The Kennedy Center is facing mounting turbulence. The recent departures of its Director of Dance, Jane Raleigh, and two full-time dance programming staffers mark a critical shift, but dance as an art form isn’t being wiped out. Under newly installed leadership, programming maybe shifting toward a more commercial, So You Think You Can Dance‑style direction. This follows wide-scale upheaval, including the departure of 50+ staffers since Donald Trump took over the institution in February 2025.
Departures and Resignation: What’s Happened?
On August 21, 2025, The Washington Post reported that the Kennedy Center laid off its dance programming team, including Director Jane Raleigh and Assistant Manager Mallory Miller. Their dismissal, masked as part of a “new direction,” drew swift backlash from employees who claimed it stemmed from their union‑organizing efforts (The Washington Post).
In solidarity and protest, senior filmmaker Tony Yoon resigned, criticizing the abrupt nature of the dismissals (The Washington Post). The Center’s United Arts Workers (UAW) union highlighted that the layoffs were made “without warning” and without consultation with senior artistic leadership (WJLA).
These changes come amid a wider purge: since Trump’s takeover in February, over 50 staff members have left the Kennedy Center. Staff count by internal sources suggests the figure could be over 100—spanning artistic programming, theater, jazz, and social impact divisions (The Washington Post).
But Dance Isn’t Ending
Despite the high-profile departures, the Kennedy Center reassured audiences that the dance department isn’t being eliminated. Dance classes and programming will continue but with a brand-new direction.
Leadership hinted at embracing a more mainstream, TV‑style model, similar to So You Think You Can Dance, as opposed to the institution’s traditional, more scholarly or avant-garde offerings (The Washington Post).
Trump’s Takeover: What’s Behind the Shake-Up?
Donald Trump’s takeover of the Kennedy Center in February 2025 set the stage for sweeping changes. He dismissed the existing leadership, replaced trustees with loyalists, and named Richard Grenell as interim president, consolidating his power at the cultural institution (Reuters).
This aggressive rebranding prompted an exodus: board members like Shonda Rhimes, Ben Folds, Renée Fleming, and Deborah Rutter (the Center’s long-serving president) resigned in protest (EW.com).
Critics have framed the move as a politicization of the arts. Trump reportedly rebuked “woke programming,” pledged to make the Kennedy Center “hot” again, and removed DEI initiatives—fueling accusations of ideological realignment (Vanity Fair).
Broader Fallout and Cultural Repercussions
The Center’s upheaval has ripple effects:
- Artist boycotts and protests: Performers—including Lin‑Manuel Miranda, Issa Rae, Rhiannon Giddens—pulled out of performances; drag components and children’s shows were canceled or altered in response to the new leadership’s directives (Vanity Fair).
- Financial instability: Ticket sales plunged, and long-time donors like David Rubenstein—who contributed over $100 million—distanced themselves from the Center (Vanity Fair).
- Internal discontent: Staff report decisions being made via media—not internally—and describe an environment of confusion and censorship (The Washington Post).
Three Key Takeaways
- Significant staff departures don’t spell the end of dance, but signal a shift toward flashier, TV-style programming likely to appeal to mass-market audiences.
- The unionization effort seems to have been a trigger for layoffs, reflecting broader tensions around labor rights and creative control.
- Trump’s February takeover sparked sweeping institutional changes, from layoffs to rebranding and cancellations—amid backlash from artists, patrons, and the arts community at large.
Conclusion: Resilience Amid Reinvention
The Kennedy Center stands at a crossroads. The departure of Jane Raleigh and her colleagues has sparked controversy—but dance persists, morphing under new leadership and vision. While the future may tread a more populist beat, the art form’s survival hints at an ongoing, if evolving, role within the institution.
The Kennedy Center’s shake-up isn’t happening in isolation. Across the arts world, institutions are wrestling with leadership shifts, funding cuts, and safety concerns. You can explore the broader cultural backlash and Trump’s controversial takeover in Donald Trump’s takeover of the Kennedy Center sparks backlash from artists. At the same time, financial instability makes clear why the economic impact of arts funding matters more than ever. And for another perspective on how fragile arts institutions can be, look to Jacob’s Pillow, which recently canceled its season after a tragic workplace accident—covered in Jacobs Pillow cancels 2025 season following fatal workplace accident.
Happy Dancing!
Taylor B.
