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Subcomandante Insurgente Moisés. Subcomandante Insurgente Galeano.

The Walls Above, The Cracks Below (And To The Left)

The Walls Above, The Cracks Below
(And To The Left)

February 2017

The Storm On Our Path

For us, as Zapatista originary peoples, the storm—the war—has been going on for centuries. It arrived to our lands with the lies of the dominant civilization and religion. At that time, the sword and the cross bled our people dry.

Over time, the sword was modernized and the cross was dethroned by the religion of capital, but it continued to demand our blood as an offering to the new god: money.

We resisted, we always resist. Our rebellions were displaced by the dispute between various forces for Power. Those forces, always from above, demanded that we struggle and die to serve them. They demanded obedience and submission under the guise of liberating us. Like those who said and say they fight, they came and come to rule. There were supposed independences and false revolutions, those past and those to come.

Since then, those above have taken turns and continue to take turns in order to govern, badly, or aspire to do so. In past and present calendars, their proposal continues to be the same: that we offer our blood, while they lead or pretend to lead.

Before and now, they forget those of us who do not forget.

And always, yesterday and today, the woman is below, even in the collective that we were and are.

(Continuar leyendo…)

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Radio Zapatista

(Español) Y empezó a girar sobre sí misma. Resonancias desde el epicentro.

Sorry, this entry is only available in Mexican Spanish. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

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Voces, cantos y testimonios de artistas, científicxs y participantxs de los encuentros CompArte (Julio-Agosto 2016), ConCiencias por la Humanidad (Dic ’16-Enero ’17) y V Congreso Nacional indígena (Oct ’16-Enero ’17). México, mero en su abajo y a la izquierda, intentando quizás uno de sus últimos chances para conservar la dignidad y lograr que ella sea el epicentro de un nuevo mundo…

(Descarga aquí)  

 

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Radio Zapatista

(Español) CompARTiendo Arte Zapatista – Obras zapatistas en San Cristóbal de Las Casas

Sorry, this entry is only available in Mexican Spanish. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

CompARTiendo Arte Zapatista
Obras colectivas e individuales de zapatistas de los cinco caracoles

La Galería
Andador del Arco del Carmen
Miguel Hidalgo #3
San Cristóbal de Las Casas

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Subes las escaleras y de repente. De repente… Los puntos suspensivos los llena cada uno, al ritmo de su corazón y de su pensamiento. Pero algo es cierto: imposible no conmoverse. Conmoverse primero por la belleza, porque no hay corazón que resista tanta belleza. Pero conmoverse también porque en esa belleza, en esas pinturas, en esos bordados, en ese mundo de expresión está la lucha, la perseverancia, el oficio incansable de la esperanza.

A muchos quilómetros de distancia, en alguna ciudad de Brasil, en la casa de un artista que es un verdadero poeta del color, se discutía justo anoche la esperanza, que proviene del verbo “esperanzar”, y no de “esperar”. O sea que la esperanza es movimiento, es acción, es lucha, es el oficio minucioso y porfiado de construir otro mundo posible.

Eso mero es lo que dice el Sup Galeano en su misiva a Juan Villoro cuando escribe que son las artes, y no la política, las que “cavan en lo más profundo del ser humano y rescatan su esencia. Como si el mundo siguiera siendo el mismo, pero con ellas y por ellas pudiéramos encontrar la posibilidad humana entre tantos engranajes, tuercas y resortes rechinando con mal humor. A diferencia de la política, el arte entonces no trata de reajustar o arreglar la máquina. Hace, en cambio, algo más subversivo e inquietante: muestra la posibilidad de otro mundo. […] Como si en lugar de re-etiquetar la máquina, embelleciéndola o afinándola, el arte y la ciencia plantaran, sobre la cromada superficie del sistema, un letrero lacónico y definitorio: ‘CADUCO’, ‘Tiempo Transcurrido’, ‘para continuar viviendo deposite otro mundo’”.

