artes
Art is a Curse | Capitán Marcos
ART IS A CURSE
February 24, 2026
Ladies, gentlemen, and those who are neither one nor the other:
First of all, we want to thank Gabriel Pascal, David Olguín, Philippe Amand, and the whole crew who make this event possible. And Steph, for her unconditional complicity.
We also thank Lenin and Marina, who have kindly read our contributions.
I want to clarify that we were not invited to this tribute to the master Luis de Tavira. I say this not as a reproach, but as a disclaimer for those who, at the right time, organized this gathering. May this text serve to deal with complaints, insults (mint-flavored and otherwise), legal proceedings, and whatever else may arise from the matter.
So it can be said that we are here as “gatecrashers.” I imagine your displeasure, but keep in mind that it would be worse if we had forced our way in—that healthy civic custom of showing up without an invitation and without paying for the tickets.
We thus celebrate not only that those close to the master greet him, but also—and above all—the opportunity for those of us who are distant yet think of him to embrace him.
And this celebration, in which the master is somewhat like the pretext, raises several questions. Namely: what is it that enables communities so different and distant to converge in the same geography and calendar? For that is what those present here are: some of the best among the artistic community. And, well, our words are also meant to make present those who are far away: some of the Indigenous communities, of Mayan origin—the Zapatistas.
An artistic community and Indigenous communities coinciding. Differences meeting without ceasing to be what they are. And a theater master, Luis de Tavira, as the unwitting convener.
The former are brought together by dramatic art. “The supreme artistic challenge,” the late SupMarcos used to say—may God keep him in his holy glory and the Blessed Virgin shower him with blessings—to distinguish it from the other arts. And I suppose, though I cannot confirm it, that the deceased meant that reality stalks Theater (as it does dance and, in some cases, music) in a vertiginous present. Unlike cinema, graphic arts, sculpture, literature, and architecture, for example—where the artistic act is created in a space different from the one in which it confronts the listening-seeing (and non-seeing) audience—theater relates to the other in a special space-time context. This means that geography and calendar themselves become a part of the artistic creation. Thus, when one says “theater,” one refers both to the work performed and the space where it sometimes meets the audience.
So here we are—the Zapatista peoples—under the protest of those who organized this tribute, in a theatrical space called “El Milagro,” perhaps because the practice of dramatic art, at least in Mexico, is a miracle achieved despite all the difficulties it encounters.
But in these dark times of an Artificial Intelligence that stalks the arts, theater seems to be safe. At least for now, it seems impossible for a cybernetic organism to emulate the marvelous confrontation that occurs between theater-makers and the audience.
It seems difficult (at least for now) for Artificial Intelligence to even approach the different characterizations of the character Adela in The House of Bernarda Alba, who, with the fire of forbidden love, defies authoritarianism:
“Here the voices of prison end!” (Adela snatches a cane from her mother and breaks it in two.) “This is what I do with the rod of the tyrant. Do not take another step. In me no one commands except Marcos!”
(Okay, okay, okay—the original text says “Pepe,” but let’s say it’s a poetic license.)
Yes, you’re right, it is not by chance that I chose a play by Federico García Lorca—someone different, persecuted and murdered for being who he was and for the cause he embraced. Nor is it accidental that I chose the speech of a rebellious woman. Nor is it coincidental that an artist, Marina, is reading this text.
But what in fact motivates me to mention it is the subversive love that flows through that work. And, of course, the scenic challenge that those brief lines pose to anyone involved in theater—man, woman, or other: Adela breaking the whitewashed tomb in which Bernarda Alba had locked her away together with the rest of her daughters.
And all this is relevant because at the December 2025 seedbed gathering, Don Luis de Tavira, the master, was the only one who understood our intention in introducing the topics of love and heartbreak. When I wrote inviting him, I told him that it was most likely that none of the speakers would touch on those points—except for us, of course. He therefore did not need to worry about it. He immediately understood that those were precisely the most important aspects of that reflection and of all others past and present. The master accepted the challenge (actually, theater itself is a challenge). And his participation—from afar, like these words—focused on the mystery to be revealed: love and heartbreak.
Brilliant, as always, the master revealed—and rebelled—the leitmotif of human history: its successes and failures, its rises and falls, wars hidden behind heartbreak and loves hidden behind wars, resistances and rebellions.
In his remarks, the master says that I said what in fact it was he who said: that art is a declaration of love to humanity. And if he said that I said what he said that I said he said, then it is not confusion but a happy coincidence. A coincidence between two distances, like those that meet today here, by miracle, in El Milagro.
You must remain strong: in this terrible and marvelous love—in art—you walk toward heartbreak. Because humanity will not requite your love. It is unruly, stubborn, ungrateful, perfidious, and hopelessly romantic—as the Mexican philosopher Salvador Flores Rivera well argued. And yet you must persevere. That is how you will understand that the arts are a curse. A beautiful curse, yes—but a curse nonetheless.
Now I imagine the gestures of Steph, who is coauthor of this intrusion. I must say, in her defense, that she has been an accomplice not only in this crime, and that there are others on the horizon awaiting her dedication and commitment. Because theater, friends and enemies, is also that: complicity, dedication, and commitment.
