There are a fewer events in my life that shook me. Among them are any that go beyond the private sphere. That is how I remember – and that is double – the date of 13 December: first in connection with the martial law of 1981 and then as the signature of the alleged Lisbon Treaty of 2009. Here symbolically speaking this peculiar December day, but totalitarian experiments on people can besides be stretched over time, and thus much more hard to propagate. France exists"CoeurVideo19" ("Puste Heart 19") which set itself the goal of supporting families of people who died during the alleged pandemic, and who were then deprived of the chance to say goodbye to their loved ones, including the lockdown ban on ceremony ceremonies (this is estimated to affect about 2 million French people). Today, many of these people are demanding the exhumation of the so treated dead and their re-decent burial.
Our private tragedies, summing up with each other, can sometimes become a historical social event, sometimes besides a national trauma, and in a planet that is globalized by force even the “end of the world”. But I want to believe – and we would not deficiency evidence that the combined good and beauty can work in a akin way. Sometimes it comes to us from an unexpected side. This happened only 4 years ago during a pseudomedical planet "fall". During the alleged covidiosis, corrupted – as it may seem – to the bone marrow – “the oldest daughter of the Church”, she was able to “dance joy” on 4 March 2021 at the Paris railway station in the artistic provocation “Danser encore – par Flashmob Gare du Nord”.
Today's France, as such, just for stupid ignorant people is simply a cultural model that should be imitated. In the authoritative artistic narrative, there is not even a trace of the knightly era of “The Song of Roland” or of Georges Brassens' songs. At the same time, in this caliphate-divided state (as the wise wicked people call this country), the Catholic tradition is revived, and voters are 1 step distant from giving their regulation to the right.
Totalitarian boosts of power always turn against the ruling and are the origin of actual resistance, which – otherwise characteristic – is defined earlier on the off scenes of theatres or among street singers. In another words, artists who have been utilized for 1 or another propaganda for years (including the creation of politically "fashionable" worldviews) do not know erstwhile they become soldiers of counter-revolution. Somewhere there's this limit of humanity, after which there's a reaction. This is best shown by examples of the persecution of the Church, which we know not only from the stories of St. Saul/Paul, but from the well-known reality of materialism, erstwhile exclaimed haters and atheists “early” receive the graces of conversion and become zealous followers of Christ, even willing to die for faith.
Marxists have utilized artists very effectively for decades to change social awareness. Sometimes these were highly sophisticated methods. This was the case with the alleged "culture jamming", the beginnings of which can be dated to the 1950s and 1960s, and specifically linked to the beatnik movement ("Beat Generation") and the revolution of counterculture (hippies). All for 1 intent – demolition of the erstwhile cultural formation based on the Christian religion and on the work ethos. The continuation of this is today's ‘cancel culture’, which is to mark and destruct the inactive ‘incorrigible’, i.e. in practice to ‘screw the right-wing pack’.
Another poisoned “cultural lollipop” became a “flash mob” ("translation to flash"), or gathering large groups of people in any public place, utilizing social media for this purpose. The essence of these activities is that participants implement a pre-prepared scenario-action (singing, dancing, music, etc.) and then "as if nothing ever" split. Here we are dealing with another mutation of socially active street theatre (100 years ago it was done in Germany by Proletarisches Theater, and 40 years ago in Wrocław Orange Alternative). As part of the current cynical political acquisition and usage of such, it would seem to be "spontaneous fun", a "flash mob" is utilized to advance consumer goods and even to make alleged coloured revolutions. Thus, “democracy” has become “mobocracy”. However, it has not changed that both “cracy” is just a manipulation that any usage to keep power and others to keep a corporate monopoly. Both of these actions frequently go hand in hand.
But, just as the revolution "eats its children", so tools designed to enslave and indoctrinate can turn against their creators (like that sewn up from many corpses of Frankenstein or replicant-android formed as a consequence of genetic experiments). And this happens due to the fact that the beings of humanity, and thus the spirituality given to us by the Creator, cannot be destroyed. precisely this "exploded" on the Paris Northern Station erstwhile respective twelve people (singers, dancers, musicians, acrobats and who else) dared to free their faces from masked muzzles and to cross the barriers of the alleged "safe distance" of man from man (wherein marked on the level with white circles). And the station sang, danced. And not just those who were prepared for the event as actors. The “Mury” went down with a bang, and the officers of the strategy pretended to see nothing. And they sang like this:
You and he and I dance as much as God can give us,
Let's dance free and joyful like this,
Let's dance to the colored like this bird...
And then the colored birds flew away. There remained a sad station hall with these white circles and people who had their faces taken away, but there was besides the awareness that there was life outside the wall.
Tomasz A. Żak
He launched “OPA-DRON”. So the power of art and building national identity in practice
