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Washington National Opera leaves Kennedy Center, joining slew of artist exits
A view of the John F. Kennedy Center for the Performing Arts, which the current board is calling the Trump Kennedy Center, in Washington, DC, on Dec. 26, 2025.
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The Washington National Opera is leaving the John F. Kennedy Center for the Performing Arts, its home since 1971.
Friday’s news, shared with NPR in a statement via email from the opera company, comes in response to new policies which the 70-year-old performing arts group said strain its financial model.
The Washington National Opera stressed the “amicability” of its decision to end its longtime residency at the Kennedy Center. But it said the center’s new business model, which requires productions to be fully-funded in advance, is incompatible with the usual mix of ticket sales, grants and donations that cannot all be secured ahead.
“Opera companies typically cover only 30-60% of costs through ticket sales, with the remainder from grants and donations that cannot be secured years ahead when productions must be planned,” the statement said.
The company added the model also does not accommodate its artistic mission, which aims to balance popular works such as West Side Story, slated for May 2026, with more obscure and experimental operas, such as the little-known Scott Joplin work, Treemonisha, scheduled for March. “Revenue from major productions traditionally subsidizes smaller, innovative works,” the statement said.
Artistic director Francesca Zambello, who has led the company for 14 seasons, shared her regrets in a statement with NPR, while also looking to the future.
“I am deeply saddened to leave the Kennedy Center,” Zambello said. “In the coming years, as we explore new venues and new ways of performing, Washington National Opera remains committed to its mission and artistic vision. Our repertory will continue to include diverse offerings, from monumental classics to more contemporary works, presented in bold visual productions with first-class musical values.”
In addition to a continued presence for now on the Kennedy Center website, the opera company launched its new independent website within a few hours of its announcement.
“After careful consideration, we have made the difficult decision to part ways with the Washington National Opera due to a financially challenging relationship,” the Kennedy Center wrote in an email to NPR on Friday. “We believe this represents the best path forward for both organizations and enables us to make responsible choices that support the financial stability and long-term future of the Trump Kennedy Center.”
On social media, Kennedy Center executive director Richard Grenell said it was the center’s decision to sever ties with the opera company — and not the other way around.
“The Trump Kennedy Center has made the decision to end the EXCLUSIVE partnership with the Washington Opera so that we can have the flexibility and funds to bring in operas from around the world and across the U.S.” Grenell said. “Having an EXCLUSIVE relationship has been extremely expensive and limiting in choice and variety.”
Grenell reposted his message on Saturday after he was alerted that his X.com account had been hacked and the original message had been removed.
President Donald Trump was named chairman of the Kennedy Center’s board in February 2025. His name was added to the Kennedy Center in December following a vote by the Trump-appointed members of its board. Since the power of the venue’s board to rename the center is currently in dispute, NPR continues to refer to the Kennedy Center using its legal name.
A string of exits
The Washington National Opera’s departure is the latest and perhaps most significant in a string of artist exits from the cultural institution since Trump took over the institution.
Backlash from ticket-buyers, slated performers, and certain board members—including Shonda Rhimes—was swift.
Artists are continuing to cancel performances. But one of the first to do so was a touring production of the musical Hamilton. In a statement on X in March 2025, producer Jeffrey Seller said he opposed the Trump administration’s ousting of many Democratic board members.
“The recent purge by the Trump Administration of both professional staff and performing arts events at or originally produced by the Kennedy Center flies in the face of everything this national center represents,” wrote Seller.
Actress and writer Issa Rae followed suit with a post on Instagram, cancelling her sold-out March performance.
A slew of additional artists and performance companies canceled after the board’s vote to rename the center “The Donald J. Trump and The John F. Kennedy Memorial Center for the Performing Arts.” Congress has not yet authorized the name change.
Grenell has responded to many cancellations on social media, condemning the artists. After Banjo player Béla Fleck canceled his performance because he said the center had become “political,” Grenell wrote on X, “You just made it political and caved to the woke mob who wants you to perform for only Lefties.
“This mob pressuring you will never be happy until you only play for Democrats. The Trump Kennedy Center believes all people are welcome—Democrats and Republicans and people uninterested in politics. We want performers who aren’t political—who simply love entertaining everyone regardless of who they voted for.”
Find a running list of these cancellations below.
Sonia De Los Santos
On Jan. 8, singer-songwriter Sonia De Los Santos announced on Instagram that she was canceling her upcoming February concert at the Kennedy Center. “As an artist,” wrote De Los Santos, “I treasure the freedom to create and share my music, and for many years I have used this privilege to uplift the stories of immigrants in this country.”
De Los Santos, who was nominated for a Latin Grammy for best children’s album in 2018, stated that “I do not feel that the current climate at this beloved venue represents a welcoming space for myself, my band, or our audience.”
Béla Fleck performs onstage during the 67th Annual Grammy Awards Premiere Ceremony at Peacock Theater on Feb. 2, 2025 in Los Angeles.
