Trump's Unesco withdrawal is part of a broader assault on democracy
Earlier this year, he initiated a takeover of the Kennedy Center's programming and content, and linked National Endowment for the Arts (NEA) and National Endowment for the Humanities (NEH) grants to highly partisan ideological conditions. Meanwhile, the government's attempts at censorship in schools are all but rewriting American history.
Trump has also systematically removed the United States from global obligations connected to health, human rights and the betterment of society. This includes withdrawing from the World Health Organization (WHO) and the UN human rights council (UNHRC) and in effect the dismantling of the United States Agency for International Development (USAID).
It was only a matter of time before Unesco – the United Nations Educational, Scientific and Cultural Organization – came under fire, representing as it does everything the Trump White House rails against. Unesco's chief was unsurprised, saying that since the last time Trump was in power and pulled the US out of the organization, they had reduced their reliance on US funding significantly and would be carrying on with its mission.
Why, then, does this withdrawal matter? Surely it can be chalked up to another strong-arm tactic designed to make headlines and give the administration some more 'America First' policies to boast about. Unfortunately, when it comes to culture, it is not that simple.
Culture comes under fire when democracy is dying. Russia's imprisonment of writers, artists and cultural figures who question official narratives about the war on Ukraine; or the Taliban's destruction of the Bamiyan Buddhas – these are examples of how culture becomes both a target and a battleground because it represents identity, memory and freedom of thought – the very things authoritarianism seeks to control or erase.
What the US administration has dismissed as 'woke' is actually Unesco preserving democratic ideals, teaching the world valuable lessons based in history and protecting artistic freedom – all things that autocrats see as a threat to their ability to control the narrative. It is no small irony that the organization's recognition of Palestine has also been used as an excuse for the withdrawal, when Unesco is one of the leaders of Holocaust education in the world, and Palestine itself is suffering near total cultural obliteration.
It would be a grave error for the United States not to recognize that Trump's disdain for cultural preservation is part of a broader assault on human rights, democracy, free expression and artistic freedom. It is a story repeated across the world and throughout time. It is notable that one of the few countries to also withdraw from Unesco was South Africa, which withdrew in 1955 in protest against Unesco's stance against apartheid. During this period of isolation, the apartheid government intensified its control over culture and education, seeking to tightly control the narrative in South Africa and globally about its discriminatory policies.
There is still time to reverse this decision. PEN America, which defends free expression worldwide and ARC, the Artists at Risk Connection that protects artistic freedom, urge Congress to oppose this latest move to further isolate the United States globally, and ensure that the country continues to fulfill its international human rights obligations. US funders and foundations should also increase support to writers, journalists and media outlets, artists and cultural institutions, and free expression advocates in countries affected by the shutdown of US foreign assistance.
By working with Unescoto commemorate sites of apartheid resistance when it rejoined in 1994, South Africa has shown how global engagement can honor truth and build inclusive memory; the United States, by contrast, risks forfeiting that same moral leadership by retreating from the very institution that makes such progress possible.
Liesl Gerntholtz is the managing director of the PEN/Barbey Freedom to Write Center at PEN America. Julie Trebault is executive director of the Artists at Risk Connection
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