A National Language and Revolutionary Arts and Letters In language, literature and arts, vigorous efforts should be exerted for these to serve the interests of the masses.
While we should preserve the culture of localities and minorities as part of our cultural heritage, we should develop a new and truly national culture by propagating and making use of a national language that is a cognate to all our local languages and can therefore, unlike English, be easily grasped by the masses everywhere. Vigorous steps must be taken to make Pilipino a language ascendant over English. The main reason for this is to have a medium for the rapid promotion of national-democratic understanding among the people of the entire archipelago. The educated elite has made use of a foreign language as a language of conceit over the heads of the masses. The laws are still in Spanish and English; this is one sign of how alienated are the laws of the ruling class from the masses.
In literature and the arts, the process of raising aesthetic standards and popularization should go hand in hand. For the masses who constitute our biggest audience can appreciate our literature and art only if our writers and artists make use of the life and struggles of our masses as raw material. If we adopt this raw material, it can be given the form that our artistic talents are capable of making.
Our heroes and values must change if we are truly for revolutionary progress. The workers, peasants and revolutionary fighters should prevail in our representation of life. The content and themes of our literary and artistic efforts must shift from pseudo-aristocratic and petty bourgeois concern over a narrow and limited portion of our national reality. The task of our writers and artists now is to turn to the great drama of the struggle of the masses for national and social liberation.
Those creative writers and artists who fail to use the life of more than 90 percent of our people for their raw material must be pretty narrow-minded. Or, they are too misled by or absorbed with getting travel grants and other concessions from the Rockefeller Foundation, the USIS and other imperialist institutions which have calculatedly planned to make our writers and artists flighty and escapist.
The petty-bourgeois writer or artist should realize once and for all that there is no such thing as being declasse, above classes, apolitical or detached from politics. An honest analysis of the work of the people who take this presumption will show their real objective partisanship on the side of the ruling classes which give them the crumbs and the plums. They are actually reactionary through and through, either praising the regressive values of the primitive or feudal life or presenting the helpless or the self-indulgent individual who is trapped by a system which he does not care to understand or which he deliberately mystifies.
Those who write for the proletariat or the masses and for their cause are regarded by the imperialist, feudal or petty-bourgeois writer as being gross and utilitarian. But look at the works of our supposedly refined and arty writers or artists: the presentation of their egotistic obscure concerns actually represent a narrow-minded grossness and incapability to grasp the basic tensions of life. They are capable only of presenting a narrow part of reality, the alienation and psychology of the individual alienated from the more dynamic forces of society.
The Second Propaganda Movement should be pushed forward by cultural workers who can surpass even the tradition of critical realism of Dr. Jose Rizal in his novels, the Noli and the Fili,and Juan Luna in his painting, La Spoliarium. Literature and the arts are a concentrated expression of reality. In the present era, one must unswervingly take the proletarian standpoint in order to achieve the greatest progress in art and literature. Literature and the arts should reflect the revolutionary struggle and point towards its triumph.