The fronts of the culture war in the government of De la Espriella

Abelardo De la Espriella’s government has formally embraced the rhetoric of a “cultural war,” a strategy that has gained traction globally among emerging right-wing movements. This approach has been institutionalized within Colombia's political framework following De la Espriella’s election as president. The government has constructed a comprehensive system aimed at waging this ideological battle, raising concerns over its feasibility, legality, and potential risks to Colombia’s democratic structure. The language used by the administration plays a crucial role in shaping public discourse. Declaring a “war” or “battle” over culture is not merely rhetorical, especially in a country with a history marked by political violence and internal conflict. In such a context, employing military terminology to address ideological differences could be seen as historically irresponsible. It frames dissenting views not as legitimate opposition but as threats to be subdued or silenced, which poses challenges for a society striving to build a culture of peace and democratic tolerance. Understanding the roots of the “cultural war” concept requires tracing back to Antonio Gramsci’s theory of cultural hegemony outlined in his prison notebooks. According to Gramsci, the ruling class maintains power through control of cultural institutions rather than solely through state coercion. The new right, including De la Espriella, perceives that progressive values have achieved dominance in shaping societal norms. They aim to counter this influence by promoting a neo-conservative and ecclesiastical hegemony, seeking to reshape public consciousness and morality. To execute this strategy, the government has assigned responsibility to the Ministry of Culture. However, the appointment of a minister with a background in security and defense, a so-called “warrior minister”, has raised questions about the ministry’s traditional mission. Originally established under the 1991 Constitution, the Ministry of Culture was intended to protect national heritage, foster artistic freedom, and ensure the preservation of Colombia’s diverse ethnic and cultural identity. Its transformation into a political tool challenges these foundational principles. Legal instruments available to the government will determine how effectively this cultural agenda can be implemented. The extent to which existing laws support or hinder the government’s objectives remains unclear. As the administration moves forward, scrutiny will focus on whether its actions align with constitutional mandates or deviate into areas that could undermine democratic norms. Reactions from various sectors highlight the contentious nature of this approach. Critics argue that the government’s rhetoric risks exacerbating polarization and reverting to divisive tactics reminiscent of past conflicts. Supporters, however, view the initiative as necessary to restore traditional values and counter perceived erosion of national identity. The outcome of this cultural campaign will depend largely on how it is executed and the responses it generates across Colombian society.