Leon Bennett/Getty Images for The Recording Academy
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Béla Fleck
Performing at the Kennedy Center “has become charged and political, at an institution where the focus should be on the music,” wrote American banjo player Béla Fleck about his scheduled appearance with the National Symphony Orchestra in an official statement posted to Instagram on Jan. 7. “I have withdrawn from my upcoming performance with the NSO at The Kennedy Center,” he wrote. “I look forward to playing with the NSO another time in the future when we can together share and celebrate art.”
The 18-time Grammy winner has performed at the Kennedy Center in the past.
Stephen Schwartz
The composer and lyricist for the beloved musicals Wicked, Godspell and Pippin was expected to host a gala fundraiser for the Washington National Opera in May 2026. On Jan. 2, Schwartz announced his withdrawal. According to NBC News, Schwartz reflected that the Kennedy Center was “founded to be a political home for free artistic expression for artists of all nationalities and ideologies.” Today, he said, making an appearance “has now become an ideological statement.”
Richard Grenell quickly responded to Schwartz’s withdrawal, calling it a “bogus” report in a statement posted on X and saying reporters were plagiarizing a “fake @RollingStone story.” Schwartz was “never signed,” Grenell wrote.
Reports from NBC and other outlets, including Variety, have refuted this claim, publishing screenshots showing that Schwartz was promoted on the Kennedy Center’s website prior to his cancellation.
Stephen Schwartz attends the 2025 Songwriters Hall Of Fame Induction Ceremony at Marriott Marquis Times Square on Jun. 12, 2025 in New York City.
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The Cookers
The seven-piece band of veteran jazz musicians announced shortly before Dec. 31 that they would not perform at the Kennedy Center for “A Jazz New Year’s Eve:”
“We know this news is disappointing,” reads the statement on their website. “We are not turning away from our audience, and do want to make sure that when we do return to the bandstand, the room is able to celebrate the full presence of the music and everyone in it. Our hope is that this moment will leave space for reflection, not resentment.”
The statement went on to say, “We remain committed to playing music that reaches across divisions rather than deepening them.”
Chuck Redd
The American jazz drummer and longtime host of the Kennedy Center’s annual Christmas Jazz Jam chose to cancel his 2025 appearance when he “saw the name change on the Kennedy Center website and then hours later on the building,” according to a statement sent to the Associated Press.
On Dec. 27, the Kennedy Center announced its plan to file a $1 million lawsuit against Redd. “Any artist canceling their show at the Trump Kennedy Center over political differences isn’t courageous or principled—they are selfish, intolerant, and have failed to meet the basic duty of a public artist: to perform for all people,” said Kennedy Center spokesperson Roma Daravi.
In a letter shared with NPR, Richard Grenell condemned Redd: “Regrettably, your action surrenders to the sad bullying tactics employed by certain elements on the left, who have sought to intimidate artists into boycotting performances at our national cultural center.”
Doug Varone and Dancers
“The renaming for me has kind of pushed me off a cliff,” said choreographer Doug Varone on Dec. 31, when he spoke with NPR’s Morning Edition. Varone, who was set to showcase members of his Doug Varone and Dancers company at the Kennedy Center in April 2026, pulled the performance.
John F. Kennedy, for whom the Kennedy Center was established as a living memorial, “believed in the arts as kind of the beating heart of our nation,” said Varone.
“I believe that the level of artistry has dropped drastically since the administration change, and the employees that were responsible for the quality of the work at the center have all been let go.”
After canceling, the company started a crowdfunding campaign to help offset its financial loss. It raised over $42,000, exceeding its $40,000 goal.
Magpie
In a statement posted to Facebook on Jan. 5, Greg Artzner of the American folk duo Magpie announced the decision to pull their Feb. 28 concert, set to play on the Kennedy Center’s Millennium Stage.
“There isn’t really anything defensible” about Trump, said the statement from Artzner and Magpie’s Terry Leonino. Although they had planned an evening of songs with messages of unity and hope, “We are personally and philosophically in agreement with the belief underlying the growing boycott,” they said. “The stand being taken by fellow artists we respect and admire has created a moral picket line. We stand with them in solidarity.”
An update on Jan. 9 said that Magpie would now be performing a longer version of that concert on Feb. 21 at Seekers Church in Washington, D.C., now called, “The Traveling John F. Kennedy Center for the Performing Arts Restoration Roadshow.”
Kristy Lee
Folk singer Kristy Lee canceled her Jan. 14 Kennedy Center performance due to “recent efforts to impose political branding on the Center,” according to a statement posted on her website.
“Public arts spaces should be free from political influence,” Lee said in her statement. “I step back out of respect for artistic freedom and the Kennedy Center’s founding mission, not in opposition to its staff, artists, or audience.”
On Jan. 14, Lee plans to host a live-streamed concert instead, titled “Showing Up: From the Kennedy Center to the Couch.”
