Cultural Scoundrel by Teodoro Petkoff in Tal Cual
Few documents like the letter sent by Farruco Sesto about actress
Fabiola Colmenares reveal in more crystal clear fashion the
Stalinist-fascist spirit that is behind some of the sectors of this
regime. It would be injustice, besides being imprecise, to say that
everyone in Chavismo identify themselves with the way of thinking and
acting of this guy, whose value as a man of culture is practically
nil. Even more, there are a few that refer to him with great sarcasm
and disdain. But this small scoundrel occupies the Ministry of Culture
and from there he exercises a level of power and influence that can not
be watched by indifference not only by any Venezuelan, but any of the
intellectuals that are honestly riding the train of this Government.
Sesto asks himself, referring to Fabiola Colmenares: “Is it an error to
have allowed this small personality of the criollo fascism to have
worked in a movie of the Villa of Cinema?” And he answers it himself:
“We should make it clear once and for all (…) that our spaces, the
spaces of the people, are not going to be used to attack the
revolutionary process”. Question and answer are preceded by some
considerations about “exclusion” and “inclusion” in cultural management
that do not deserve any comments both by their conceptual poverty, as
well as the galloping lies that he pretends to pass as judgments about
the past and the present of public cultural activities in the country.
According to this little personality, only Chavistas can have access to the cultural spaces in the hands of the State.
Anyone
who does not understand this creed is excluded. The State does not
belong to the Nation; the State is the Government and the Party. And
they all belong to Chavez. That is the way it was in the Soviet Union,
that is the way Nazi Germany was, and that is the way Cuba still is.
The farruquian cretinism pretends to impose as cultural policy the
disregard of pluralism and diversity, which are proper of any society
and wants to substitute it with submission to official thinking in all
of its variations. Because the true reason is that Fabiola is only a
pretext for Farruco Sesto. The great inquisitor is actually addressing
in reality, all of the cultural creators and is warning them that those
that do not subject themselves to the political guidelines of the
regime do not have anything to look for in “our spaces”. This text
represents threats and blackmail.
It would be good to hear from one of the intellectuals that
identify themselves with the regime but who were known to spouse
democratic and anti-totalitarian convictions, what opinion they have
about the political cultural creed of Sesto. Carlos Noguera, Luis
Alberto Crespo, Carlos Azpurua, Roberto Hernández, Juan Pedro Posani,
just to mention a few, are you going stay silent and accept it?
The Devil's Excrement 