Arts and Clture and Politics

Keep the Beltane Fires Burning!

Traditional Beltane Fire Festival celebrating the beginning of Summer, in Edinburgh. The procession, which celebrates the ending of winter, is a revival of the ancient Celtic festival of Beltane, the Gaelic name for the month of May

It appears sometimes that the Finns view a calendar year exclusively in terms of the important holidays. A man lives merely to celebrate one big holiday that doesn’t happen often. Once the celebration is over he simply waits for another one to come. For example, there is such a big event as Christmas. When it has passed, one patiently awaits the Vappu which is the first day of May. Followed by the Midsummer Eve (22/23d of June), and after that there are just six more months until Christmas and the New Year.

And so on.…The time in between is simply an insignificant period that separates one important milestone from another.

Of course, it’s an exaggeration but still, while living in Finland, one often hears something like ‘Oh! It is only eight weeks till the Vappu!’, or Christmas, or the Midsummer eve. To some extent the Finnish holidays might be regarded as a powerful example of traditional European holidays that have continued down through centuries. Vappu, for example, is a celebration of the beginning of Spring, a celebration of nature and the very essence of life and the power of fertility as it awakens from long winter sleep. Indeed, traditions to celebrate the Midsummer Eve, as well as Vappu go back to the pagan times. These and many other holidays celebrated throughout Europe all have the pagan roots (although, in such cases as Walpurgis night — and Vappu is pretty much like that – the issue of its origins, Christian and pagan alike, has grown more complex as time goes on). All in all, these celebrations have a long history in Europe, and they are inseparable from its roots and its culture. Read more

What to read, Part 1


There is no such thing as rightwing vs. leftwing literature. There is only bad literature vs. good literature, with the definition of goodness vs. badness resulting from one’s own implicit cultural and racial baggage. For more than a half century, teachers and scholars have used public and academic discourse quite in line with the egalitarian White-hating dogmas, and reading lists for their students were constructed on the basis of those dogmas. Important novelists, key social scientists, and authors   suspected of writing prose that goes against the stream of dominant political ideas, have either been swept aside or removed from the reading list. Their books, if ever mentioned, receive a critical, criminalizing, downgrading, or caricatured interpretation. Worse, if some of them trespass over the historiographic lines of self-censored behavior, as is the case with historical revisionists in Europe and the USA, they may lose a job or land in prison.

1. Literature: Homer and the Tragic

One can tell the author’s identity by his style and narrative. At the beginning of his autodidactic voyage, a young student should avoid authors whose style and syntax are boring, or whose main theme is difficult to grasp. A White student in the humanities should start with easy-reading classics first, such as Homer and the equally easy texts of fairy tales. Great writers love clarity of expression and do not hide their towering egos behind dangling sentences and obscure lingo. This is unfortunately not always the case with some prominent racialist and traditionalist scholars, especially in the field of social science. Many good social scientists often do not know how to frame their important ideas into simple language. Hence, it’s necessary for a student to read the classics first. Read more

Tristan Tzara and the Jewish roots of Dada, Part 4

The destructive legacy of Dada

Dada’s destructive intellectual and cultural influence has proved to be seminal and long-lasting in at least three ways. First, as Dempsey points out, Dada’s notion that “The presentation of art as idea, its assertion that art could be made from anything and its questioning of societal and artistic mores, irrevocably changed the course of art.”[i] As Dickerman notes, looking at the output of Dada from its various centers of production emphasizes the degree to which it coheres

around a set of strategies — abstraction, collage, montage, the readymade, the incorporation of chance and forms of automatization — so foundational for the rest of the century that today we have to struggle to recognize their historical novelty. [Together these media] signal an assertive debunking of the ideas of technical skill, virtuoso technique, and the expression of individual subjectivity. … Dada’s cohesion around these procedures points to one of its primary revolutions — the reconceptualization of artistic practice as a form of tactics.”[ii] [These tactics consisting variously of] intervention into governability, that is, subversions of cultural forms of social authority — breaking down language, working against various modern economies, willfully transgressing boundaries, mixing idioms, celebrating the grotesque body as that which resists discipline and control.[iii]

Dada’s iconoclastic force had enormous influence on later twentieth century Conceptual art. Godfrey notes that “Dada can be seen as the first wave of Conceptual art” which exercised an enormous influence on subsequent art movements. [iv] In the late 1950s and 1960s, in opposition to the then dominant Abstract Expressionism and Post-Painterly Abstraction, Robert Rauschenberg and Jasper Johns resurrected the Dadaist tradition, describing the works they produced as “Neo-Dada” — a movement that, together with the “pre-emptive kitsch” of Pop Art, effectively relaunched the Conceptual art of the original Dadaists, and which has plagued Western art ever since. Read more

