By Jeff Conant
Part literary feedback, half media research, and half advertising guide, A Poetics of Resistance offers a refreshingly new tackle the Zapatistas. whereas a lot has been written at the background of the Zapatista insurgency and at the communiqués of Subcomandante Marcos, little or no has been stated approximately Zapatismo: the ideologies, organizing methodologies, and communications ideas of the stream. The attraction of the Zapatistas, and their survival, has as a lot to do with their ambitions as with the compelling and wildly powerful language and aesthetics they’ve used to exhibit their imaginative and prescient. Weaving jointly diversified components of poetics and symbolism, Zapatismo has emerged as whatever completely new: a resolutely radical public kin crusade for human liberation.
The first postmodern revolution” provided itself to the area via a fancy and evolving internet of propaganda, utilizing a variety of media: the colourful communiqués of Marcos; the ski mask, uniforms, toy dolls, and different accoutrements of the rebel or sympathizer; and work of art, songs, and different well known cultural varieties. utilizing persuasive exposure, myths, and emblems, the Zapatistas either communicated their message and built a transparent aesthetic which may comprise many messages instantly and self-replicate on a world scale. Jeff Conant deals an attractive and leading edge software for organizers and educators to appreciate how the Zapatistas' process works, and to proceed constructing and refining their potent messages of participatory, bottom-up revolution.
Jeff Conant is a author and activist within the San Francisco Bay region and the writer of A neighborhood consultant to Environmental Health.
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Additional resources for A poetics of resistance : the revolutionary public relations of the Zapatista insurgency
While he is a “political writer,” one would hardly say that writing is his vocation; he is first and foremost a “political actor,” whose writings represent a movement more than an individual. Absent his role as military propagandist for the EZLN, Marcos as auteur barely exists. The writings of Subcomandante Marcos, filled as they are with native voices, hybrid styles, and demanding, sometimes mystifying content, have not been embraced by any literary establishment, in Mexico or elsewhere, and it will undoubtedly be long after his death (or perhaps not so long, given the hungry proclivities of the culture industry) that his work gains significant recognition as literature.
In this sense, resistance has become the very soil in which native cultures grow. Santos de La Cruz Carrillo, a Wixarika (Huichol) lawyer from the state of Durango, and a delegate to Mexico’s National Indigenous Congress, says: What does resistance mean? Resistance means to defend what belongs to us as indigenous people: territory, resources, culture. If, among our peoples, we didn’t have resistance, we would no longer exist as peoples. 14 For the Zapatista communities, resistance means rejecting handouts from the “mal gobierno,” the bad government, and from any other national or international agency whose intention is not to build local selfsufficiency but to undermine it through paternalism, clientism, charity, or other forms of low-intensity warfare.
On the side of memory is the solitary reason of History. — Subcomandante Marcos2 The Story of January 1, 1994 If the story has been told and retold so often that it has become legend, it is because the first bursting forth of the Zapatista insurgency was crafted with pure cinematic genius, every aspect shot through with the material of legend. As the clock strikes midnight in Mexico City, President Salinas de Gortari is toasting the North American Free Trade Agreement (NAFTA) and Mexico’s much-ballyhooed entrance into the First World.