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The Arts and the Sciences in the history of (neo) Zapatista
Words of Subcomandante Insurgente Galeano
December 28, 2016.
Ok, maybe I was exaggerating with the claim of “interplanetary.” I should have said the upheaval created by the question that young Rosita had put to Subcomandante Insurgente Moisés in the micro-cosmos of Zapatismo had provoked.
Although I believe it is obvious, it doesn’t hurt to mention that the response that SubMoy gave to the young Zapatista woman was the same one that, I’m not sure, but probably, I’m imagining, has fueled the advance of science since its very beginning: “I don’t know.”
Now I think that, certainly, the young woman knew what his response would be, but she also hoped that SubMoy would understand that, within the flower, there was a larger question.
We know now, because we are here in this meeting, that SubMoy knew that the response, “I don’t know” was not only insufficient, but also useless if it did not lead to other questions.
In a few minutes he is going to talk to you about what, as it were, is the context of the question…and about his response.
I am meant to speak to you briefly about the prehistory of this question and this response.
The arts and sciences prior to the uprising, within the eezeelen, had a very small universe and a brief history. Both the sciences and the arts had a purpose, a direction, and an imposed reason: war.
First in the guerilla encampments, then in the barracks, and later in the communities, the arts were limited to music, poetry, and a little bit of drawing and painting, all with exclusively revolutionary messages. Of course, it was not unusual that soon songs of love and broken hearts, corridos, rancheras and even the occasional Juan Gabriel ballad would appear, but that was only clandestinely within our clandestinity.