kennedy center

Oct. 3, 2026 3:04 AM PT

Like any other building from 1971, or a democracy created in 1776, the Kennedy Center could use some attention and possibly some structural repair. But I was a vice president at that arts center in Washington, and I can tell you that maintenance is almost certainly not why it closed its doors last month.

Officially, it’s closed because a section of the Grand Foyer ceiling gave way in a storm, plaster crashing to the floor, and the building needed to be shut down for safety. The Justice Department itself has argued in court filings that there is no real emergency requiring the closure. The board, meanwhile, has approved a quarter-billion-dollar renovation plan, put together without competitive bidding, while the president muses openly about tearing the building down altogether if his own name isn’t affixed to it. This administration is effectively bulldozing arts infrastructure in an attempt to abolish an infrastructure of the imagination.

I watch all of this from the outside now. When the new “leadership” took over last year, my team and I were among the first let go. My department worked on free public programming, on creative equity, on cross-sector community development and on measuring the social impact of art. That we were among the first out the door probably tells you everything you need to know about who was put in charge of the place.

As an American, as an artist and as a former member of its labor force, I understand that the Kennedy Center is more than a building. It is a living memorial to a president who was taken from us too soon, a man who had the audacity to aim for the moon before the science existed to get us there. To honor that kind of visionary, this country built a center for the creative impossible, and gave it his name.

And true to that name, my job at the Kennedy Center was to investigate the correlation between the arts economy and the economy of civic aspiration. As a team, we believed that inspiration erodes apathy and yields empathy. The building is a container of federal infrastructure, but the arts that imbue the Kennedy Center make the argument that inspiration itself is part of the infrastructure of our democracy. An arts center is built to ask: “What are the conditions necessary to dream together in public?”

Who, if not artists, are the authors of the public imagination? When a baby is born, or your daughter gets married, do you read a piece of legislation to commemorate the occasion or do you quote a poem, or dedicate a song? Who, if not artists, might light the path to a post-fear economy?

So why invade an arts center? What could possibly be gained by shuttering a national citadel for creative excellence? How perverse that a president whose policies have underfunded education and the arts would gut a national sanctuary for curiosity, and then demand that his name be emblazoned on the shell of what was. This president has used executive orders to intimidate artists, banned writers and journalists, sabotaged arts education, created oppressive red lines within the National Endowment for the Arts and threatened philanthropic organizations that fund arts and culture, and then he turns around and wants his name on our national cultural center.

When I worked there, the Kennedy Center wasn’t perfect. No institution is. But the business was viable, the staff was talented and reliable, and the work we made together would, often enough, touch something close to the sublime. Our job, like those of so many arts workers across the country, was to activate creative magic in service of social cohesion and well-being.

This is what gets lost in the noise of storms and lawsuits and renovation budgets: Entertainment is everywhere, but inspiration is rare. Sometimes you are sitting in a dark theater with strangers and the right note gets struck, and you hear it with your ears but you feel it somewhere else entirely. In the gut and heart. And the person next to you, a stranger, feels it too, at the exact same moment. You can practically feel the room change. All that magic can happen in one theater, and the Kennedy Center has nine of them. If a solar panel uses the energy of the sun to power a building, an intentionally run theater can use the energy of its inspired audiences to power a city.

Art holds memory. It also holds the horizon, the sense of what a country could still become. Patriotism as enacted by the creative community takes the American experiment seriously enough to question, examine, remember what we’ve forgotten and catalyze collective American dreaming. That is what the Kennedy Center was named for: a president who dreamed of a country unafraid of beauty, unafraid of grace.

Thankfully, America’s creative labor force tirelessly stewards that sense of creative provocation and patriotic inquiry. It is alive everywhere, including in the work of individual artists such as Carrie Mae Weems or in the work of collectives such as For Freedoms and their “America, the Beautiful” initiative.

We, the chronically underwhelmed citizenry of the United States, can’t afford one less pillar of creativity. We should be fighting to reconstitute any and all artistic institutions with an eye toward an inspired future.