I also imagine Marina’s restrained laughter—I told her that this would be a serious text and that she would have to read it on the spot without knowing it beforehand. And not just that. I also told her that the script required her to comb her hair, something you will confirm or not depending on whether her artistic discipline prevailed. I suppose she will make gestures of displeasure and reproach. A pout of discomfort—or a prelude to a feigned whimper—would not be out of place when reaching these lines. Thank you, Marina, but I think you need to practice your pouting more in front of the mirror.
Because that is also theater: a mirror that reflects the best and worst of humanity, that challenges the spectators’ imagination and turns them into accomplices—hidden behind applause, or boos, or the naïve complaint: “Give me back the money I paid for the ticket—and add the cost of the rideshare taxi, my valuable time, and VAT!” All because the tax authority—the Tax Administration Service—has become like immigration enforcement, chasing artists as if art were a business and not what it really is: a miracle.
– * –
But don’t get distracted. The master has been assigned the role of a pretext—a role he has assumed, I imagine, under protest. But the central theme of this gathering is theater. Or, more generally, the arts.
Earlier, a year ago, I made a comparison between theater directors and military commanders. It doesn’t matter how much they rehearse or practice; when the moment comes to face reality—the confrontation with the audience in the case of theater (and also dance and, sometimes, music), and with the enemy in the case of the combatant—you have no chance to repeat the scene. Perhaps that explains the spontaneous sympathy I noticed at the arts gathering a year ago between the two of them, when Subcomandante Insurgente Moisés and Master Luis de Tavira shared the table and the word. Steph and I stood as guardian flanks, with contributions from Iván Prado, Los Zurdos, and, from another distance, Antonio Ramírez.
That’s why I said above that dramatic art, like dance, represents a greater challenge.
And more: in theater—in the fleeting instant of performance—converge a myriad of factors.
The parts that the whole requires to constitute itself as art: lighting, costume, scenery, sound, and even the announcements, the ticketing, and the seating of the audience. Now I imagine Gabriel, Philippe, and David wondering if we are the only gatecrashers, because there are attendees who are suspected of having come only to see if there was a cocktail reception and hors d’oeuvres. Already they are complaining in whispers that there is only a sugary drink with an indecipherable flavor, and a sad sandwich that has known better days. Of course, everyone smiles and says out loud, “Ah, theater!” while quietly inching toward the exit.
– * –
I warned you—don’t get distracted. Focus.
Much has been said about theater as entertainment, as denunciation, as reflection, and as a pedagogical tool. In that sense, a theater teacher is really an educator of educators. Here we call them formadores (“trainers”). There are trainers in education—who train education promoters; trainers in health—who prepare health promoters, first aid workers, preventive medicine practitioners, midwives, herbalists, laboratory technicians, and someday they will train butchers—or “knife-inserters,” as we call those who know how to perform surgeries.
In short, we have theater as entertainment, as denunciation, as an image of its time and culture, as reflection, and as pedagogy.
Surely there are more spines on the hedgehog of dramatic art, but I will mention one that you may ignore: theater as love and heartbreak.
And for this, I bring you a story I told at a meeting where there were young coordinators of art and culture, as well as quite a few Zapatista theater-makers, men and women.
The story is called…
(to be continued)
From the mountains of the Mexican Southeast.
El Capitán
Mexico, March 2026.
Call to the Encounters on critical thought, art, resistance, and rebellion «ResignARTE u OrganizARTE» 2026
Zapatista Army of National Liberation
Sixth Commission
March 1, 2026
To the individuals, groups, collectives, movements, and organizations signatories of the Sixth Declaration and the Declaration for Life:
The Zapatista Sixth Commission has the honor of inviting you to the days of critical thinking, art, resistance, and rebellion for this year, 2026:
ResignARTE u OrganizARTE [Resign or Organize Yourself through ART]
These activities will explore artistic, organizational, and activist experiences in the face of the storm the world is enduring. The idea is to highlight that, faced with the brutality of the storm, two options or paths emerge: one is to resign oneself, to surrender, and let fate or one’s own gods decide; the other is to organize and fight for resistance and rebellion.
On the following dates:
April 2, 3, and 4, 2026. Seedbed of the Sixth Commission: The Storm Within and Without, According to the Zapatista Communities and Peoples. Venue: CIDECI, San Cristóbal de las Casas, Chiapas, Mexico.
August 2026.
Encounter of All the Arts. Themes: “ResignARTE u OrganizARTE” [Resign or Organize Yourself through ART] Venue to be determined.
World Meesting of Resistances and Rebellions I: “ResignARTE u OrganizARTE” [Resign or Organize Yourself through ART]. Venue to be determined.
December – January 2026-2027.
World Meeting of Resistances and Rebellions II: “ResignARTE u OrganizARTE” [Resign or Organize Yourself through ART]. Venue to be determined.
Register at the following email address: resignarteuorganizarte2026@gmail.com
Please specify the date you expect to arrive and your form of participation.
We will share more details soon.
From the mountains of the Mexican Southeast.
Subcomandante Insurgente Moisés.
Mexico, March 2026.
