When the left comes to power, it floods the entire society with cultural Marxism. Therefore, right-wing governments should respond to left-wing cultural Marxism with classical culture.
In the last few years, the Western world has witnessed the emergence of attacks on cultural heritage.
“Activists” over cultural heritage
Along with the well-established graffiti, whether “artistic” or “political,” on the facades of buildings and churches (especially Catholic ones), in recent times, “activists” are also tackling museums and monuments. A whole series of cases are known when, as a rule, young “fighters for the salvation of the world” used liquid foods or faeces to destroy works of art exhibited in museums or galleries. In some cases, such as in the gallery of a private British university, the artwork was even cut with a blade. Elsewhere, ornaments on building façades were damaged. Church interiors have been desecrated; monuments have been damaged. In some such cases, the damage is irreparable, while in others, the renovation of damaged works of art will require months, perhaps years of work and hundreds of thousands or even millions of euros in costs.
Perpetrators, when they are discovered, usually justify their actions with the excuse of the fight to save the planet, or the fight against climate justice, the fight against social inequality, or some similar platitude. But they can’t really explain how the destruction of a work of art is supposed to contribute to climate justice or save the planet, so it’s clear that they are so-called useful idiots, blinded idiots who work according to the instructions or suggestions of someone smarter, who is hiding in the background.
In cases where the perpetrators are not discovered, the media and the police usually attribute such attacks to wanton vandalism. Of course, this is not true. A drunk or drugged wantonly vandal will break the glass in a shop window, but he won’t go to a museum and throw cans of paint at an art painting. A vandal might urinate on a façade in a side street, but he won’t throw a bag of faeces into a gallery or a church. A violent vandal might set fire to a garbage can, but he won’t climb a statue and try to decapitate it.
Planned attacks on classical culture
These attacks, whether the perpetrators are discovered or not, are not the work of vandals, but are orchestrated. Maybe the actors are, in fact, blinded, hyped fools, but that doesn’t change the fact that this is a systematic attack on Western culture.
The left, the cultural Marxists, are behind these attacks. In their actions, they use the findings of the Frankfurt School, which was created a century ago precisely with the intention of becoming a breeding ground for ideas that could bring down the Western civilization. At that time, the top of the world communist movement realized that the success of the Bolshevik revolution in 1917 was primarily the result of a combination of fortunate circumstances and not actually the result of the “conscious proletariat”.
The collapse of attempts at a Bolshevik revolution in Germany, Austria and Hungary after the First World War showed the leading communists that they could not rely on the proletariat at all. Because of this, they changed their tactics and decided that instead of the “working masses,” they would prefer to use the “educated middle class,” i.e. academics, artists, lawyers, journalists… People from liberal professions as a tool to achieve their goal – that is, the collapse of Western civilization. The Frankfurt School was therefore created with the aim of “arming” these willing or blinded tools, useful idiots, as Stalin called them, with ideological weapons.
The poisonous ideology of the Frankfurt School
Max Horkheimer laid the foundation on which the activities of the Frankfurt School are built. Namely, he invented the concept of “critical theory,” presented it in his book – “Traditional and critical theory” – and then developed it together with Theodor W. Adorno in “Dialectics of Enlightenment”.
According to this theory, in order to build a new world, it is necessary to first question and criticize (read: belittle, deny, ridicule, reject and finally destroy) everything on which our Western civilization is based – from Christianity, the traditional family, social norms to private property, human freedoms and art. Individual members of the Frankfurt School each worked in their own field. For example, Herbert Marcuse worked in the field of “sexual liberation” and “free love,” which laid the foundations for today’s frenzies and perversions of the LGBTQAI (and whatever other letters of the alphabet there are). Adorno and Walter Benjamin devoted themselves to the field of culture, and so on. Although they are still “fighters for the rights of the proletariat” in name, the Frankfurt ideologues almost completely wrote off the working class – namely, they did not spread their ideas in proletarian pubs and at trade union meetings, but at universities, in newspaper editorial offices, at gatherings at art exhibitions… And that is what they are still doing to this day. Today’s left has completely written off the working class, moreover – most of what it advocates and actually stands for goes practically against the interests of the workers. We can already see the reflection of such a situation in Orwell’s work – “Nineteen Eighty-Four”. The ruling “Party” in the book, otherwise a labour party in name, leaves 85 percent of the population, which is designated as “the Proles” (the common folk), behind. They supply them with alcohol and lavish entertainment, but otherwise, they do not treat them as people at all. “The Proles are not people,” says a senior party official. The Party thus devotes itself to only 15 percent of the educated class, which it controls with a firm hand, as it believes that only they, in contrast to the “broad popular masses,” could rebel and overthrow the system.