Marc Bamuthi Joseph, a spoken-word artist and actor, was vice president for social impact at the Kennedy Center.

The 49th Kennedy Center Honors gala will go on despite the recent closure of the Kennedy Center, with the event moving to the Capital One Arena in Washington, D.C., on Dec. 7. The honorees and a broadcaster for the program will be disclosed at a later date.

The annual event will take place amid an ongoing legal battle as President Trump attempts to add his name to the building.

Hours after a federal judge blocked the president’s attempt to restore his name, the Kennedy Center’s board voted on Sept. 15 to shutter the venue for renovations. Trump, however, threatened on social media to block the $250-million renovation, which he initially proposed, if his name weren’t added to the facade.

In mid-September, a picture of the president aboard Air Force One reviewing plans that were titled “Kennedy Center Demo[lished]” prompted panic as architectural, preservation and civic organizations asked the court for a “neutral officer to protect the building and institution.”

A federal judge ordered Kennedy Center leaders to provide 30 days’ notice before any changes, including demolition.

Last year’s Kennedy Center Honors gala, which recognizes artists who have contributed to American culture, was hosted by Trump and televised on CBS and Paramount. The ceremony, honoring Sylvester Stallone, Kiss, Gloria Gaynor, Michael Crawford and George Strait, earned the lowest ratings in its history. It was not announced whether Trump would return as master of ceremonies for this year’s event.

The 39th annual Hispanic Heritage Awards — which will honor the contributions and accomplishments of Latinos in the U.S. and Latin America — will air nationwide Friday on PBS.

In a historic decision by the Hispanic Heritage Foundation, which presents the annual awards, the event departed from its home base of Washington. Instead, Latino luminaries gathered at the Orchestra Hall in Minneapolis, where the celebratory occasion was taped for broadcast Sept. 10.

The move to the Midwest was a timely decision for members of the Hispanic Heritage Foundation, a nonprofit organization established by the White House in 1988. They took into consideration Minnesota’s response to a large-scale immigration enforcement campaign that began in December, known as “Operation Metro Surge.”

“We went to Minneapolis because we wanted to recognize what’s great about our community, [our] courage, resilience, strength, unity and looking out for each other,” said Antonio Tijerino, president and CEO of the Hispanic Heritage Foundation, in a phone call with De Los.

The Department of Homeland Security called the undertaking the “largest DHS operation ever” earlier this year on X, with an estimated 2,000 agents deployed to the Minneapolis–St. Paul metropolitan area. Thousands of Minnesota residents rallied against the tactical and militant methods used by Immigration and Customs Enforcement agents.

Civil unrest hit a boiling point following the killings of Renée Good and Alex Pretti on Jan. 7 and 24, respectively, by federal agents.

“ We actually went with a delegation of national Latino leaders to offer our support of the community during this crisis and we were overwhelmed by the heroism,” said Tijerino, who recalled a group visit to Minneapolis in February. There, he and his colleagues learned more about the rapid response efforts underway in the city.

“It was an American story that we wanted to tell,” he added.

At the 39th ceremony, Los Tigres del Norte presented a bit of that story to the people of Minnesota — who were collectively honored with the Humanitarian Award.

“Peaceful, hard-working communities of immigrants and refugees found themselves in fearful chaos as more than 4,000 parents, grandparents, neighbors, friends and families were taken by force, U.S. citizens among them,” Los Tigres del Norte announced in English while presenting the award. The players closed the show with a rendition of their 1984 song “Jaula de Oro,” which speaks to the plight of the undocumented community.

“I think Minnesota [is] a reflection of all of our Latino communities across the nation,” said Henry Jiménez, president and CEO of Propel Nonprofits, who was one of the individuals on stage representing the people of Minnesota.

“It uplifted the people. I think people felt validated for all of their hard work and effort that they’ve had to endure, not just the last couple months, but really a lifetime of work,” said Jiménez, whose organization helps consult and raise funds for budding nonprofits.

