Art and politics in an age of heightened anxiety
“All good art is political! There is none that isn’t. And the ones that try hard not to be political are political by saying, ‘We love the status quo.’” —Toni Morrison
When I first saw the message promoting an anti-abortion protest outside an event at The Music Hall in Portsmouth, I had no idea I was about to trigger a chain of events that would leave the historic arts venue and cultural icon facing a major backlash over its actions related to the demonstration. Here’s the story.
While reviewing political activity around the state, I came across an update from a statewide anti-abortion organization, which included a list of upcoming events. Among them was a “sidewalk chalking” protest scheduled to take place outside The Music Hall in six days, during a fundraiser for Lovering Health Center, a nonprofit that provides sexual and reproductive healthcare.
Small gatherings of anti-abortion protesters have become part of the political landscape, particularly at healthcare facilities that provide abortion care, so this particular protest would likely not have warranted a second glance had the event not been taking place at The Music Hall, where I’ve been a regular patron for nearly three decades.
While this protest did not appear to be a confrontational one, anti-abortion demonstrations have at times attracted members of supportive hate groups, increasing the potential for conflict. Three years ago, a counter-protest at a pro-choice rally in Manchester marking Women’s Equality Day drew a group of masked individuals in Proud Boys garb, though no incidents were reported.
Protests and counter-protests that threaten public safety do not happen spontaneously. Weeks before the event, supporters typically promote attendance through social media posts and group chats, and the rhetoric around the event is confrontational and threatening.
None of that was apparent in the run-up to the Music Hall protest. The only online mention I found was a listing on the allied organization’s event calendar, which noted the protesters planned “to hold signs, pray, fill the sidewalks with chalk messages of hope and truth, and enjoy each other’s fellowship.”
There did not appear to be a risk of the protest becoming confrontational or disrupting the event—an assessment ultimately confirmed when only two protesters showed up at the relocated event venue. Nevertheless, out of an abundance of caution, I shared the information with an ad hoc group I collaborate with on matters like this, and one of its members passed the information along to Lovering.
Lovering has extensive experience dealing with protesters, and I was told that they had initiated their standard protocols, notifying the Portsmouth Police Department, a volunteer de-escalation team, and the event company, which shared this information with The Music Hall.
In an interview with the Portsmouth Herald, Portsmouth Deputy Police Chief Michael Maloney confirmed that the department coordinated with Lovering and was aware of the possibility of a small peaceful demonstration, but had no public safety concerns about a large-scale protest. He noted that he had not been contacted by anyone from The Music Hall.
It was only later that I learned The Music Hall, citing security concerns, had backed out of its contract with Lovering and canceled the event without discussion. Such a decision would have been troubling coming from any business or organization. Coming from the region’s most prominent institution devoted to the arts, it felt like a stunning betrayal.
On its website, The Music Hall acknowledges the unique role art plays in challenging norms and inspiring collective action. “Art provides a non-linguistic common language to express complex emotions, challenge the status quo, and advocate for change,” it notes.
And while The Music Hall claimed “the decision not to host Lovering Health’s event was based solely on safety considerations and should not be interpreted as a political statement,” it also asserted a need to remain “neutral” and reportedly cited the issue of abortion as a “lightning rod” issue that is “too polarizing.”
“Should we expect additional censorship or selective partnerships in the future from The Music Hall?” asked New Hampshire Women’s Foundation CEO Tanna Clews in a statement. “What about events supporting LGBTQ+ youth? Or BIPOC programming? Or hosting historical films about women’s suffrage? Just how far will The Music Hall go to be ‘neutral’?”
When high-profile institutions yield to coercive pressure, it sends a message of acquiescence and establishes a precedent that encourages future threats. The morning after the Lovering fundraiser, the anti-abortion group highlighted the Portsmouth protest in its weekly update and noted its impact: “Due to the controversy, the venue cancelled the event, forcing it to be moved.”