Tristan Tzara and the Jewish Roots of Dada, Part 3

Dada in New York

According to Marcel Duchamp’s own account, in late 1916 or early 1917 he and Francis Picabia received a book sent by an unknown author, one Tristan Tzara. The book was called The First Adventure of Mr. Antipyrine and had just been published in Zurich. In this work Tzara declared Dada to be “irrevocably opposed to all accepted ideas promoted by the ‘zoo’ of art and literature, whose hallowed walls of tradition he wanted to adorn with multicolored shit.”[i] Duchamp later said: “We were intrigued but I didn’t know who Dada was, or even that the word existed.”[ii] Tzara’s scatological message was the catalyst for the establishment of the antipatriotic and anti-rationalist Dada message in New York, and it may well have informed Duchamp’s decision to submit his infamous Fountain to the Society of Independent Artists in New York.

In February 1917 Duchamp famously sent the Independent an upside-down urinal entitled Fountain, signing it R. Mutt (famously photographed by Alfred Stieglitz). By doing so Duchamp directed attention away from the work of art as a material object, and instead presented it as something which was an idea. In doing so he shifted the emphasis from making to thinking.

Duchamp later did the same with a bottle rack and other items. Through subversive gestures like these he parodied the Futurist machine aesthetic by exhibiting untreated objets trouvés or readymade objects. To his great surprise these became accepted by the mainstream art world. Read more

Tristan Tzara and the Jewish Roots of Dada, Part 2

Other Jews involved with Zurich Dada

Among the other Jewish artists and intellectuals who joined Tzara in neutral Switzerland to escape involvement in the war was the painter and sculptor Marcel Janco (1895–1984), his brothers Jules and George, the painter and experimental film-maker Hans Richter (1888–1976), the essayist Walter Serner (1889–1942), and the painter and writer Arthur Segal (1875–1944). Read more

Revival of Nordic Consciousness in Metal Music

Heavy metal music has been strongly associated with devil-worship and a fetish for all things ‘evil’, but since the 1990s a new current has risen from the North. Scandinavia, particularly Norway, is the cradle of the most extreme form of metal called Black Metal. Black Metal in turn has given birth to the phenomenon of Viking metal. This moniker is not only a testament to its Scandinavian roots but also for its overtly Germanic themes.

The first band to herald the age of Viking metal was the Swedish band Bathory (1983–2004) with its release of the album Hammerheart in 1990. It was musically a departure from the raw Thrash metal and adopted a more epic/atmospheric sound. The lyrics (in English) were about Vikings and Nordic mythology. The following video,  “One Rode to Asa Bay,” has nearly 2.4 million views on You Tube.


In the mid 1990s a new generation of Viking metal emerged with the pioneering Norwegian band Enslaved (1991–present). Enslaved is undoubtedly rooted in Norwegian Black Metal, which forms the basis of its sound/vocals. It was nevertheless a Viking Metal band from the very beginning—adopting Nordic mythology in the lyrics and even singing in Old Norse. The album Frost (1994) heralded their breakthrough in the Metal scene with the song Frost/Loke as its blasting introduction. Another more recent song which includes folk instruments and vocals is Sigmundskvadet from the album Monumension (2001). Read more

The Southern Point: Bardic Dynamic, Pt. 2

Westward the Course of Empire Takes Its Way – Emanuel Leutze

“The study of literature is hero-worship. It is a refinement, or, if you will, a perversion of that primitive religion.”

Ezra Pound, from The Spirit of Romance

The Bardic Dynamic focuses on the magnetic relationship between a speaker and an audience and the communication of a fundamental series of ideas. Traditional examples of this can be found in the great epic poems of Western Civilization. Ezra Pound believed that before about 1750 or so, the quintessence of Western man could only be found in poetry (Pound, 31). The context of these older texts is often an address made by one who remembers to those who may have forgotten. The bard or poet was the “keeper of memories.” This is a very different conception than that which has developed in contemporary times with the hip-hop rapper and his thousand miles a minute ebonicspeak, backed with heavy bass beats or the coffee-house Ginsberg wanna-be railing against, well, against G.I. Joe Whitey, of course. Who else? Read more