Al tiempo en que comienza el encuentro “L@s zapatistas y las ConCIENCIAS por la Humanidad” en San Cristóbal de Las Casas, se presenta también la exposición de las obras zapatistas exhibidas en el encuentro “CompARTE por la Humanidad” el pasado julio y agosto, en La Galería, en el andador del Arco del Carmen, Miguel Hidalgo 3. Para quienes no pudieron asistir al CompARTE, la exposición “CompARTiendo Arte Zapatista – Obras colectivas e individuales de zapatistas de los cinco caracoles” es imperdible.

compartiendo

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Subcomandante Moisés, Subcomandante Galeano

EZLN: One House, Other Worlds

Foto: JORGE UZON/AFP/Getty Images
Foto: JORGE UZON/AFP/Getty Images

One House, Other Worlds

July/August/September, 2016

To whom it may concern:

Subject: 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 [meters],’ 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:

‘kilometers.’

‘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 colors, 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 skeptical. 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 colors that, hundreds of years later, still challenge calendars. They do not know that when “civilization” still believed that the earth was the center 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:

‘Etcetera.’”

_*_

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.

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Radio Zapatista

(Español) Brasil: Nelson Maca y la Gramática de la Ira

Sorry, this entry is only available in Mexican Spanish. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

maca

El Sarao Bem Black fue uno de los espacios donde se realizó el festival CompARTE por la Humanidad en Salvador, Bahía, Brasil. En el aeropuerto de Salvador, entrevistamos al poeta Nelson Maca, quien nos habló sobre el Sarao Bem Black, encuentro poético del movimiento literario negro que se ha vuelto referencia no sólo en Bahía, sino en Brasil.

Nelson es también el creador del concepto de “literatura divergente” y del manifiesto llamado “Manifestación de la literatura divergente o manifiesto encrucijador de caminos”. En la entrevista, nos habla sobre lo que significa para él la literatura divergente y su relación con la politización de la diferencia.

Finalmente, nos habla sobre su nuevo libro Gramática de la Ira y su relación con la digna rabia.

Escucha la entrevista en portugués aquí: (Descarga aquí)  

Lee la traducción al español abajo.

gramaticadaira

(Continuar leyendo…)

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Brújula Roja, Comunidad Tlanezi Calli, Comunidad de Xochitlanezi

(Español) CompArte Acopio por l@s maestr@s: Casa del Amanecer

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comparteacopio

CompArte Acopio por l@s maestr@s: Casa del Amanecer
Sábado 3 de septiembre de 2016
En el Centro Comunitario Tlanezi Calli
Canal de Chalco 506, Colonia el Molino, Iztapalapa

Programa

A las 13:00 obra cuento / desde Escocia. “Molly whuppi”, la lickety tale

De 14:00 a 15:00 música punk “la oveja descarriada”.

De 14:00 a 15:00 “taller de personajes” Ruby.

De 15:00 a 16:00. Música trova “lexeicactus”

De 16:00 a 16:45. Música electro-cumbia Mr. Rojo.

De 17:00 a 18:00 danza ” danza tribal”.

De 18:00 a 19:00 Christian “poder del barrio”.

ENTRADA LIBRE
ACOPIO VOLUNTARIO

Invitan:
Brújula Roja
Comunidad Tlanezi Calli
Comunidad de Xochitlanezi

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Adherentes a la Sexta

(Español) Adherentes a la Sexta invitan al CompArte por la humanidad en Iztapalapa. 28 de agosto desde las 11 am

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A todxs los compas solidarixs, del barrio de Iztapalapa y de todos los rincones de la ciudad:

Lxs invitamos al

¡COMPARTE POR LA HUMANIDAD!

Que se llevará a cabo en el parque Carmen Serdán, el 28 de agosto a las 11 am

Habrá:

Talleres, música, foro por la educación y venta solidaria con el magisterio digno de México.

No olviden llevar acopio para lxs maestrxs.

¡Lxs esperamos!

radio
Radio Zapatista

(Español) Día 12 – CompARTE por la humanidad – Caracol de Roberto Barrios (12 de agosto)

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Festival CompARTE por la humanidad
12 de agosto de 2016
Caracol de Roberto Barrios, Chiapas

 

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Les presentamos los materiales recogidos en este V Caracol, de Roberto Barrios, en el día 12 del #CompArte y del mes de agosto. Con las presentaciones de esta Zona Norte las y los compañeros del Ejército Zapatista de Liberación Nacional terminaron la ronda de trabajos del Festival CompArte por la Humanidad en los Caracoles Zapatistas.

