When the Bolsheviks took over Russia in their 1917 coup d’état (it definitely was NOT a revolution), an attack on the country’s rich cultural traditions followed suit almost immediately.
The events of October 25 (so-called Old Style) are celebrated on November 7, which led to a so-called radioactive joke: the Soviets’ hugest holy day is called the Great October Socialist Revolution, but it’s celebrated in November, and that’s how it works with everything else there, too.
Why radioactive? Because if anyone reported you for sharing this joke, you would spend a few years behind barbed wire, labouring in uranium mines.
In any case, the Bolsheviks who overthrew a democratically elected government (known as provisional government, led by Alexander Fyodorovich Kerensky), quickly realized that in order to keep the reins of power, they have to eradicate the past.
Culture, that is art, literature, drama, even music, became the most dangerous weapons in the hands of those who didn’t like Bolshevism.
And this is what led directly to the creation of the Proletkult (Пролеткульт). It stood for proletarian culture (the Bolsheviks and their kind just love abbreviations). It would cause irreparable damage to the traditional Russian culture.
Coming back full circle
And now we see the Bolsheviks’ successors raising their ugly heads.
For example, the Britons are appalled to learn that their hard-earned money goes into supporting a show named Thirteen Ways of Looking, set to open in Coventry within a few days.
Coventry, of all places, the city savagely bombed out by the Nazis during World War II, is set to become a victim again. The German Luftwaffe changed the peaceful city into mountains of ruins in the autumn of 1940.
It’s about a Marxist group of people who don’t know the basics of artistic trades but have enough chutzpah to call themselves the vanguard of arts. They are descending on the place to give it a bad name to end all bad names.
It all is supposed to take place at the Herbert Art Gallery & Museum. The promoters would not say much about the new artistic stars, except for debating their race, migration status or family origins. Not a single word about their artistic achievements or, what a ridiculous idea, the objects they have created for this exhibition.
Oh, they do talk about their topics, all right. Marital disappointment of Pakistani women, for example. Or what a female Chinese migrant has experienced in her troubled life. But Black Lives Matter-inspired objets d’art take the cake. How does Black female subjectivities within narratives of the future strike you?
Or: Black women as neuroscientists using the domain of the beauty salon as a rebel underground network for a radically new shared system of communication? This one comes from a group that calls itself Hyphen Labs. That it’s a given that they call themselves a collective is perfectly obvious.
A discussion on important topics, such as NeuroSpeculative AfroFeminism Research will be an integral part of this nonsense.
Where the Bolsheviks concentrated their envies on what they called ‘class struggle,’ their today’s successors try to fan the flames of ‘race hatred.’
Here’s what’s happening all over the so-called civilized world: most successive governments have imposed all kinds of quotas. The British, for example, have race/sex/sexuality/immigrant to meet.
Canada Council of the Arts has set standards very similar to their British forerunners’ idiocy and abuse of taxpayers’ funding.
A memory refresher: how about Jana Sterbak’s infamous body put together using choice beef steak meat? She has given this outrageousness a Latin-sounding name: conceptual sculpture. That impressed Canada’s National Gallery of Art. It bought this perfect balderdash, abusing taxpayer money, only to see it rot within a few days.
Not to worry: Ms. Jana Sterbak would become a Canada Council laureate of 2012.
Considering that her mother. Dr. Milena Sterbakova, a qualified psychiatrist, defected to Canada from her native Czechoslovakia following the Soviet-led invasion of 1968 (and Ms. Jana Sterbak herself was born there in 1955), one seriously wonders what Ms. Sterbak’s mother would say if she had the chance to see her daughter’s achievements.
Not that Ms. Sterbak necessarily harbours any deep-seated Marxist thoughts. In fact, it’s doubtful whether she harbours any thoughts at all. But her free abuse of the word ‘art,’ abusing taxpayer money, to boot, helps the Marxist ideologues promote their kind of political propaganda under the guise of free artistic expression.
The Coventry exhibit organizers have come up with a brand new standard. They invented ‘artivism,’ whatever that is supposed to mean. The theoreticians of the intellectual step into the unknown never bothered to define any of it. Not even pretending they know whereof they speak, using the mumbo-jumbo that should make sceptics blush: oh, are we stupid not to understand it!
Art criticism has fallen prey to postmodernism long time ago. Artists no longer have to cover up that what they produce is not art but, rather, shameless propaganda. And whoever begs to differ gets a killer label: racist, xenophobic, homophobic, denier, whatever.
Yes, these labels are killers. The number of careers they killed is not only perfectly astounding. It is also growing.
But here’s the worst part: governments and sundry official agencies are willingly supporting this kind of ideological subversion, to borrow an expression from Marxist vocabulary. In the U.S., they have created a name for it: Deep State. Elsewhere, it’s about nameless bureaucrats, linked into invisible circles with all kinds of organizers, promoters, and other kind of such crowd. Nobody has any control over them. Those who feel something doesn’t feel right (and have the courage to say so) are dismissed out of hand as illiterate village idiots. Who wants to be known as one of those?
Come to think of it, all of us (or most of us) are village idiots in those people’s eyes. How many of us have stood up to say that the king is naked?
These people use a fantastic tool: should anyone question, for example, a Canada Council grant, their hue and cry would be: government interference, censorship, even!
Just for a bit of enlightenment: Canada Council’s funds are allocated by Parliament, not the government of the day. That makes the entire situation even more openly scandalous.
Yes, many will say, but what can we do?
Here’s the answer: a lot. The British version of one of the most moronic television shows in the world, Britain’s Got Talent, showed a dance group that calls itself innovative. It performed an openly politically charged, propagandist number. The group itself, in their own literature, links it to promoting Black Lives Matter. The office that officially controls what happens on the BBC was literally inundated by angry letters of protest.
The Brits, in addition to their taxes, pay a special fee to support the Mothercorp. Imagine what would happen if they all decided to refuse to pay. Many angry viewers suggested just that in their correspondence to Ofcom.
The late Jiří Menzel, the Oscar-winning director for Closely Watched Trains (Ostře sledované vlaky), liked to say that most people in the streets, that is, those who have to work to be able to put bread on their kitchen tables, think of most arts and artists as something and someone who perhaps should be around, but they are not sure why to bother about them.
Here’s the issue: thus unobserved and uncontrolled, these Marxist parasites spread all kinds of foul-smelling junk around, and if we don’t do something about it, and fast, our nostrils will become used to it, and we will begin to feel it’s normal.
It is not. The time to do something about it is now.
And no, it is not censorship. It’s pure mental and emotional hygiene.