The relocation of the Hispanic Heritage Awards also comes as D.C. deals with the temporary closure of the John F. Kennedy Center for the Performing Arts — which hosted the Hispanic Heritage Awards in years prior.

The Kennedy Center closed its doors indefinitely on Sept. 15 after an inspection found acute public safety concerns, among them roofing issues. In a letter to Congress, various former employees allege that leadership was aware of the issues but halted plans for repair in April.

The closing also comes after a federal judge blocked the board’s decision to include President Trump’s name on the building in September. Trump’s takeover of the Kennedy Center began in February 2025, when he dismissed half its board members and installed himself as chairman.

“We were [at the Kennedy Center] for a very long time. It brought a lot of prestige and to fill a historic venue like that with Latinos was wonderful,” said Tijerino. “After many years of being at the Kennedy Center, we decided we wanted to go to another venue.”

In April 2025, the Hispanic Heritage Foundation announced that it would host its 38th annual awards at the Warner Theater instead; previous versions of the ceremony have also taken place at the historic Warner Theater venue, including in 2015 for the 28th Annual Awards and 2017 for the 30th celebration.

Hosted by comedian Anjelah Johnson-Reyes, the other honorees of the 39th Hispanic Heritage Awards included Venezuelan artist Oscar D’León, the salsa singer behind notable hits such as “Llorarás” and “Me Voy Pa’ Cali,” who received the Legend Award for his lifelong contributions to the genre.

Chilean singer-songwriter Mon Laferte, the vocal powerhouse behind power ballads like “Tu Falta de Querer” and “Amárrame (feat. Juanes),” also received the Social Justice Award. The Latin Grammy-winning artist has long championed feminist causes and challenged sexual harassment in the entertainment industry — a topic central to her 2024 Netflix documentary, “Mon Laferte, Te Amo.”

Puerto Rican rapper Eladio Carrión, whose trap flow famously featured in songs like “Coco Chanel” with Bad Bunny and “Sigue Bailandome,” was also honored with the Inspira Award.

Mexican singer-actor Ximena Sariñana, whose early composition appeared on the soundtrack of the 2002 teen film “Amar Te Duele,” received the Music Award as well.

Following the success of their Minneapolis awards show, the Hispanic Heritage Foundation is now toying with the idea that the ceremony can take place anywhere where there is a strong Latino presence.

“Who knows if L.A. is the [next] spot!” said Tijerino, who hails from Long Beach,

Though Jiménez assures that he is not swayed by any particular city at the moment, he offers one idea: “I hope that the community that’s chosen [to host] doesn’t have to go through a difficult time to be chosen.”

Kennedy Center officials were long aware of serious structural issues that they cited as new problems after the abrupt decision to close the performing arts venue this month, a group of former employees allege in a letter to Congress.

The center’s executive director and chief operating officer, Matt Floca, did not treat the roofing issues as priorities and in April halted a funded plan to address them, according to the letter Thursday signed by David Seide, a lawyer representing the anonymous whistleblowers.

Floca denied their allegations, saying recent investigations of the leaks exposed new hazards at the building.

In a September court declaration, Floca noted there were “acute risks to public safety” when the aging building temporarily closed its doors after an inspection of a deteriorating roof terrace canopy and a partial ceiling collapse. The former employees, however, claim those “acute” issues were known previously by Floca, who joined the Kennedy Center as vice president of facilities in 2024.

“More than one year ago, Mr. Floca had requested and received the needed funds to remediate the New Problems he references,” Seide wrote, citing President Trump’s tax cut and spending bill that he signed in the summer of 2025. “Yet six months ago – with the funds in hand – he stopped the remediation process from moving forward.” In the legislation, Congress earmarked $257 million for the Kennedy Center.

The letter, first reported by The New York Times, is the latest in a series of tensions over an iconic Potomac River waterfront building that has become a focus of the Republican president in his remaking of the nation’s capital in his second term. Trump has installed his own leadership to the center’s governing board and had his name placed on the building before a judge ruled the new lettering was illegally added and ordered it removed.