Al finalizar la presentación de las obras artísticas dibujadas, bailadas, cantadas, tocadas y acariciadas con la voz,  con la resistencia y la rebeldía que da fuerza y vida a la autonomía zapatista, el Subcomandante Insurgente Moisés CompArte algunas de las primeras impresiones de la delegación del CCRI-CG. “Nos han dado una lección, es decir nos han dado una enseñanza, una clase intensiva, así lo sentimos con nuestros compañeros comandantes, comandantas…”

“Nos han ayudado mucho, nos han enseñado mucho, nos dan fortaleza, fuerza pues…”, y agregó “por ahora queremos decirles que la guerra, la palabra guerra, lo entendemos que es usar el arma, o las armas, pero aquí estamos demostrando, 22 años después, que no queremos usar esas armas, no es necesario… Estamos demostrando que de que hay forma cómo lograr la Libertad, la Justicia y Democracia”

Les dejamos aquí los materiales para que puedan ser difundidos, producidos, transformados o  reproducidos de manera libre en sus geografías y medios para así seguir tejiendo esta obra por la vida que es Festejar el CompArte por la Humanidad.

Ir a coberturas realizadas por otros medios libres: EspoirChiapas: Clausura el compArte en el Caracol de Roberto Barrios , en CentroMediosLibres|CanalVideos y en ColectivoPozol

Palabras de Bienvenida

(Descarga aquí)  

Canción “Recluta del 88” del municipio autónomo Dignidad

(Descarga aquí)  

Canción “La Creación EZLN” del municipio autónomo Trabajo

(Descarga aquí)  

Canción – Bailable “la Recluta” del municipio autónomo Ruben Jaramillo

(Descarga aquí)  

Canción “Luchadores” de la Región Felipe Angeles

(Descarga aquí)  

Canción “El Guerrillero” del municipio autónomo Trabajo

(Descarga aquí)  

Canción “La Autonomia” del Grupo Rebeldes de la Zona Norte

(Descarga aquí)  

Pensamiento “La Madre Tierra” del municipio autónomo Ruben Jaramillo

(Descarga aquí)  

Canción “Desplazamiento del 96” del municipio autónomo Dignidad

(Descarga aquí)  

Canción “Inutil mal Gobierno”

(Descarga aquí)  

Pensamiento “La Estrella de las 5 puntas”, Municipio autónomo El Trabajo.

(Descarga aquí)  

Canción “La Resistencia”, Municipio autónomo El Trabajo

(Descarga aquí)  

Pensamiento “La Luz en la Resistencia”, Municipio autónomo La Dignidad

(Descarga aquí)  

Danza – Música “La hoja de maíz de los niveles de gobierno”, Municipio autónomo El Trabajo (Descarga aquí)  

Canción “La Educacion”, Municipio autónomo Francisco Villa

(Descarga aquí)  

Pensamiento “La Autonomía y la Resistencia”, del Municipio autónomo Ruben Jaramillo

(Descarga aquí)  

Cancion “Tenemos la Libertada, la Justicia y la Dignidad”, del Municipio autónomo La Dignidad

(Descarga aquí)  

Danza – Musica “Roza Siembra Cosecha” del municipio autónomo Trabajo

(Descarga aquí)  

Canción “La Resistencia”

(Descarga aquí)  

Canción “Los 5 Caracoles” del municipio autónomo Vicente Guerrero

(Descarga aquí)  

Canción “10 de Septiembre” del municipio autónomo Dignidad

(Descarga aquí)  

Danza – Musica “21 de Diciembre” del municipio autónomo Dignidad

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Canción “6 de Septiembre 2012” del municipio autónomo Dignidad

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Poesía “La Madre Tierra”, del Municipio autónomo Ruben Jaramillo

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Presentación de dibujo “La Resistencia y la Autonomía”, del Municipio autónomo Francisco Villa

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Cancion “El arca zapatista”

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Canción “Juntos vamos a luchar contra la hidra”, Grupo Renacimiento Maya-Chol

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Pensamiento “La Resistencia”, del Municipio autónomo La Dignidad

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Canción “Escuelita zapatista”, Municipio autónomo La Dignidad

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Danza -Música “Homenaje a Galeano”, del Municipio autónomo La dignidad

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Canción “Gobiernismo y autonomía”

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Presentación del dibujo “Las 7 cabezas del Mounstro”, de Municipio autónomo Akabalná

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Pensamiento “La Estrella”, de Municipio autónomo La Dignidad

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Canción “Que marchemos”, de Municipio autónomo Francisco Villa

