatista artists of the Tojolabal, Tzeltal, Tzotzil, and Mame originary peoples as well as mestizos from the Selva Fronteriza zone.

Caracol of La Garrucha: August 6, 2016, from 09:00 on August 6 through the early morning hours of August 7. Participation by Zapatista artists of the Tzeltal and Tzotzil originary peoples from the Selva Tzeltal zone.

Caracol of Morelia: August 9, 2016. Celebration of the 13th anniversary of the birth of the Zapatista caracoles and the Juntas de Buen Gobierno, from 09:00 on August 9 through the early morning hours of August 10. Participation by Zapatista artists of the Tojolabal and Tzeltal originary peoples from the Tsots Choj zone.

Caracol of Roberto Barrios: August 12, 2016, from 09:00 on August 12 to the early morning hours of August 13, 2016. Participation by Zapatista artists from the Chol and Tzeltal originary peoples from the Northern zone of Chiapas.




In order to attend you will need your CompArte registration name tag from CIDECI and to have registered at the table set up for that purpose in CIDECI as of the afternoon of July 27, 2016. Note: bear in mind that here…well, everywhere, it is storm season.

We know that the great majority of you will not be able to attend all of the presentations now that the calendar and geography have been expanded. Or perhaps you will, that is up to you. In any case, whether you are there or not, we will present with you in mind.

THE PAID MEDIA WILL NOT BE ALLOWED ACCESS (even if they pretend that they also work for the unpaid media).

The compa media—that is the free, autonomous, alternative, or whatever-you-call-it media—will be welcome, even by the Tercios Compas, because here we do have trade solidarity.




As Zapatistas, on this day we reiterate our support for the demand for truth and justice for Ayotzinapa and all of the disappeared that is tirelessly maintained by the mothers, fathers, families, and compañer@s of the missing. To all of them, those who are missing and those who search for them, we offer our greatest embrace. Your pain is our pain and our dignified rage.

From the mountains of Southeastern Mexico,

Subcomandante Insurgente Moisés. Subcomandante Insurgente Galeano.

Mexico, July 2016.




Posted by Dorset Chiapas Solidarity on 28/07/2016




CompArte Festival Goes Ahead

Filed under: Zapatistas — Tags: , , — dorsetchiapassolidarity @ 8:10 am



CompArte Festival Goes Ahead 


compartePoster for “Compartir el Comparte por la Humanidad”


The Zapatista “CompArte por la Humanidad” festival initiative began on July 19 with an event at the teachers’ and popular camp that blocks the exit to the highway to Tuxtla Gutierrez in San Cristobal de Las Casas, where local artists and spectators arrived, both nationals and from other parts of the world.

After the welcoming ceremony, the National Coordinator of Education Workers (CNTE) in the highlands of Chiapas, which heads the movement, left the word to Berta Nava, mother of Julio Cesar Ramirez Nava, who was murdered on the night of September 26, 2014 in Iguala (Guerrero), and Omar Garcia, ex-student teacher of Ayotzinapa and survivor of that night. Both opened the “CompArte por la Humanidad” festival, remembering “the missing and fallen of the night in Iguala, to whose pain is now added that of the massacred on June 19 in Oaxaca.” 19 pieces of poetry, music, acrobatics and theatre were presented as well as two projections of indigenous resistance in the Cauca (Colombia) and the Kurdish revolution.

“CompArte” will be held in the Indigenous Centre for Integral Training-University of the Earth, Chiapas (Cideci-Unitierra), based in San Cristobal de Las Casas from July 23-30, and to date 1,127 artists from around the country and 318 from other nations have registered. On opening its doors to the festival, Cideci-Unitierra said in the words of the Zapatistas that “the arts are a hope for humanity and that it is in the most difficult moments, when there is more disappointment and helplessness, that only the arts are able to celebrate humanity.”

The compas of the five caracoles of the Zapatista Army of National Liberation (EZLN) had suspended their participation in the festival from July 17 to 22 to show solidarity with the teachers’ movement. Nevertheless, they invited the participants and attendees of CompArte to Oventic on July 29… “It will not be everything that was prepared by us, but it will be nothing less than this: A gift we want to give you. Maybe you’ll like it, maybe you won’t. But we are sure that you will find sounds, colours, lights and shadows that have no aspiration other than to make you listen, watch and feel the ‘thank you’ we embrace you with.”


Posted by Dorset Chiapas Solidarity on 28/07/2016




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