Culturally Bankrupt

As a representative of the Libyan people, I’d like to file for cultural bankruptcy. I guess it’s kind of like regular bankruptcy, except we don’t have any debts to pay. Unless you count what we owe our children in the form of a legacy. But they might be more worried about the imminent financial bankruptcy they’ll inherent if Libya’s oil continues to be sold on the black market.

A Libyan might scoff at such a claim. “Look at Libya’s rich history!”, I imagine them saying, in an unfounded tone of self-righteousness. “Gaze our ancient ruins from the time of the Greeks and Romans, gander at our Italian architecture from the days of the occupation, observe the books and paintings left behind by great Libyan minds!”

Except, how long have we been using the same, tired line when trying to showcase Libya’s culture? Besides a handful of dead authors and artists, and a cluster of dilapidated buildings, what else do we have to show for our history?

Look left and right on a map of North Africa. Tunisia is famous for it’s sprawling, seaside towns. Morocco is well-known for it’s rich art, and Egypt is, well, the mother of civilization. But Libya? How many times, oh smug Libyan, have you encountered a person who had never heard of your country before?

To be fair, we’re pretty well-known now. Just type up Benghazi in any search engine and it will be embarrassingly obvious what the world identifies Libya with today.

There’s an annual event called “World Architectural Day”, each year with it’s own theme. This year’s theme is, you guessed it, cultural architecture.

A few architects in Benghazi got together twice, to figure out how we’ll celebrate. If you’re an Arab, I need not transcribe the blood-curdling chaos that is us trying to unify around one idea. If you’re not an Arab, count your blessings. One of the recurring ideas was holding a festival at a historic site in the city.

Gah. No, please. Not more tradition-glorifying. Since we’re already devolving into a more backwards society, I don’t think we need anymore “returning to the past”. It’s the go-to concept for the lazy thinker when asked to come up with an innovative solution to any social crisis these days. “Let’s work on preserving our culture!” Let’s not.

I proposed the idea of implementing what we want Libyan culture to look like in the future, and perhaps by personifying it, it will seem more attainable. I was, of course, drowned out by the raucous din of several voices trying to talk over each other.

My mother habitually surfs through the multitude of inane Libyan channels, with the hope of finding a report on current events, rather than the typical armchair analysts droning for hours about an event that happened months ago, or a blast of shrill, auto-tuned, generic music. One time she stumbled upon the taping of an “event”, a word I use in the loosest sense. It comprised of a crowd sitting on bleachers watching an infamous Libyan “actor”(again, in the loosest sense) parading around on the stage in a teen-style costume and singing, in the distinct gruff voice Arabs use when trying to convey humor, about drugs and guns. It might have been a social commentary on the ills of these criminals, and how they corrupt our society. Except there were children present. Singing and dancing, with this apish imbecile.

Whatever message was being conveyed here (and if, in fact, there actually was a message and this wasn’t some kind of brain-melting exercise in debauchery), I highly doubt the children picked up on it. This “actor” is well-known in Libya and, much to the chagrin of the intellectuals, pretty well-loved. Most other actors here are not far behind on the no-talent scale.

After the revolution, a burst of talent erupted from the most disenfranchised demographic, the youth. Writers, artists, aspiring politicians, etc. etc. But they were plagued by two curses; de-motivation and hubris. There was no one to encourage their life-choices (“you’re going to throw away 4 years of engineering school to paint?”) and they expected accolades for their every achievement, since there was virtually none prior to the revolution (“I spent a week making that hip-hop album in my garage, how dare the radio stations refuse to play it!”).

So, let’s summarize the painful reality. Architecture: Falling apart, if not already in ruins. Artists: Dead or dying. Actors: Dismal. Authors: If Facebook users who write out essay-length posts qualify, several. Musicianshahahahahaha

All we have left to clutch onto is our faded history. I think this is a pretty strong case for declaring cultural bankruptcy. In the future, if globalization doesn’t engulf us, there is still perhaps hope of recovery. The talent we saw after the revolution was completely unexpected, which means that it’s still there under the surface, waiting to be noticed. Strong institutes and even stronger minds are needed. But there also needs to be demand. Once the novelty of talking about politics wears off, Libyans might start seeking other topics to converse about. Whether the lack of culture prompts them to act or not is still uncertain.

 

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2 thoughts on “Culturally Bankrupt

  1. Pingback: Libyan Culture Revisted | Journal of a Revolution

  2. Pingback: What It Means To Be Libyan | Journal of a Revolution

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