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Presentación de bailable “La muerte de mounstro”, Municipio autónomo Akabalná

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Poesía “El pueblo mio”, Municicpio autónomo La Dignidad

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Último número, la canción “Venceremos”

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Palabras Finales del Sub Comandante Insurgente Moises

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Palabras de cierre y agradecimientos por el Compañero Agustín, a nombre del Caracol V de la Zona Norte

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Canción de cierre “La crítica de los ricos, los malos gobiernos”

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Radio Zapatista

(Español) Día 11 – CompARTE por la humanidad – Caracol de Morelia (9 de agosto)

Sorry, this entry is only available in Mexican Spanish. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

Festival CompARTE por la humanidad
9 de agosto de 2016
Caracol de Morelia, Chiapas

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9 de Agosto de 2016, Caracol IV, de Morelia. En el marco del “Festival CompArte por la Humanidad” y en el Aniversario número 13 de la creación de los Caracoles Zapatistas y las Juntas de Buen Gobierno, compañeros y compañeras bases de apoyo de la zona Tsots Choj celebraron compartiendo sus Artes, los colores de su resistencia; siempre colectiva.

La comandancia dio las palabras de bienvenida a La Junta de Buen Gobierno (JBG) del caracol IV “Corazón del Arcoíris de la Esperanza”, a la delegación de los 5 Caracoles, a lxs compañerxs de la Sexta Nacional e Internacional, a las Bases de Apoyo del EZLN, a la sociedad civil, a todxs lxs presentes y no presentes.

“hoy estamos aquí para celebrar el decimo tercer aniversario del nacimiento de las Juntas de Buen Gobierno y la creación de nuestros caracoles, nuestra bandera de la lucha son las 13 demandas (tierra, trabajo, alimentación, vivienda, salud, educación, independencia, democracia, libertad, información, cultura, justicia y paz), estas demandas son las que nos hicieron levantarnos en armas en 1994 y estamos en pie de la lucha”. E hizo un llamado, “es el momento de reafirmar nuestra conciencia de lucha y comprometernos para seguir adelante”.

Dentro de su mensaje reafirmó, “no permitiremos que el mal gobierno Capitalista Neoliberalista nos quite lo que hemos construido esos 13 años de caminar de nuestra autonomía”. Hacia el final de su mensaje dijo “Por lo tanto con júbilo, gozo y alegría celebramos nuestros avances y tropiezos de autonomía en el CompArte, para compartir nuestro arte, nuestra ciencia como pueblos originarios que somos y como zapatistas, jóvenes, jóvenas y de todas las edades que han preparado con tanto esfuerzo y también con dedicación. ” Y conluyo con la consigna “Vivir por la Patria o morir por la Libertad”.

Frente a cientos de personas nacionales e internacionales y bases de apoyo zapatistas, dio inicio el “Festival CompArte por la Humanidad” correspondiente al caracol IV de Morelia, con obras de teatro, música, poesías, poemas, pintura y danzas. Les hacemos esta entrega de las presentaciones compartidas por los y las compañeras del “Tobellino de nuestras Palabras”, Caracol IV.

 Otras coberturas en medios libres: EspoirChiapas: A 13 años de las JBG y de los Caracoles, los zapatistas comparten sus artes en el Caracol de Morelia y en CentroMediosLibres|CanalVideos

Musica de mariachi como bienvenida al Festival

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palabras de bienvenida de la Junta de Buen Gobierno

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Palabras presentación de Trabajos

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Canción “Vida Esclavizado” del municipio autónomo 17 de noviembre

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Poema “Sufrimiento de Nuestros Abuelos”

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Musica Danza Tseltal del Municiopio Autónomo Lucio Cabañas

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Canción “La Llegada en la Selva Lacandona”

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Poema “La Lucha de Resistencia” municipio autónomo Lucio Cabañas

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Canción “Primero de Enero” municipio autónomo Lucio Cabañas

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Poema “Camino Hacia los Trece Puntos” del municipio autónomo Lucio Cabañas

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Dibujo “Nuestras Raices” exposición del municipio autónomo 17 de Noviembre

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Canción “Luchadores del Pueblo” del municipio autónomo Lucio Cabañas

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Cancion “la Cuna de los 5 Caracoles”

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Poema “Zapatismo Contra Neolíberalismo” del municipio autónomo Lucio Cabañas