The Trump-aligned board voted earlier this month to close the center indefinitely for repairs hours after U.S. District Judge Christopher Cooper blocked its plans to return Trump’s name to the building.

Cooper has told the center that it must give 30 days’ notice before making any major physical changes to the building, including demolishing it, as Trump has threatened. The Kennedy Center leadership also must file a status report no later than Friday on the temporary closure and emergency repairs.

Asked for a response to the whistleblowers’ claims, a Kennedy Center spokesperson sent a written statement from Floca, who said the safety of patrons, artists and staff is his priority.

“The Kennedy Center has known for years that the roof overhang leaked,” he wrote. “What we did not know until this summer was how far the damage had spread inside it.”

Floca added that rather than halting design plans in April as the whistleblowers alleged, he had reassigned the work to a more comprehensive plan because the contractor’s quote for the initial plans were nearly three times the expected cost.

“That was a change in the approach to procuring and delivering the work, not a determination that the work was unnecessary,” Floca wrote.

Rhode Island Sen. Sheldon Whitehouse, the top Democrat on the Senate Committee on Environment and Public Works, wrote Floca on Thursday after receiving the whistleblower letter. Whitehouse said the documents showed Kennedy Center leadership had “hoarded” congressionally appropriated funding for repairs “while blaming previous leadership for the state of repairs.”

“My initial investigation into misconduct at the Center focused on cronyism and corruption, with documents demonstrating considerable excessive and self-serving spending under President Trump’s chairmanship,” Whitehouse said. “The documents that I attach today seem to reveal deeper financial mismanagement.”

A spokesperson for the committee’s Republican majority did not immediately reply to a request for comment Saturday.

Swenson writes for the Associated Press.

WASHINGTON — President Trump said Sunday that the massive arch he wants to build between the Lincoln Memorial and Arlington National Cemetery would become a “top grade military complex” able to host drones and snipers while storing ammunition.

It is one more example of how Trump is insisting that his initiatives to remake the White House and its environs are also serving a defensive purpose. Trump has been calling the new White House ballroom a “military complex” and arguing it is necessary for national security purposes, at least in part to help it pass legal muster.

The Pentagon said it had no information beyond the president’s statement.

Trump’s announcement comes as the arch, like his other projects, faces legal challenges. Though the arch has received early approval from the U.S. Commission of Fine Arts, whose members were all appointed by Trump, a group of three veterans and an architectural historian sued, saying the project needs to be approved by Congress.

“The president’s belated efforts to manufacture a national security justification for this project do nothing to cure its fundamental illegality,” Nicolas Sansone, one of the attorneys representing the litigants, said Sunday. “Congress has not authorized the arch, and unless and until Congress does so, the project should not be permitted to move forward.”

The president said in a social media post that he had agreed, at the “strong request” of the military, to convert the planned 250-foot-tall memorial arch “into a top grade Military Complex/Triumphal Arch, to house, store, and have the rapid ability to use large numbers of drones, plus Snipers, on both the roof and plaza areas, and additionally have and hold large quantities of sniper ammunition in storage.”

The arch is proposed for a circle adjacent to the Memorial Bridge, which is a heavy traffic area as one of several connecting bridges between the nation’s capital and northern Virginia.

Among the other projects Trump is pursuing to refashion Washington’s cityscape are renaming and renovating the Kennedy Center, refurbishing the Lincoln Memorial Reflecting Pool and rebuilding a golf course in East Potomac Park that could significantly reduce the public’s access to running and biking paths. Some of the projects have run into trouble: The Kennedy Center now faces closure and perhaps demolition, and the botched Reflecting Pool renovation, originally set for completion by July 4, remains incomplete.

The groundbreaking for the arch was to have happened sometime this month. The project has not yet received final approval from the National Capital Area Planning Commission, which greenlighted the site and preliminary plans at its July meeting. The commission is expected to take up the matter again this fall.

Kim writes for the Associated Press.

