Marcos is still using the nationalist language and bringing in the ideas of rewriting history, but now with an indigenous layer. He claims that the state and the elites are the ones who perpetuated the stereotype of the “ignorant Indian”. He also asserts here that the EZLN provided the platform in which the indigenous people could have a voice that has returned their honor in history. Marcos’ rhetoric seems to almost minimize the history and struggle of the indigenous people by implying that because of the voice they received at the negotiations, their ‘dignity’ was suddenly restored. It is here where a question of ‘voice’ may be called into question (Walden 81). The language that Marcos employs in this declaration is laced with indigenous
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When the EZLN began its shift towards indigenous goals the language of their discourse reflected that. One of example of this is the creation of the character named Old Don Antonio. These stories by Marcos are important because they are the pieces in which he incorporates indigenous language and culture the most. The way in which Old Don Antonio is tells Marcos these stories consistent with the oral tradition of many indigenous culture, including many in Marcos’ audience where many did only completed one or two years of schooling (Stephen 158). Based on an Indian elder that helped the Zapatistas in the early days learn about the indigenous life, and had a “profound influence on the unconscious transformation of the quasi-Marxist guerrilla army into an Indian rebel army” the stories serve to further bridge the gap between the masses and the indigenous people (Higgins 366, 2000). The mode in which the Marcos writes is reflective of many oral cultures. It is in these cultures that narrative is the primary mode of storytelling (Ong 140). Much of the reason that oral cultures rely on narrative form is because “it can bond a great deal of lore in relatively substantial, lengthy forms that are reasonably durable” (Ong 141). Marcos’ depiction of Old Don Antonio reflects the culture that it hopes to appeal to. It was partly from the stories and experiences with the real Antonio, and indigenous people like him, that the Zapatistas evolved their movement. It also where the inspiration for many of these lessons given by Marcos
When the EZLN began its shift towards indigenous goals the language of their discourse reflected that. One of example of this is the creation of the character named Old Don Antonio. These stories by Marcos are important because they are the pieces in which he incorporates indigenous language and culture the most. The way in which Old Don Antonio is tells Marcos these stories consistent with the oral tradition of many indigenous culture, including many in Marcos’ audience where many did only completed one or two years of schooling (Stephen 158). Based on an Indian elder that helped the Zapatistas in the early days learn about the indigenous life, and had a “profound influence on the unconscious transformation of the quasi-Marxist guerrilla army into an Indian rebel army” the stories serve to further bridge the gap between the masses and the indigenous people (Higgins 366, 2000). The mode in which the Marcos writes is reflective of many oral cultures. It is in these cultures that narrative is the primary mode of storytelling (Ong 140). Much of the reason that oral cultures rely on narrative form is because “it can bond a great deal of lore in relatively substantial, lengthy forms that are reasonably durable” (Ong 141). Marcos’ depiction of Old Don Antonio reflects the culture that it hopes to appeal to. It was partly from the stories and experiences with the real Antonio, and indigenous people like him, that the Zapatistas evolved their movement. It also where the inspiration for many of these lessons given by Marcos