Who Are the Enemies of Western Civilization?
Jared Taylor, American Renaissance, February 12, 2021
Non-white critics or our own rulers?
What is Western Civilization? It’s the, philosophy, culture, and spirit of Europe with roots all the way back to Greece and Rome and with branches that spread to wherever Europeans live. Even the beautiful spaces we build for ourselves are modeled on classical antiquity. Most countries respect and try to copy vital elements of Western Civilization: the scientific method, representative government, religious freedom, rule of law, freedom of speech
The two houses of the Japanese legislature are unabashedly modeled on Europe. Even the Ugandan legislature takes its outward form from the West. The advanced non-white countries play our music, perform our operas, and read our literature in translation. This is a Japanese production of Tchaikovsky’s Sleeping Beauty.
We don’t call this cultural expropriation. American and European institutions are begging non-whites to study our civilization. What do we get in return?
The New York Times recently published a long article called “He Wants to Save Classics from Whiteness. Can the Field Survive?” It’s an adoring profile of this guy, Dan-el Padilla Paralta, who was born in the Dominican Republic, and teaches Classics – the history of Greece and Rome – at Princeton. His parents brought him here when he was four because his mother needed medical treatment she couldn’t get in the Dominican Republic. His father disappeared, and they lived in a homeless shelter where he says, “the food tasted nasty.” But he got a full scholarship to Princeton, fellowships to Oxford and Stanford and now he’s a prof at Princeton where the starting salary is $114,000. A real hard luck story.
Now he says the entire field if the Classics is hopelessly tangled up with – guess what? – white supremacy. He says the field is “equal parts vampire and cannibal,” and that studying Greece and Rome means justifying slavery, racism, colonialism, and — Nazism. And that the classics have breathed racism into every aspect of higher education and may not deserve a future. Classics and whiteness are the bones and sinew of the same body, he says. They grew strong together, and they may have to die together.
A Dominican has the nerve to tell us to stop studying Greece and Rome because that makes us racist.
There used to be something called the International Society of Anglo-Saxonists. It was founded in 1983 and was the most prestigious professional association for people who study Old English literature and culture. Believe it or not, most Anglo-Saxonists are white. But of course, they’re happy to let in people who aren’t, including Adam Miyashiro, who is Asian and teaches at Stockton University and Mary Rambaran-Olm, who is at the University of Toronto. She was named a Second Vice President in 2017, a real prestige appointment. Immediately, she started saying there were too many white people in the society, and its name – because of the word Anglo-Saxonist – scared off minorities. As her pal Adam Miyashiro says, the word has a “racist and white supremacist history.” When the society refused to change its name, she made a big fuss and resigned.
Panic. The board immediately decided that “‘Anglo-Saxonist’ is problematic. It has sometimes been used outside the field to describe those holding repugnant and racist views, and has contributed to a lack of diversity among those working on early medieval England . . . .” You know. Klansmen call themselves Anglo-Saxonists, and that’s why black people don’t study Chaucer. Now, it’s the International Society for the Study of Early Medieval England, and full of white people who seem to be ashamed to be white.
And there’s this guy: Nebal Maysaud, “an award-winning queer Lebanese Druze composer based in the Washington DC metro area. He studied classical composition and won awards in it, but now he’s fed up with classical music. In an article called “It’s Time to Let Classical Music Die,” he wrote, “Western classical music participates in the act of destroying culture and replaces it with its own white supremacist narrative.” He complained that “Its main purpose is to be a cultural anchor for the myth of white supremacy.” And so, classical music must die. In the meantime, Mr. Maysaud says he’s still accepting commissions to compose, and that, in his words, “As long as people of color are making art, culture stays alive.” Whew. Thank goodness.
Music theory is the study of the structure and nature of music. It’s like Anglo-Saxon studies: full of white people. And so, naturally, one of the few non-whites in the field, Philip Ewell who teaches at Hunter College, says music theory is “white supremacist.” He says there is “a “white racial frame” in music theory that is structural and institutionalized, and that only through a deframing and reframing of this white racial frame will we begin to see positive racial changes in music theory.” Music theory “keeps in place the racialized structures that benefit whites over nonwhites.” What does this even mean?
And why do these people do this? Maybe they once loved Beethoven or Homer or Beowulf but got caught up in anti-white hysteria. Maybe they want power by keeping whitey on the hop. Maybe they just can’t stand it that their people could never have created anything like the Ring Cycle. I don’t know. But that’s their problem.
The real horror is that white people fall for this stuff. Here’s an article: Confronting Our Complicity: Music Theory and White Supremacy.” White supremacy really wrecked that classroom, didn’t it? Here’s the author, Dave Molk, wearing a shirt that says “Donald is a pubic hair.” These are the truly sick people.
Can you imagine a white man getting a job teaching at the University of Delhi and then saying that the Vedas are racist and sexist so Hinduism needs to die? Or studying Confucianism and then yelling because the field has too many Chinese in it? Or studying Japanese sword fighting and insisting on getting rid of all that racist Japanese terminology?
Only white people ever become such contemptible cultural boot-lickers. That’s why the new dean of the University of Toronto School of Music is going to be Ellie M. Hisama, whose “research and teaching have addressed issues of race, ethnicity, gender, sexuality, and the social and political dimensions of music.” What’s any of that got to do with music? What is someone like that doing even teaching music, much less running a music school?
The Metropolitan Opera of New York, the biggest arts company in America, has just appointed a Chief Diversity Officer. Marcia Sells is going to diversify the place, top to bottom, and concentrate on commissioning works from “people of color.” Maybe Nebal Maysaud, who wants to let Classical Music die, will compose something for the Met if his gender reveal party doesn’t take up too much of his time.
Alexander Neef runs the Paris Opera and is going to appoint a director of diversity and inclusion to “end the silence that surrounds racism.” You see, it’s racist if all the dancers wear *white* tutus, and Mr. Neef says some of the classical repertoire will have to go because it is racially insensitive — and that the Paris Opera “has a duty to represent on our stages the diversity that exists in our world.”
No. It doesn’t. It has a duty to put on great ballet and great opera.
This is a uniquely white form of insanity. If you think our Classical roots are inherently white supremacist and our highest art forms are racist, it means our very existence is immoral. How did we ever let such fools take charge? They deserve to be laughed out of every position of power and into the nuthouse where they belong.