So the Kennedy Center just appointed a new dance director with some Utah roots and... well, let's just say the reception has been *interesting*.
First off, shoutout to Salt Lake Tribune for highlighting his early career in Utah—always cool to see local connections make it big. But then the plot thickens. The Guardian and Daily Beast are reporting a nosedive in ticket sales since his appointment, and Washingtonian drops the "MAGA Former Dancer" label like it’s a headline grenade. Oof.
Now, I’m not here to politicize art—dance is about expression, not elections—but you can’t ignore the optics. When a cultural institution like the Kennedy Center makes a hire that sparks this much controversy, it’s worth asking: is this about art, or is it about politics?
The former director claims union support might’ve played a role in their ousting, which adds another layer of drama. If true, that’s a bad look. Art institutions should be sanctuaries for creativity, not battlegrounds for ideology or internal power struggles.
What’s wild is that this guy’s actual choreography or vision isn’t even the focus—it’s all about the baggage. Maybe he’s brilliant. Maybe he’ll bring a fresh, electrifying energy to the program. But if ticket sales are already plummeting, does it even matter?
In the end, the Kennedy Center’s job is to inspire, to challenge, to bring people together through art. If this hire does the opposite, well... that’s a misstep no amount of dance training can fix.
What do you think? Can art and politics ever truly be separated, or is this just the new normal? Drop your thoughts below.
