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
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