The History of the Kennedy Center of Performing Arts
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President John. F Kennedy once said, “I am certain that after the dust of centuries has passed over our cities, we, too, will be remembered not for our victories or defeats in battle or in politics, but for our contribution to the human spirit.” The John F. Kennedy Center for the Performing Arts has a unique history; it started out as a National Cultural Center, developed into The Kennedy Center for Performing Arts, and today serves as the nations busiest arts facility.
In the beginning years of existence, America had very little if any governmental assistance for the performing arts. The government funded their money elsewhere. President John Adams had wrote, “I must study politics and war that my sons may have liberty to study mathematics and philosophy” (Gill 22). He felt that the country had no reason to study the arts. The country was worried about bigger things. President Eisenhower had a different view.
Dwight Eisenhower saw the performing arts as a significant part of life. In 1955, he appointed a District of Columbia Auditorium Commission to inspect the possibility of putting up a new auditorium in Washington, and if putting up an auditorium was possible, to suggest an appropriate location (22). By Eisenhower putting forth this idea of a new auditorium for performing arts, he signified the change of the countrys view about performing arts. Eisenhower believed that if a performing arts center were to be put in the Nations capital, it might have the chance of being supported by the government.
The first sign of real progress for the Kennedy Center came in 1958. On September 2 1958, President Eisenhower signed the National Cultural Center Act of 1958 (22).
The National Cultural Center Act included four basic components: it authorized the Centers construction, spelled out an artistic mandate to present a wide variety of both classical and contemporary performances, specified an educational mission for the Center, and stated that the Center was to be an independent facility, self-sustaining and privately funded. As a result of this last stipulation, a mammoth fundraising campaign began immediately following the Acts passage into law (Kennedy-center.org).
Although they were very pleased with a National Cultural Center in Washington, thee government would not support the Center financially. Although there were many supporters, it was very difficult to raise the money for the Center.
John F. Kennedy loved the arts, and was one of the biggest supporters of the National Cultural Center. “In 1963, President Kennedy signed into law a bi-partisan bill extending the time limits of the fund raising part of the program” (Getlein 170). Kennedy would conduct particular White House luncheons and parties to get the word out (Kennedy-center.org). President Kennedy took the initiation in leading the funds of the Center because more people would contribute. He is the reason the Center is what it is today.
In 1971, a thought of renaming the National Cultural Center, came into mind. On the night of Kennedys assassination, trustees of the Center spoke about how “[Kennedys] belief in the future of the Center has been a major source of encouragement to us” (Gill 36). With the death of Kennedy, the biggest supporter, the trustees wanted to remember him for his greatness. The next step in renaming the Center after Kennedy would be to have Congress on their side (36).
If Congress approved the idea, the Kennedy Center for the Performing Arts would be born. After numerous joint hearings held over a handful of weeks, a bill-The John F. Kennedy Act- was created to modify the National Cultural Act of 1958 (36). “A shade more than a year after the assassination, President Johnson broke ground for the Center, saying, ÐThis Center will brighten the life of Washington, but