Oh, the play! Always since President Trump dismissed much of the Kennedy Center committee in February, appointing 14 new people and himself as president, a host of painters have canceled their scheduled activities. Ben Folds, creative assistant to the National Symphony Orchestra, and singer Renée Fleming terminated their roles as experts.  ,  ,
Some took the opportunity to pavilion, making soapbox declarations about why they were unable to recognize their commitments. The producer of the Broadway show Hamilton, Jeffrey Seller, announced that the musical would not perform at the Kennedy Center for its third run because “our show simply cannot, in good conscience, participate and be a part of this new culture that is being imposed on the Kennedy Center” . ,
The artist Issa Rae , canceled her sold-out show, claiming on Instagram,” However, according to what I believe to be an infringement on the principles of an institution that has diligently celebrated musicians of all backgrounds through all methods, I’ve decided to cancel my appearance at this place”.
Less talked about in the legacy media are those artists who have chosen a more professional course, honoring their pledges to the Kennedy Center, but even honoring their craft and the ticket-holding market. Among those is the classic composer and dance Twyla Tharp, whose party organization performs at the Kennedy Center March 26-29. A master course kicked off the run, opened to performers at all levels.
The dancer founded her business, Twyla Tharp Dance, in 1965. The hallmark of her tone lies in combining different forms of activity, dance, dance, street dance, and yet fighting, with her own inventions. Throughout her 60 years of making and performing party, she has refused to allow politicians or philosophy to tell or guide her job. Tharp’s dance is dedicated to the delight of activity itself, and she is continually challenging herself to push boundaries and develop. Perhaps that is why she has been a constant for 60 years.  ,
Tharp has written four books, including The Creative Habit: Learn It and Use It for Life and her 1992 autobiography, Push Comes to Shove.  , She has received one Tony Award and two Emmy Awards, and is also a 2008 Kennedy Center honoree.
Tharp and the Kennedy Center enjoy a long history. In the summer of 1994, the choreographer and her company of dancers began a two-month residency at the Washington, D. C., institution. My husband, Arthur, and I were among those fortunate to be in the audience for the project’s culminating performance. ” Twyla Tharp In Washington: New Works”  , was a lecture/demonstration-style presentation of the material developed over that summer. For much of the performance, Tharp sat on a ladder high above the dance floor, talking, explaining, and guiding the audience.
The performance took place in one of the smaller theaters, which added to the informality and intimacy of the experience. As someone brought up studying and attending the ballet, having the opportunity to get inside the head of the choreographer was a truly special experience. I was floored by Tharp’s patience, creativity, and her willingness to let the audience in on the mysterious process of creating dance.
But generosity is a hallmark of Twyla Tharp, both with her dancers and audiences. Her company was the first to guarantee dancers ‘ wages for 52 weeks a year, not just during the season, making it easier to support themselves and their families.
Unlike those who withdrew from their commitments at the Kennedy Center, using politics as a divisive tool or excuse, Tharp’s only commitment is to her art, creating and performing beyond the realm of politics or ideology. Because of this, she stands as one of my creative and artistic heroes.
As does the painter James MacNeil Whistler, who stated in his famous” The TenO’Clock” lecture in 1885 that” Art for Art’s Sake” should be “independent of claptrap, it should stand alone and appeal to the artistic eye or ear…”
Twyla Tharp understands that good art is worthy of attention for its own sake. Rather than save her work for those she deems worthy of experiencing it, the choreographer thinks of dance and movement as belonging to all.
” Dancing, perhaps more than any other art form, has an energizing effect on people”, Tharp explains in her book The Creative Habit.
In Keep It Moving: Lessons for the Rest of Your Life, she adds that “dancing is a beautiful way to say thank you to your body and to join the human race” . ,  ,
Now it’s time to say thank you to Twyla Tharp for putting art above politics and keeping faith with her fans and her audience.  , We need more artists and performers to do the same.
Beth Herman is an artist, essayist, and school docent at The National Gallery of Art. In addition to The Federalist, her essays have been published in The Wall Street Journal, Legal Times, The Washington Times, and on NPR. When not at her easel or writing desk, Beth can be found out running with her husband of over 37 years, author and historian Arthur Herman. Check out her blog at releasethebeast. home. blog
