Femen and the Destruction of Slavic Culture

Couldn’t Femen find a less Khazaric-looking “Ukrainian” for their latest stunt?

At Cannes

It wouldn’t have been that hard to find a regular wahmen to do this. Ukraine’s self-identity is now that of an abused single-mother, after all. This is an identity shared by almost all educated women from Ukraine, sadly. It is also the result of a successful cultural psy-op.

But who promoted this identity? Who created this cultural meta-narrative for Ukraine and then sold it to the masses?

Culture is always created by vanguard movements. This applies to every movement and cultural product, without exception. Culture is not made by the masses in any meaningful way. Culture has always been created by the cultural elite of a nation or vanguard intellectual movements and then passed along like hand-me-downs or second hand articles of clothing through the generations among the peasants. Nothing happens spontaneously. Dig deeper and you will always find a dedicated vanguard group at the core of any cultural phenomenon.

With that all out of the way…

Femen is a Jewish organization. It receives money from Jewish and Israeli oligarchs. It is promoted by Jewish women. It is vehemently anti-Russia, which is portrayed as being the big bad father-figure against which all women ought to rebel against in the name of Human Rights Freedom Democracy.

Yevgenia Kraizman, their (former?) leader, was in town and on the scene at the Odessa massacre.

There were four female founders of the group: Anna Hutso, Oksana Shachko (dead, suicide, allegedly), Alexandra Shevchenko, and Inna Shevchenko. They are heavily promoted by a network of Jewish academics in the West from the very beginning. The book from which I sourced by claims is called Femen and was written by Galia Ackerman, who is a Russian Jew.

They received funding from Jed Sunden at some point, the former owner of the Kyiv Post, who lives in New York. An afternoon dedicated to googling will reveal an entire network of prominent Jewish businessmen, academics, and so on that seem to fund and promote the group, picking up where others leave off and continuing their work.

Pussy Riot - an adjacent group - is a similar story. Marat Gelman, a Russian Jewish art collector, sponsored the group during their anti-Christianity activism phase in Russia. He was well-connected to the cultural scene in Russia and Eastern Europe. After the collapse of the USSR, he became the first private art collector in Russia. This meant that he stole nationalized art for pennies and privatized it to make a profit. Needless to say, he was a big mover and shaker in the art world in Eastern Europe and promoted a very degenerate cultural product.

The culture-creators in Eastern Europe, like in the West, are almost all Jewish. They all sit like ticks at the head of museums, art collections, government-funded cultural programs and the like. Using their positions, they engage in art-laundering and propagandizing of the naive peasant masses who are drawn to “artsy” things.

NOTE: It’s not enough to just point out that the Jews have corrupted our culture and hold our societies hostage. It’s 2022 and this information has been readily available on the interwebs for about a decade. I’m not here to red-pill the masses, but to offer the already red-pilled something new and constructive to think about.

Which brings us to the larger point about culture that I want to make.

For the most part, the peasants can preserve the culture that has been handed down to them in at least some symbolic capacity. But over time, they lose touch with the original meaning and purpose of the culture that has been bequeathed to them, altering and reformatting it as they go until they finally lose it almost all together, as has happened now. Nowadays, the peasants have already forgotten what the symbols and designs that they sewed onto their clothes and their drapes and their tablecloths mean. If they still practice their native customs and rituals, they do it out of habit - the original symbolic meaning of the act is mostly forgotten or distorted. 

All of this indicates that they were merely stewards, not originators of the culture. After all, if they were capable of generating culture, why have they not done so again since then? 

Key points:

Culture is created by a cultural elite that sets about with a clear objective to seed a certain culture/meta-narrative. 

Culture is not just a quaint collection of ornaments, habits and costumes, but a set of “best practices” that have been codified into a tradition. 

Culture is the expression of the ethnic soul of a people and the state that it finds itself in. 

Culture is not created arbitrarily, but is both utilitarian and transcendent at the same time. 

The creation of good, life-affirming culture is the greatest gift that one can bestow on one’s own people. The corollary to this is the obvious negative effect that a bad, life-destroying culture that is imposed on the people can have.

There will have to be a new culture created where the old one has died, both in Ukraine and the rest of the White world. But it will only be “new” in the sense that a rebirth or reincarnation is considered new.

Tradition is eternal, and re-emerges in various, cosmetically different forms periodically throughout our history. The “new” culture will be quite similar to the “old” culture from the more pristine days of the ancient past than the recently deceased, decayed culture that we still had the remnants of by the end of the 19th century. 

Nationalists need to move past gazing with longing at the outward form of culture and its representations in trifles like decorations or rituals. We must look past the admittedly beautiful veneer to see the truths that these outward forms were intended to convey. We should ask, “why did our people do what they did, behave as they did, think as they did?” 

If we can pierce through and understand the hidden motivation of the cultural architects who created these cultures in the first place, we will have access to the blueprints from which we can design a new culture, similar to the old one, but possessed with vitality and renewed purpose. 

What did the swirls and the dots and the stripes and ribbons on the dresses, the plates, the knives, and the burial mounds symbolize? Why were they put there in the first place? Do they represent the stars? The place of man in the universe? Our relation to the higher powers? If so, what answers and explanations can we, now, proffer about these same phenomena? How would we represent and express them? What truths do we want to immortalize in the moving canvas of our new living breathing culture? 

Culture abhors a vacuum.

If there isn’t a positive, self-affirming culture in place, enterprising individuals with large noses and small hats will place a negative, self-destructive culture in its place.