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Musica-Danza “El Torito” del municipio autónomo 17 de Noviembre

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Poema “A la Mujer Zapatista” del municipio Autónomo 17 de Noviembre

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Mural “Nuestra Cultura en Resistencia” exposición del municipio autónomo 17 de Noviembre

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Poesia “Herederos de los Rebeledes” del municipio autónomo Lucio Cabañas

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Canción “la Salud” del municipio autónomo 17 de Noviembre

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Musica “La Ofrenda en el Altar” del municipio autónomo Comandanta Ramona

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Poema “Amanecer del Colectivo” del municipio autónomo Lucio Cabañas

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Poesia “Jovenes de la Patria” del municipio autónomo Lucio Cabañas

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Poema “Camino al Horizonte” del municipio autónomo Lucio Cabañas

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Canción “Como Han Pasado los Años” del municipio autónomo 17 de Noviembre

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Danza-Musica Tradicional Tsotsil del municipio autónomo Lucio Cabañas

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Poesia “Un Mundo Diferente” del municipio autónomo Comandanta Ramona

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Mural “la Hidra Capitalista” exposición del municipio autónomo 17 de Noviembre

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Canción “La Vida en Nuestro Pais” del municipio autónomo 17 de Noviembre

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Poema “Los Pasos del Tiempo” del municipio autónomo Comandanta Ramona

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Canción del municipio autónomo Primero de Enero

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Mural “Trabajo Colectivo” exposición del municipio autónomo 17 de Noviembre

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Poema “no es tiempo de llorar” del municipio autónomo Comandanta Ramona

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Poema “la Cultura Indigena” del municipio autónomo Comandanta Ramona

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Canción “Las Malas Ideas del Gobierno” del municipio autónomo 17 de Noviembre

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Poesia “Pensamiento al Colectivo” del municipio autónomo Lucio Cabañas

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Danza – Musica Tradicional  “Trabajos Coletivos” del municipio autónomo Lucio Cabañas

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Canción “Lucha en Colectivo” del municipio autónomo Lucio Cabañas

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Canción con Mariachi “las Mañanitas”

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Poema “Caminar de la Resistencia” del municipio autónomo Lucio Cabañas

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Poesia “la Patria” del Municipio autónomo Lucio Cabañas

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Poesia “Sueños y Pesadillas” del municipio autonomo 17 de Noviembre

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Poesia “Resistencia y Rebeldia” del municipio autónomo 17 de Noviembre

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Dibujo “Trabajo Colectivo”exposición del municipio autónomo 17 de Noviembre

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Canción “Mira que la Hora ya Llego” del municipio autónomo Comandanta Ramona

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Poesia “Vida Colectiva” del municipio autonomo Lucio Cabañas

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Poema “Luchan por la Vida” del municipio autónomo 17 de Noviembre

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Canción “Luchando y Resistiendo” del municipio autónomo Lucio Cabañas

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Poema “La Educación Antes y Ahora” del municipio autónomo Lucio Cabañas

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Canción “Si Luchas por tu Derecho” Mariachi

(Descarga aquí)  

Canción Mariachi “Lucha por la Libertad”

(Descarga aquí)  

Canción Marichi “Vamos Todos y Todas a Luchar”

(Descarga aquí)  

Palabras de Despedida

(Descarga aquí)  

 

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Radio Zapatista

Día 9 – CompARTE por la humanidad – Caracol de La Realidad (3 de agosto)

Sorry, this entry is only available in Mexican Spanish. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

Festival CompARTE por la humanidad
6 de agosto de 2016
Caracol de La Garrucha, Chiapas

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Ahora fue el Caracol III, que tiene su sede en La Garrucha, el encargado de presentar su Arte elaborado con el trabajo colectivo de su resistencia. Pensamientos, canciones, poesías, obras de teatro mostraron la memoria hecha presente, lucha y caminar que dan trazo al horizonte. Les presentamos algunas de las piezas que dibujaron esta jornada del CompArte zapatista de la Zona Selva tseltal.  

Otras coberturas de medios libres: EspoirChiapas -Festival CompArte en Caracol La Garrucha y CentroMediosLibres|CanalVideos

(Descarga aquí)   (Descarga aquí)   (Descarga aquí)   (Descarga aquí)   (Descarga aquí)  

 

 

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