Hakuna’s concert at Puerta del Sol on December 22, with Alberto Núñez Feijóo and Isabel Díaz Ayuso dancing in the front rows like two teenagers intoxicated by renewed faith, is the perfect example of what Dorothee Sölle called “Christofascism.” Sölle, a Lutheran theologian, pacifist, feminist and poet, invented this neologism to describe the alliance between Christian fundamentalism and political and economic power. “Christofascism” depoliticizes the Christian message to encourage mass obedience, delegitimize citizen protests and marginalize minorities. This maneuver constitutes an obscene perversion of the egalitarian ideal of Jesus of Nazareth, who used the famous metaphor of the camel and the eye of the needle to condemn the oppression suffered by Jewish workers under the yoke of Rome and its main collaborator, the Sanhedrin.
Apparently, Hakuna is an innocuous Christian pop group founded in 2013 by former Opus Dei priest José Pedro Manglano. The origin of this musical group can only inspire distrust, since Opus Dei, as countless former numeraries, supernumeraries, attached or auxiliary numeraries attest, has always functioned as a sect in secrecy and hypocrisy. “The Heroic Minute”, the fantastic documentary mini-series by Mònica Terribas Sala, shows how “the work” exploited, manipulated, mistreated and plundered thousands of people, under the pretext that it was only helping them travel the path to holiness. Almost no one is unaware of the links of José María Escriva de Balaguer with the dictatorship of General Franco. “Saint Josemaría” nourished a Tridentine conception of Catholicism with phrases such as “Blessed is sorrow, loved is sorrow, hallowed is sorrow, glorified is sorrow,” words he whispered to the dying, explaining to them that their suffering was a spiritual treasure, because it brought them closer to the martyrdom of Jesus on the cross.
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