Donald Trump’s recent actions at the Kennedy Center in Washington DC signal an alarming and troubling shift in the relationship between politics and the arts in America. The US’s most prominent performing arts venue, home to the National Symphony Orchestra, the Washington National Opera, and an array of cultural events, has now become embroiled in the president’s political manoeuvring. Last month, Trump announced his appointment as chair of the Kennedy Center’s board, replaced 13 of its board members, and installed Richard Grenell, a foreign policy adviser, as interim president. This dramatic overhaul has prompted widespread concern and left many in the arts community grappling with what comes next.
On a recent Monday, Trump’s motorcade arrived at the Kennedy Center, a building renowned for its opera house, concert halls, and cultural significance. The grand foyers, adorned with towering chandeliers, now host portraits of Trump and his wife Melania, alongside those of Vice President JD Vance and his wife Usha. These new portraits have been fastened to the walls beside the concert hall’s stage door, a symbol of the profound political shift unfolding within the centre.
One of the most disturbing aspects of Trump’s involvement has been his interference with the Kennedy Center Honors, the prestigious awards that have recognised icons such as Fred Astaire, Francis Ford Coppola, and many others. Trump dismissed previous honorees as “radical left lunatics” and suggested figures like opera singer Andrea Bocelli and actor Sylvester Stallone as potential future awardees—both of whom have been vocally supportive of Trump. This move highlights Trump’s attempt to politicise the honours and impose his own cultural vision on the nation’s most distinguished cultural institution.
In a bizarre twist, Trump also voiced his disdain for the musical Hamilton, which recently announced it would not be performing at the Kennedy Center in 2026. This followed his comments about the infestation of mice within the building—a remark which seemed oddly trivial against the backdrop of his impending talks with Russian President Vladimir Putin over the future of Ukraine. These distractions, however, underscore Trump’s ability to shift attention to cultural matters and the spectacle of power rather than meaningful political discourse.
Those working at the Kennedy Center are now faced with a difficult moral dilemma. While many have expressed dismay at the centre’s transformation into a political tool, some staff members feel trapped, unable to resign due to concerns for their colleagues’ livelihoods and the hope that things might eventually return to normal. One anonymous insider even compared their situation to that of a “French collaborator” during World War II, illustrating the deep internal conflict many are experiencing as they continue working under Trump’s influence.
This takeover of the arts is part of a broader pattern of authoritarian behaviour by Trump, which has also included attempts to silence the press and undermine public institutions. The comparison to authoritarian regimes is not hyperbole; throughout history, dictators have understood the power of culture and the arts to shape public opinion. From Augustus to Stalin, authoritarian leaders have sought to control or destroy cultural institutions they deem a threat. Trump’s actions are yet another example of this troubling tendency.
The Kennedy Center is not an isolated case. Other Washington cultural institutions, such as the Smithsonian and the National Gallery of Art, are also under the shadow of political interference. The presence of figures like Vice President Vance as a trustee of the Smithsonian raises concerns about the potential erasure of vital historical narratives. For example, exhibitions celebrating the life and works of artists such as Félix González-Torres—whose pieces often dealt with themes of AIDS, loss, and LGBTQ+ identity—could come under scrutiny or be erased entirely from public view.
Additionally, exhibitions featuring artists like Elizabeth Catlett, a revolutionary Black artist whose work directly engages with racial inequality, may face self-censorship as institutions fear reprisal from the government. The mere suggestion of political interference is enough to strike fear into the hearts of many cultural leaders, who worry that even the smallest misstep could lead to funding cuts or changes to tax incentives for donors.
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This atmosphere of fear is palpable across the arts community, with prominent artists such as pianist András Schiff cancelling their US engagements in protest against the political climate. Schiff, in a statement, expressed his belief that artists have a duty to react to “the horrors and injustices of this world,” highlighting the growing rift between artists and the political environment shaped by Trump’s administration.
At the Kennedy Center itself, the impact is already being felt. Renowned artists like soprano Renée Fleming have distanced themselves from the institution, with more cancellations and refusals of invitations expected in the future. A petition is circulating, urging donors to stop supporting the Kennedy Center, as it becomes increasingly tainted by political influence. The result of this could be a weakened institution, one that is no longer a beacon of cultural excellence but a tool for advancing a politically motivated agenda.
Ultimately, Trump’s takeover of the Kennedy Center is not just a momentary political manoeuvre but part of a larger, more insidious effort to reshape American culture in his image. By politicising the arts, he seeks to silence dissent, control narratives, and diminish the power of culture to challenge authority. This is just the beginning, and as the arts community faces an uncertain future, the battle for cultural independence in America has only just begun.
