Trump’s weird obsession with the arts is part of the authoritarian playbook | Charlotte Higgins
His focus on the Kennedy Center fits a pattern. From Augustus to Stalin, strongmen have sought cultural control for their own ends
In Washington, Donald Trump’s takeover of the Kennedy Center – the US’s imposing national centre for the performing arts – presents a bizarre, unnerving and, at times, bleakly comical spectacle. Last month, he announced himself its new chair, replaced 13 board members, and inserted a new interim president, foreign policy adviser Richard Grenell. On Monday this week, the president’s motorcade disgorged him at the building – which contains an opera house, theatre, concert hall and a plethora of smaller venues off its towering, chandelier-hung foyers. By this point, his and Melania Trump’s portraits, alongside those of vice-president JD Vance and his wife Usha, had been screwed to the wall beside the concert hall stage door.
Trump and his new trustees – who include Usha Vance and Fox presenter Laura Ingraham – then discussed changes to the Kennedy Center Honors, founded in the 1970s to recognise the greatest figures in American cultural life. Trump called previous honorees, who have ranged from Fred Astaire to Francis Ford Coppola, “radical left lunatics”. Men such as singer Andrea Bocelli, who has performed at Mar-a-Lago, and Sylvester Stallone, who recently called Trump a “second George Washington”, were floated for future honours. With the truculence of a slighted schoolboy, Trump opined that he had never much cared for Hamilton – this, after the news that the musical has withdrawn from a 2026 run at the centre. He also complained about an infestation of mice. All this, the day before he was due to speak to Russian president Vladimir Putin to haggle over Ukraine’s future. It is enough to give you a political-cultural attack of the bends.
Charlotte Higgins is the Guardian’s chief culture writer
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