The following piece is an opinion and does not reflect the views of The Eagle and its staff. All opinions are edited for grammar, style and argument structure and fact-checked, but the opinions are the writer’s own.
The John F. Kennedy Center for the Performing Arts has been a staple of D.C. since its opening in 1971, when Leonard Bernstein premiered his piece, “Mass,” at the inaugural gala. However, during the premiere of “Mass,” then-President Richard Nixon was noticeably absent. The FBI had advised Nixon not to attend Bernstein’s performance, as it thought that the piece, which was performed in Latin, contained anti-war messages meant to embarrass Nixon and the U.S. government. Nixon made his disapproval clear by boycotting the event, but he did not attempt to strip the Center of its autonomy. Fast forward to 2025, and President Donald Trump is doing exactly that.
On Feb. 7, Trump announced he intended to dismiss the Center’s board and appoint himself the new chairman, writing on Truth Social:
Trump’s claim that he will bring a “Golden Age” to the Center is nothing more than an attempt to disguise the words “artistic censorship.” His post makes his intentions extremely clear — this isn’t about elevating the best in American art; it’s about enforcing an agenda that silences perspectives he doesn’t like. This is not how great art is made. But this is most definitely how authoritarian regimes treat culture — by dictating what is acceptable and erasing what is not.
One of Trump’s key justifications for this takeover is his false claim that the Center hosted drag shows “targeting our youth.” A friend and I attended one of the Center’s drag events — a Drag Salute to Divas — in June 2024. Not only was that show targeted toward adults, but NPR arts critic Bob Mondello reported that the only other drag events at the Center consisted of “a couple of drag brunches … and a single full-fledged production.” The idea that these drag events were part of some plot to corrupt children is a narrative Trump tends to lean on to create outrage and justify censorship.
In reality, the Salute to Divas was a celebratory performance during Pride Month that honored legendary “divas” through lip-syncing. And that was it. It was not controversial. It was not inappropriate. It was, simply put, art.
Drag is an art form, just like opera, ballet or jazz, and it doesn’t particularly matter if Trump and his allies agree with that statement or not. It has an incredibly rich history dating back to ancient Greece and Rome. Drag has always pushed boundaries and challenged social norms. This is not something new to the 21st century or the Trump era. It is just one of the many things that Trump wants to erase, which, of course, isn’t because of genuine concern for families or children but rather because it doesn’t fit his narrow definition of which art is “acceptable”.
The Center has always been a diverse space for artistic expression. However, Trump has made it clear that his version of the Center will not be a space for “woke” art, a term he has generally used to dismiss anything that promotes inclusivity, critical thought or social justice.
The consequences of Trump’s takeover are not distant threats. Musician Ben Folds, opera singer Renée Fleming and director Shonda Rhimes became the first to resign from their positions at the Center following Trump’s overthrow; Folds and Fleming were artistic advisers and Rhimes was a trustee. Since their resignation, many artists have also canceled events, including comedian Issa Rae, band Low Cut Connie, author Louise Penny and singer Amanda Rheaume. Additionally, the Center chose to cancel multiple events, including a National Symphony Orchestra performance called “A Peacock Among Pigeons” which was described as a “celebration of love, diversity, and the vibrant spirit of the LGBTQ+ community.” It’s clear that under a Trump-led Kennedy Center, some artists no longer feel safe freely expressing themselves, and creativity has undoubtedly suffered. The question for artists now is whether they will adapt their art to fit Trump's boundaries or risk being censored.
On a local level, D.C.’s arts community, including students from American University and surrounding schools, risks being shut out of an entire institution. The Center has provided young people with opportunities to engage with fellow artists and develop their own voices within the art community, and under Trump’s leadership, these opportunities may no longer exist for those who don’t fit his mold.
Students and young people are the future of art, and we need to start being loud about our disapproval. Go to performances that defy censorship. Support independent artists, specifically LGBTQ+ and people of color artists, who will be most vulnerable as Trump begins leading the Center. We must demand that the Kennedy Center remain what it was intended to be — a space for all voices, not just those approved by Donald Trump.
Alana Parker is a senior in the School of Public Affairs and School of Communication and the managing opinion editor for The Eagle.
This article was edited by Quinn Volpe and Abigail Turner. Copy editing done by Luna Jinks, Olivia Citarella, Emma Brown and Nicole Kariuki.
