Over the years the conductors and the BBC itself have become
increasingly uncomfortable with the popular and patriotic music of the Last Night
of the Proms. For that one night only,
the British are allowed to take pride in their nation and celebrate who they
are and where they are from. The woke
British Broadcasting Corporation dislikes anything that celebrates Britishness,
dominated as it is by the contrary woke-ideology that encourages the validation
of disparate identities at the expense of the mainstream population.
Fearful of a head-on confrontation with the British public,
up until now the Beeb has attempted to subvert the Proms from within. It has selected lesbian conductors and
sopranos and tried to turn a celebration of Britishness into a celebration of
woke British values. Instead of that
which has traditionally been understood as Britishness – rooted in a Christian
society that values virtues such as stoicism, courage and martial valour – the non-values
of Sodom and Gomorrah are celebrated.
This Trojan Horse strategy of subverting patriotism from within, so that
to wave the Union Jack means you also support the waving of the LGBTQ + rainbow
flag, is very clever. Meanwhile across the
world our political class promotes values inimical to traditional society and calls
this disastrous identity politics “British values”.
People are naturally patriotic and particularly on a party
night like Last Night of the Proms they are easily susceptible to having a
nefarious agenda slipped past them. No
one wants to be a party pooper. The BBC’s
Last Night of the Proms therefore got away with portraying Britishness as
wokeness.
Nonetheless wokeness cannot hide its true colours. It is not about unity or tradition, it is by
definition hostile to what holds us together.
Wokeness is about creating disparate identities that define people as
small and “oppressed” groups, downplaying and denying what unites them with
their countrymen. This is the corrosive
and poisonous dogma of intersectionality.
It makes the marginal the mainstream at the expense of tradition and
shared culture. This is why the woke are
sympathetic to the promotion of traditional Islam and feminism – seemingly contradictory
ideologies. This is not a contradiction
if your overarching ideology is actually about destroying the mainstream
culture and eradicating tradition.
Contradictory perspectives and ideologies are equally worthwhile of
promotion if you wish to destroy Christian society.
Now there is not that much explicitly Christian about Last
Night of the Proms (apart from Jerusalem).
Rule Britannia is from the Seven Years War when our Protestant identity
was far stronger. Land of Hope and Glory being Edwardian is more from the zenith or peak of British imperialism
when perhaps more Masonic and Deist ideas were in the ascendancy, but the
composer himself was a Roman Catholic.
Nonetheless patriotism more than faith is what is celebrated, albeit
with references to God natural to a Christian society. The reason these pieces of music are a target
is they support a coherent national identity and that national identity because
of our culture and history is linked to being a Christian country.
Subversion by the BBC had been working and was powerfully
symbolised in last year’s last night, with both EU and Rainbow flags being
unfurled and waved. Particularly
symbolic was the choice made of the soprano for Rule Britannia. A rather large bisexual or lesbian American
was selected who unfurled not a Union Jack, but a Rainbow flag. She also sang the innocent children’s song “Somewhere
Over the Rainbow” with strong hints of sexualisation. It really was decadent degeneracy. In a free society people can follow their
sexual leanings, but in a decent society one does not advertise that as an
integral part of one’s identity, particularly for a national celebration meant
for everyone such as the Proms. Claiming
to be inclusive this behaviour is really exclusive of most of us, who really do
not need to know about someone’s preferences and passions in the bedroom . . .
The contrast seemed even more powerful because the beautiful
Tartar soprano Aida Garifullina was outside in the park also singing Rule
Britannia, as though the mainstream and the traditional ideas of beauty were
banished to the outside, while the margin had moved into the centre. Orthodox Youtuber Jonathan Pageau has talked
extensively about the topsy turvy way the woke agenda places the marginal in
the centre at the expense of the traditional and normative.
This rendition of Rule Britannia by the woke lesbian Jamie
Barton was the very peak of the Trojan Horse strategy. She was able to ride the patriotic cheers as
though they were actually cheers for what she was inclined to do in her private
bedroom (a fact she was all too keen to make public).
This strategy that was working now seems to have been
abandoned. Covid 19 has changed the
strategy. Just as we had to witness unrepresentative
BLM demonstrators destroying the monuments of our history and identity so the
newly appointed Proms conductor from Finland, Dalia Stasevska, sees Covid and
our virtual house arrest as an opportunity to “sanitise” the Proms of our
patriotic songs. This really is sneaky,
because just like the BLM demonstrators, the conductress feels she can make
this move as the audience will not be there.
It is though a strategic blunder.
This move, to delete patriotic songs, just proves wokeness
and patriotism are not compatible. For
the former is about minority identities at the expense of cohesion and the
latter brings us all together. Wokeness, let us be clear, is not simply about
tolerance, but promotion of the abnormal, the irregular and the marginal at the
expense of the traditional. Its whole
narrative thrives on painting history and shared identity as oppressive of
minorities who are of more importance than the majority. So it was never really true that British
values could be woke values.
Britain is a tolerant country, but tolerance is not the same
as active promotion of the marginal.
Britain has a history we are proud of that has allowed a space for the
margin, but has not attacked the mainstream tradition. It is a history based on the recognition the
mainstream does not need to oppress the margin.
Wokeness, with its cultural Marxist philosophy cannot accept tolerance,
because really its programme is all about revolution. It aims to overturn the normative and will
utilise disparate groups and interests to do that. As with all revolutions it is not promoted by
the ordinary working class, but by a narrow group of privileged intellectuals
who do not share the concerns of normal people.
Sadly this narrow group dominates in fields like the media, especially
the BBC.
What will now happen is that the ordinary public, Sir Henry
Wood’s key audience, who so love the Proms will react and no longer accept the
woke propaganda, being revealed for what it is and what it is hostile towards. Thus if the proposal goes ahead, the Proms
would become a narrow world for the self-important woke and privileged. Patriotic music is so often a way into the
world of classical music for those not fortunate enough to have been educated
through the private system and university (where nowadays you seem to learn to
sneer at tradition). The Brexit voters
are the descendants of Sir Henry Wood’s target audience.
The BBC might see its legitimacy at stake, when the
unpopularity of the proposal becomes clear.
Most likely a “compromise” will be found in a dispute that never was
other than in the inflamed imaginations of the privileged media class, so the
songs will remain, but sanitised and made bland. Nonetheless, what has happened is a major error. The woke, having wormed their way into
British life have now clearly cast their ideology as the opponent of patriotism. We can now hope that when the woke soprano
sang, it was the swansong of using patriotism as a mask for the woke agenda.
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