WASHINGTON — Thousands of people joined outside the John F. Kennedy Center for the Performing Arts on Friday evening to protest President Trump’s plans for the facility, lending their voices to a chorus of organizations and individuals who have been horrified that he might make good on his threat to close and tear down the storied institution.

The crowd streamed in from the nearest subway stop, crowding streets in the Foggy Bottom area of Washington and locking down traffic as they walked, many carrying signs, as they joined in an event dubbed “Hands Around the Kennedy Center.” At one point some held hands, forming a human chain around the center.

Chris Raleigh, co-founder of Hands Off the Arts, which set up the gathering, said in an interview that he hoped it would show that people are willing to fight to keep Trump’s plans for the building at bay.

One of the most iconic buildings on the Potomac River waterfront, the Kennedy Center has been a focus of Trump’s remake of Washington since 2025, when he began installing his loyalists on its governing board. Late last year, he had his named placed on the center in front of that of President Kennedy. A judge ruled that Trump’s name was illegally added and ordered it removed.

The Kennedy Center board, which remains aligned with the president, voted Tuesday to close the center indefinitely for repairs hours after U.S. District Judge Christopher Cooper blocked their plans to return Trump’s name to the building. On Thursday, the judge ordered the Kennedy Center to provide 30 days’ notice before making any major physical changes to the building, including demolishing it.

Raleigh said he, like others, is concerned that Trump could take the step without notifying the court. “Look at the East Wing,” he said, referring to the demolished portion of the White House. “We got up one morning and there was a giant hole there.”

Raleigh said the Kennedy Center is more in the public eye than the East Wing was. He added that he doesn’t believe the president fully understands why people are so upset, “but that’s our job, right? This may be the line that no one expected, but this is where the line is going to be.”

Protesters talked about the importance of the center as the pinnacle of the nation’s performing arts world.

Bud Wilkinson, a local member of the arts community, set up a chalkboard with Trump’s name written on it hundreds of times. Protesters flocked to him to erase the names and replace them with hearts.

“The Kennedy Center is vital to the arts in Washington. We need it. We need this,” Wilkinson said. “This is not just about putting the president’s name on the Kennedy Center. It’s about censoring the performances and the programming. That’s what started all this. So that’s what the nitty-gritty really is about this. So I want to replace all of this with love. That’s why there’s a heart.”

Alina Baciu talked about the opportunities and relationships that students at the Duke Ellington School of the Arts have with the center and how those relationships might be affected by what’s going on.

Her daughter had opportunities to take advantage of all the center had to offer as a student at the Ellington school, she said. “I mean, they borrowed the beautiful costumes and the beautiful dresses from the Washington National Opera for their performances at Duke Ellington,” she said. They also performed on the center’s Millennium Stage.

“All of those things have gone away because of this craziness. And it just hurts my heart,” Baciu said.

Laura Steinberg, a volunteer for the last 10 years, said the loss of performances has already been heart-wrenching. “This reminds me of that picture from Tiananmen Square, where that young man stood in front of the tank,” she said of the throngs present. “This was my visceral response to this. I’ll stand in front of the wrecking ball if it’s going to come to that. My guess is many of these people would come down because we saw what he did to the East Wing. Nobody thought he would actually do it. So I think the shock has mobilized people.”

Friday’s event followed a tumultuous week in federal courts in Washington, where filings and counter-filings flooded the courts as the administration continues pushing for the president’s vanity projects. The administration has made substantive steps to begin work on a number of projects, despite the fact they are still being litigated. Such projects include Trump’s triumphal arch and the administration’s takeover of East Potomac Golf Links and the U.S. Institute of Peace.

Speaking from the Oval Office, Trump said he was willing to save the center, which he said was losing money. He did not address a question about demolishing it.

“We have a lot of people working very hard on it to save it,” he said. “I can save it easily, but why should we be doing that and then raise money for the rest of our lives to keep it afloat? Because that’s what you have to do, if we get no recognition. I think the Trump administration should be recognized as having saved the Kennedy Center.”

Fields writes for the Associated Press.