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Art and the National Agenda

 

Cultural wars and cultural revolution are concepts which are often discussed with regard to nationalist politics, and it is vital to understand the role that art, of any kind, plays with regard to the political agenda. In the last century, the concept of art has become increasingly distanced from any kind of objective or uniform beauty, and has increasingly become defined by subjectivity, interpretation, and most damagingly, individualism.

 

The Liberalisation of Art

The concepts of ‘modern’ and ‘abstract’ art fundamentally rooted in liberalism. It is no surprise that these concepts came into prominence around the time of the First World War, and have become increasingly central ever since to the entire artistic community. This is not restricted to just physical art (painting, sculpture), but also to music, drama and the artistic sphere as a whole. It has reached a point in some circles of art where it is impossible to even decipher the purpose, message or basis for a piece unless the creator is permitted to describe it. There is no self-evident beauty, no obvious harmony, instead everything is rooted in the subjective (and therefore meaningless).

 

This goes hand in hand with the wider liberalisation of society, and the increasing importance that is placed upon the ‘individual’ good, even to the detriment of the national community as a whole. The liberalisation of the artistic world has resulted in ideas which are, at their heart, defective, being elevated to positions of prominence, and the creators permitted to rake in vast sums of money through what are ultimately confidence tricks, thus perpetuating the further creation of defective material.

 

What is National Art?

 

To remedy all of this issues, and to unify our people culturally, we must work to replace this disjointed art world with one of a truly national, people’s art, in which the barriers between individuals are broken down and they are once again drawn together in a uniform beauty. In order to do this, the National Art of tomorrow must be three things:

 

Firstly, it must be collective in nature. That is, it must be based on collective ideals, collective principles and group identity. There can be no margin for the abstract or incoherent, and it must speak to our people as a race and nation, rather than speaking to people as lonely, isolated individuals.

 

Secondly, it must be easily interpreted. That is, its meaning must be clear immediately and without detailed examination, and it must not require the creator to provide lengthy explanations. Art which requires this can never meet the first principle of being collective, since for most people it will be incomprehensible.

 

Thirdly, it must explore positive ideas. That is, the values exhibited must set a good example for our national community, or, if they are not depictions of positive things, they must be depicted in a sense that highlights the danger of socially destructive behaviour. ‘Edgy’ or other anti-social types of art cannot be allowed to fester.

 

Why is this necessary?

Since a culture is the product of a people, it is inextricably linked to a people, and thus the national agenda must ensure that our people are kept culturally healthy, and the best way to do this is through the recognition of the place that all art holds within our national community. When our people of the future go into art galleries, concert halls and cinemas, they will no longer be subjected to a bombardment of confusing, corrosive ideals, but instead be nourished with a truly eternal, national, art.

 

By Alek Yerbury

 

Party Leader