Why Hamilton Isn’t Just a Distraction

Some have argued that Trump sent Pence to see Hamilton knowing it would provoke a reaction and thus distract the public’s attention from the Trump University settlement. There may be some truth to that, and certainly we should not overlook the historically unprecedented event of a president-elect spending $25 million to make a class-action lawsuit for fraud go away. However, whether planned or not, what happened at Hamilton, also let Trump do something at least equally sinister when he made clear to all who follow or would work with him exactly what he expects art to be.

“Safe and special” are harmless and seemingly positive words, but what do they mean in context? When he speaks of safety, he means a powerful man’s being safe from even the mildest of criticism or from the most reasonable of demands being placed on him. What is special, then, is the clean separation of Trump’s ideal theater from the world, from politics and social issues. No politics, no challenges to one’s ordinary perceptions. Neither Shakespeare nor Artaud would be welcome, though a zombified Shakespeare—an undead artifact representing high culture—might be staged.

Put another way, Trump is trying to delegitimize socially engaged art. Instead of banning it, which could backfire, he is suggesting that those forms of media which serve as nothing more than escapist entertainments are more valid. He is trying to neutralize art before it neutralizes him.

But we won’t let him.

Artist friends, what are you making right now?

A photo posted by Porochista Khakpour (@pchza) on

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