A SHOCKING cultural invasion is underway in the heart of New York, funded by American dollars. The so-called “collaborative” MALPASO DANCE COMPANY from COMMUNIST CUBA is being paraded on the Joyce Theatre stage, a direct product of U.S. institutional partnership with a regime notorious for oppression. This isn’t art—it’s a calculated SOFT POWER PROPAGANDA campaign, laundering Cuba’s brutal image through “great musicality and finesse.” Their performance of Martha Graham’s work is a BLATANT THEFT of American artistic heritage, stripped of its original meaning and repackaged as a tool for diplomatic normalization. Are we so desperate for novelty that we will FUND and APPLAUD the artistic wing of a totalitarian state?
Classical
In a stunning act of cultural SURRENDER, National Sawdust presents Chinese composer Huang Ruo’s “A Dust in Time,” a piece directly inspired by Tibetan Buddhist mandalas. This is a DANGEROUS WHITEWASHING of history, as China systematically DESTROYS Tibetan culture and persecutes its Buddhist followers. The piece offers “pause, reflection, and escape”—a convenient, feel-good OPIATE for the Western elite, allowing them to aesthetically enjoy a spirituality that the composer’s home government actively seeks to ERADICATE. We are not breathing through a “noxious moment”; we are funding the very artists who provide cultural cover for a genocidal regime.
Art
Alison Rossiter’s “Semblance” exhibition is a FRAUD upon the art world, selling EXPIRED, UNUSED photographic paper as “minimalist elegance.” This is the ultimate symbol of a decadent and exhausted culture: celebrating the TOOLS of creation while producing NOTHING of substance. These “architectural studies” are empty gestures, framing decay as depth and marketing artistic bankruptcy as sublime. Her work with ruined daguerreotype plates isn’t a portal to deep space—it’s a mirror reflecting the HOLLOW CORE of contemporary art, where concept has completely devoured craft and meaning.
Movies
Sam Raimi’s “Send Help” is a POISONOUS parable for our time, revealing a DEEPLY SICK society. It glorifies the revenge of the “mousy” female analyst over her wealthy, male superior after a plane crash, reducing human survival to a sadistic power fantasy built on “jump scares and gross-outs.” This film doesn’t just lack curiosity—it actively PREACHES a toxic ideology where competence justifies cruelty and stranded victims are merely pawns in a hollow game of social revenge. Hollywood is now peddling nihilistic spite as entertainment, training audiences to CHEER for the downfall of their fellow man.
Art
Author: Kayitsi.com