In reality, today’s left has a similar attitude to the people as the ruling Party in the fictional novel “Nineteen Eighty-Four”. It targets the educated middle class and uses it as a tool to destroy our civilization.
A well-thought-out project of the left
Alejandro Peña Esclusa is an engineer, writer and political analyst. As an opponent of the left-wing regime, who is threatened with imprisonment and even death in his native Venezuela, he has been living in exile for many years. Esclusa has devoted himself to studying the influence of the toxic ideology of cultural Marxism, on which he has written several books. His latest book, “Classical Art and Cultural Marxism”, which was also published in a Slovenian translation, is devoted not only to the destructive effects of cultural Marxism, but also to the response to it.
Esclusa rightly claims that the moment the left comes to power in a country, it immediately “floods” the entire society with cultural Marxism. Books, school curriculum, study programs and scholarships, legislation, regulations, events, everything. The right does not do this mainly because it deals almost exclusively with the economy and infrastructure. Therefore, it has no real alternative to cultural Marxism. It does not present or implement any real alternative to the degenerated multiculturalism and wokeness. Because of this, the left is winning in the cultural battle, Esclusa believes, and because of this, this needs to change, we need to provide solutions.
In an interview with Esclusa conducted by the great Spanish journalist Álvaro Peñas, the former said:
“All this is a deliberate project of the left. Although there were various initiatives to demolish Christian and Western values, starting with Gramsci, the strongest school of thought was the Frankfurt School. Walter Benjamin and Theodore Adorno of this school recognize that art is a fundamental tool for the destruction of Western values because, as Frederick Schiller says, art reaches people’s hearts more easily through emotions, making it a tool of indoctrination for good or evil.
In his book on the theories of new music, Adorno says that Arnold Schönberg’s atonal music is comparable to Beethoven’s. One only has to listen to him, and we see that there is no rhythm, harmony, beauty in his music, and no comparison with Beethoven, either. A school emerged from Schönberg, from which came musicians and architects who developed irrational art. One of the clearest examples of this art is Marcel Duchamp’s “Fountain” – the urinal. It is a toilet urinal, nothing more and nothing less, which 500 artists consider the most important work of the last century. This ugliness is a tool to degrade values and introduce pessimism and irrationality into society, because if you convince a person that a urinal is a work of art, you can also convince them that there are a hundred genders. If art loses coherence and becomes irrational, philosophical thought also loses.”
Classical culture as a response to cultural Marxism
There is an alternative to all of this, according to Esclusa. In response to left-wing cultural Marxism, right-wing governments should respond with classical culture:
“Classic culture has values. The first is that God exists; the second is that man is created in his image and likeness, and is therefore not an intelligent animal, but a being with an immortal soul; the third is that there are immutable and eternal universal truths, that is, truths that apply in all ages and societies and do not change. Truths that, as Cicero said, are written in the human soul.
These values are imbued with classical art, and this needs to be emphasized, because progressivism stems from anti-values that are just the opposite: God does not exist, humans are intelligent animals without an immortal soul, and truths do not exist but are relative. On the basis of these anti-values, which are also false, an ideological structure is built, the top of which is the ideology of gender and other current aberrations. The damage and confusion caused by these anti-values are so great that they have flooded society with pessimism, and we see how people no longer want to have children or how young people are afraid of climate catastrophe and live only in the present. We have lost the joy of that optimism, that beauty, that hope for the future that existed before. I argue that all this confusion and the many problems facing humanity are a product of cultural Marxism, and to counter this, we must return to the classical artists.”
Undermining European culture
Evidently, the ideologues of cultural Marxism are also aware of this, and that is why they are leading an increasingly savage campaign against classical European culture, through the help of brainwashed useful idiots. This is the reason why they hide classic film works in bunkers or make politically correct “remakes”. This is the reason why they call on libraries to remove works with accusations that they are “problematic” and, in one way or another, -istic or -phobic. This is the reason for the calls for the withdrawal of theatre performances or performances of classical musical works, claiming that they are too “Eurocentric”. And this is the reason for their attempted destruction of works of art in galleries and museums. These are terrorist acts aimed at undermining our culture, one of the foundations of our civilization. Therefore, both the ideologues of Cultural Marxism and the useful idiots who follow them should be treated as terrorists.
Bogdan Sajovic
