In recent years, the intersection of art and politics has become increasingly impossible to ignore. The Brooklyn Academy of Music (BAM), a revered institution in the world of performing arts, has found itself at the center of a heated debate. The controversy surrounds its association with the Batsheva Dance Company, an Israeli dance troupe that has been accused of serving as a cultural ambassador for a government implicated in human rights violations and genocide.
The question here is not about the artistry or talent of Batsheva’s dancers—there’s no denying their skill and creativity. The issue lies in the ethical responsibility of cultural institutions like BAM. Should they continue to platform groups that are perceived as complicit in perpetuating narratives that whitewash or distract from ongoing atrocities?
Art has always been a powerful tool for storytelling, healing, and resistance. But it can also be weaponized as a form of soft power, used to divert attention from systemic injustices. By hosting Batsheva, BAM risks becoming a participant in this diversion, whether intentionally or not. The company’s performances, while artistically compelling, are inevitably tied to the Israeli government’s efforts to project an image of cultural sophistication and normalcy, even as its policies continue to devastate Palestinian lives.
This isn’t about silencing artists or boycotting creativity. It’s about holding institutions accountable for the messages they amplify. BAM has a long history of championing progressive and thought-provoking work. By continuing to platform Batsheva, it undermines its own legacy and alienates a growing number of voices calling for justice and accountability.
The global arts community is increasingly aware of its role in shaping public consciousness. From the Black Lives Matter movement to calls for climate justice, artists and cultural institutions are being challenged to align their platforms with the values of equity and human rights. BAM has an opportunity here to lead by example—to show that art can and should be a force for good, not a tool for oppression.
Dropping Batsheva Dance Company wouldn’t be an act of censorship; it would be a statement of solidarity with those who are suffering. It would send a powerful message that art cannot exist in a vacuum, divorced from the realities of the world. In 2025, as we navigate an increasingly interconnected and socially conscious global landscape, institutions like BAM must rise to the occasion. The question is: will they?
Art is not just about beauty—it’s about truth. And the truth is, silence in the face of injustice is complicity. BAM has the power to choose which side of history it wants to stand on. Let’s hope it chooses wisely.
