(AFP) – The purge and takeover of Washington’s Kennedy Center by US President Donald Trump has seen artist after artist sever ties, a fallout soundtracked by anxious whispers throughout the arts community over what’s next. The stunning shakeup has thrust the premier cultural institution into uncharted territory.
The Kennedy Center is a major performing arts venue in the United States, a living monument to the late John F. Kennedy that opened in 1971 and that has long enjoyed bipartisan support. Its diverse programming includes a prestigious annual arts gala that celebrates the legacy of American culture and entertainment. “It was a real feather in your cap if you got invited to perform” at the center, said E. Andrew Taylor, director of the arts management program at Washington’s American University. “The calculation has changed now — it has become more of a government arts organization,” he said, “that is fully aligned with the current administration, and not an independent arbiter of artistic excellence anymore.”
Trump dismissed the longtime board chair and many trustees, filling it instead with his own sympathizers who, in an unprecedented move, declared him chairman. Deborah Rutter, the institution’s president for over a decade, was ousted. More than 20 shows were scrapped, with artists dropping out in protest including actor and comedian Issa Rae and folk musician Rhiannon Giddens. The hit musical “Hamilton” canceled its run there. On Monday, Trump presided over his first board meeting as chairman. Speaking to reporters, he said he never liked “Hamilton” anyway. The president promised to make the institution, whose riverside marble building he said needs rehabilitation, great again. “It’s in tremendous disrepair,” he said, but has “tremendous potential.”
– ‘Attack on diverse thought’ –
At a recent performance of the National Symphony Orchestra, Vice President JD Vance and second lady Usha — one of the new board members — were roundly booed by the Kennedy Center audience. In an email to staff condemning the viral incident, Richard Grenell, the center’s interim president, said he takes “diversity and inclusion very seriously.” He added that “intolerance towards people who are politically different is just as unacceptable as intolerance in other areas.”
The message contradicts Trump’s repeated attacks that the institution is too “woke” — a familiar line espoused by him and his allies as he spears diversity, equity and inclusion efforts across the nation. Trump criticized the center’s management on Monday, saying: “I’m very disappointed when I look around.” He has specifically bemoaned a series of drag shows that the Kennedy Center hosted last year. Drag artist Lord Henry sees the takeover as “an attack on diverse thought” that amounts to “an atrocity.” “Our artists challenge boundaries and push envelopes, and it’s pretty blatant what’s happening,” the artist told AFP. “The attack on the Kennedy Center feels very personal. It feels like an attack on my trans identity, on the safety and well-being and such of my entire community.”
Lord Henry, along with hundreds of drag artists and allies, rallied recently in front of the arts institution in protest. “I hope that the Kennedy Center… will be returned to the people,” the 35-year-old said. “And be taken back from the propaganda machine.”
– ‘Jewel of power’ –
The president traditionally attends the Kennedy Center’s annual gala — whose recent honorees include Francis Ford Coppola, Joni Mitchell, Billy Crystal, Cher and, notably, the cast of “Hamilton” — but Trump never has. During his first term, some artists threatened to boycott if the Republican went. Many people in the arts see his current takeover as a type of revenge. Taylor also sees it as an “opportunity to grab another jewel of power.”
But it’s a jewel that requires constant upkeep. The Kennedy Center has an annual operating budget of approximately $268 million. As a semi-independent nonprofit, just a fraction of that, about 16 percent, comes from the federal government. Attracting vital donors, the arts administration expert said, requires maintaining trust that the institution will continue to “advance their mission.” If that mission is under threat, donors could flee, and perhaps already are — the numbers won’t be clear until the next round of nonprofit reporting.
Ticket sales represent another lifeline. “What you need to make this organization healthy is people that want to buy tickets, donors who want to give money, and artists who want to perform,” said Taylor. “All three of those, I think, are under immediate and obvious threat.”
– Paul Nolp with Maggy Donaldson in New York
© 2024 AFP
