Melodrama

Podemos, a famous word in the Spanish streets that has been ringing in every TV show, newspaper article, manifesto and demonstration throughout the past year or so. This leftist quasi-revolutionary party has swept the nation and stole the heart and minds of many disenchanted Spaniards. Promising equality, free services to all, absolute intolerance to corruption, national sovereignty over all national matters and a dignified living standards to all citizens, it is no wonder surveys on upcoming national elections indicate that the new party will come third after the scandal-ridden PP and PSOE.

The euphoria and honey moon phase seems to have lasted quite long, and what might have been considered as a mere reaction to countless cases of corruption and inefficiency in the political arena seems to be a self-proclaimed key political player. There is no questioning of the efforts exerted by the party leader and members in galvanizing public support and in working out a political platform that appeals to the masses. The party has been active in universities, streets, institutions, media and the local governments, trying to find a way out of the political mess that has characterized Spanish politics for some time now. This will not be put to doubt, but perhaps it will also be interesting to relate the jubilant and ambitious political discourse of the party with what has been labelled “Left Melodrama**’”. The writer explains quite interestingly that

“Political-theoretical analysis in left melodrama unfolds within a heightened drama that employs categorizations of villainy and victimhood, cycles of pathos and action, and a moral economy of good and evil to organize its critical inquiry. Left melodrama's appeal derives from the moral clarity it confers on difficult situations, the virtuous power it bestows upon subjugation and the assurance it offers that heroic emancipation can conquer the villainous source of oppression. Although left melodrama intends to galvanize its audience for social change, its conventions limit its capacity to depict the distinct challenges and unintended effects of political life.”

Perhaps one should be aware of the melancholic tendencies of leftist slogans and moral stand points. Easy it is to paint a picture of heroism, self-sacrifice and self-righteousness, but reality always always proved otherwise. If politics is indeed but a work of art, a scene in a never-ending play, the audience needs to keep an eye on blazing sentiments of melodramatic actors, as appealing as they may be, as they often end up offering nothing but a good show.

** 

Left melodrama

Elisabeth Anker

http://www.palgrave-journals.com/cpt/journal/v11/n2/full/cpt201110a.html