Vrije Universiteit Brussel the Party of the People Versus the Cultural Elite
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Vrije Universiteit Brussel The party of the people versus the cultural elite. Populism and nationalism in Flemish radical right rhetoric about artists. De Cleen, Benjamin Published in: JOMEC: Journalism, Media and Cultural Studies Journal DOI: http://dx.doi.org/10.18573/j.2016.10043 Publication date: 2016 Document Version: Final published version Link to publication Citation for published version (APA): De Cleen, B. (2016). The party of the people versus the cultural elite. Populism and nationalism in Flemish radical right rhetoric about artists. JOMEC: Journalism, Media and Cultural Studies Journal, (9), 69-91. 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Sep. 2021 JOMEC Journal Journalism, Media and Cultural Studies Published by Cardiff University Press The Party of the People versus the Cultural Elite: populism and nationalism in Flemish radical right rhetoric about artists Benjamin De Cleen Vrije Universiteit Brussel Email: [email protected] Keywords Nationalism Populism Radical right Belgium culture Abstract This article discusses the interplay between nationalism and populism in the Flemish (North-Belgian), Vlaams Bloc/Vlaams Belang’s (VB), populist radical right rhetoric about expressive culture. Building on a discourse theoretical analysis of three extensive case studies (concerts against the VB, the opposition between the VB and the Flemish theatres, and the VB’s criticism of the Flemish National Songfest), and a number of other controversial moments the article shows that nationalist and populist discourse play different roles in VB rhetoric about expressive culture. Radical and exclusionary nationalism is the ideological core of the VB’s views on culture and of its relationships with artists. Populism is a strategy the party uses to position itself as the political representative of the people, to present its nationalist demands as the will of the people, and to dismiss opposition to the party and its radical and exclusionary nationalist ideology as elitist. The VB’s ‘positive’ populist strategy of associating with popular Flemish artists and genres, the article shows, has only had limited success. By contrast, the party’s ‘negative’ populist strategy of criticising artists as an elite has been instrumental in delegitimising the strong, mainly anti-racist, resistance from the part of artists against the VB. It has reduced artistic resistance to the VB and its ideology to support of the political elite. And it has presented artists themselves as an elite that is completely out of touch with the ordinary people who suffer from multicultural society. The VB’s nationalist-populist rhetoric about expressive culture has thus contributed to the construction of the antagonism that is central to its populist radical right politics: the antagonism between on the one hand the anti-Flemish and multiculturalist political, cultural, media, and intellectual elite and on the other hand the people and the radical and exclusionary Flemish nationalist VB as the party of the people. Contributor Note Benjamin De Cleen is assistant professor at the Department of Communication Studies of the Vrije Universiteit Brussel. His research is situated within discourse studies and focuses on political rhetoric and on the intersections between media, culture and politics. He has mainly worked on the populist radical right rhetoric, and on the discourse- theoretical conceptualization of populism, conservatism, and nationalism. Citation De Cleen, Benjamin (2016), ‘The Party of the People versus the Cultural Elite: populism and nationalism in Flemish radical right rhetoric about artists’, JOMEC Journal 9, ‘Expressive Culture and Populist Radical Right Parties in Europe’, eds. Benjamin De Cleen and Torgeir Uberg Nærland. DOI: http://dx.doi.org/10.18573/j.2016.10043 https://publications.cardiffuniversitypress.org/index.php/JOMEC @JOMECjournal Introduction continuously denounced the Flemish theatres for their multiculturalist, anti- The radical right has been a major Flemish and elitist programme; and political player in Belgian politics for ‘reminded’ popular artists performing at almost three decades now. Flanders, the pro-tolerance and pro-Belgian concerts Northern, Dutch-speaking part of in open letters that many of their fans Belgium, was confronted with the were VB voters and would not appreciate electoral breakthrough of the radical being told off. The VB has also attempted right party VB1 in the late 1980s, and saw to forge ties with artists and had some the party enjoy continuous electoral successes, but largely failed. All things gains until the mid 2000s.2 Expressive considered, the VB’s relation to artists culture has been one of the arenas in has been markedly negative and which the discursive struggle between antagonistic. the VB and its opponents has been fought out, with recurring controversies Academic analyses of the VB have paid about cultural policy and artistic very little attention to culture in the freedom, and with artists and media sense of expressive culture, ‘the works celebrities taking a stand against and, and practices of intellectual and very occasionally, in favour of the VB. especially artistic activity’ (Williams 1983: Artists have been among the most vocal 90), (I will henceforth simply speak of critics of the VB and its ideology. Belgium culture to refer to expressive culture). has seen concerts against the VB; songs There are some references to the VB’s denouncing racism and defending views on cultural policy and to the ethnic-cultural diversity; theatre plays party’s relation with artists in reflecting on Flemish radical right investigative journalistic or semi- collaboration with Nazi Germany; and academic works about the VB (e.g. Gijsels artists and media celebrities speaking 1992; Spruyt 1995, 2000, 2006), and in out against the VB on numerous broader analyses of cultural policy in occasions. The VB, for its part, has Flanders (De Pauw 2007). Next to this, vehemently criticised artists – especially artists and cultural critics have reflected those artists that spoke out against the on the VB, and on the role of art in VB or were explicitly critical of its radical resisting radical right politics. But little and exclusionary nationalism. Party has been said about for example the militants disrupted Willem Vermandere’s VB’s use of music, at its party meetings performance of his ‘Bange blanke man’ or the party’s (complex), connections to (Scared white man), at the 1992 Flemish radical right subcultures, nor have there national holiday celebrations; the party been true systematic analyses of VB rhetoric about culture. 1 Vlaams Blok (Flemish Bloc), renamed Vlaams Belang (Flemish Interest), in 2004 after a This article focuses on a crucial conviction for racism. dimension of VB rhetoric about culture: 2 In the mid 2000s, an electoral downfall set in the use of a populist strategy to that reduced the party to around 5 per cent of legitimise its radical and exclusionary the vote in the 2014 regional, federal and nationalist demands as representing the European election. This demise had various will of the ordinary people, and to causes, but the main cause was the ascendancy simultaneously discredit as elitist artistic of another, more moderate right-wing and Flemish nationalist party. criticism of the VB and cultural productions that deviate from the VB’s 70 https://publications.cardiffuniversitypress.org/index.php/JOMEC @JOMECjournal nationalist ideas. The article builds on a how political practices produce a discourse theoretical analysis of three structure of meaning through the extensive case studies (concerts against articulation of discursive elements the VB, the opposition between the VB (Howarth and Stavrakakis 2000: 3). and the Flemish theatres, and the VB’s criticism of the Flemish National In discourse theory, with its focus on Songfest), and a number of other how meaning comes about through controversial moments to show how meaning relations, articulation refers to nationalism and populism have been bringing together discursive elements in combined in VB rhetoric about culture. a particular way to construct a more or After brief sections on the basic less original structure of meaning. Any assumptions of discourse theory and the discourse builds on (elements of), principles of discourse theoretical existing discourses. In this fashion, analysis, the next two sections define political projects are always connected populism and nationalism as distinctive to political history and to the broader discourses. Using this distinction political context within which they between populism and nationalism, the operate. Each politics is necessarily tied following sections then go on to discuss in to the existing