Low Cut Connie
Philadelphia rock and roll band Low Cut Connie pulled their concert, set for February 2025, “Upon learning that this institution that has run non-partisan for 54 years is now chaired by President Trump himself and his regime,” according to a statement posted on their Facebook page.
“Maybe my career will suffer from this decision,” wrote band frontman Adam Weiner, “but my soul will be the better for it.”
Rhiannon Giddens
In Feb. 2025, folk singer Rhiannon Giddens announced her departure from the Kennedy Center lineup in a social media statement. “I cannot in good conscience play at The Kennedy with the recent programming changes forced on the institution by this new board,” wrote Giddens.
Giddens transferred her May 11 concert, “Old-Time Revue,” to The Anthem concert hall, also in Washington, D.C.
Balún
The Puerto Rican band, based in Brooklyn in New York City, canceled their Kennedy Center performance, which had been set for Feb. 27, 2025.
According to a statement posted to Balún’s Instagram account, “recent events made it clear that the space no longer aligns with our values. Our safety, integrity, and commitment to justice come first.”
Issa Rae attends HBO’s final season premiere of “Insecure” at Kenneth Hahn Park on Oct. 21, 2021 in Los Angeles, California.
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Issa Rae
“Thank you so much for selling out the Kennedy Center for ‘An Evening With [Me],’” wrote Issa Rae, the acclaimed star and creator of HBO’s Insecure, on her Instagram stories page in Feb. 2025. “Unfortunately, due to what I believe to be an infringement on the values of an institution that has faithfully celebrated artists of all backgrounds through all mediums, I’ve decided to cancel my appearance at this venue.”
“Hamilton”
In March 2025, Hamilton producer Jeffrey Seller announced on X that the Tony-award winning musical phenomenon would no longer run as scheduled at the Kennedy Center. According to the statement, the decision was made both for political and for business reasons. Not only was there “a new spirit of partisanship,” the statement read in part, but “it would be “financially and personally devastating to the employees of Hamilton if the new leadership of the Kennedy Center suddenly canceled or re-negotiated our engagement. The actions of the new Chairman of the Board in recent weeks demonstrate that contracts and previous agreements simply cannot be trusted.”
The Kennedy Center was swift to respond to Hamilton‘s cancellation. On X in a now-deleted post, Richard Grenell accused Hamilton star and creator Lin Manuel-Miranda of being “intolerant of people who don’t agree with him politically,” and stated that the decision was “a publicity stunt that will backfire.”
In the months since the show’s cancellation at the Center, Hamilton has continued to sell out theaters on Broadway and in venues nationwide who host its North American touring company.
U.S. Marine Band
The U.S. Marine Band announced in February 2025 that the Marine Band would not perform in the Equity Arc Wind Symphony event, a collaboration between Marine Band members and selected high school musicians.
The U.S. Marine Band, known also as “The President’s Own” was founded by an Act of Congress in 1798, making it the country’s oldest professional music organization.
Composer Kevin Charoensri, whose music had been scheduled to be performed by the band at the event, stated in a Facebook post that Diversity, Equity, and Inclusion (DEI) orders resulted in the cancellation of the Equity Arc concert:
“It has come to my attention that the program, one based on equity and diversity of voices, is no longer supported at the federal level under this administration,” Charoensri wrote. “It was for this reason that the program and performance were canceled.”
The U.S. Marine marching band performs in the 120th Tournament of Roses Parade January 1, 2009 in Pasadena, California.
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Jennifer Vanasco edited this story.
Various species of sharks — some of which are endangered, while others are listed as vulnerable — are hauled on shore at dawn at the Tanjung Luar port on June 9, 2025, in East Lombok, Indonesia. Tanjung Luar is one of the largest shark markets in Indonesia and Southeast Asia, from where shark fins are exported to other Asian markets — primarily Hong Kong and China — and their bones are used in cosmetic products also sold to China.
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“We were fighting over who had caught more fish, and then I saw my crewmate pushed overboard by the captain,” Akbar Fitrian, 29, an Indonesian crewmember says as he recounts an incident aboard a Chinese-owned fishing vessel in 2022. “The ship then started to drive away as my crewmate tried to swim towards us. And then I don’t know what happened. The captain never reported the incident.”
The seas of Southeast Asia — home to some of the richest in biodiversity in the world — have long been in decline. Since the 1950s, the Center for Strategic and International Studies estimates that 70-95% of fish stocks have been depleted and are at risk of collapse, perpetuated by the rise of industrial-scale fishing, much of which is illegal. Legal overfishing is another factor, and both are propped up by weak regulations, insufficient monitoring and insatiable demand. Approximately half of the world’s global marine fish catch comes from the seas of Southeast Asia, according to the U.N., and it comes at a calamitous cost.
In the United States, approximately 50% of the imported seafood comes from Asia, with nearly $6.3 billion in trade coming from China, Vietnam, Indonesia and India alone, according to the U.S. National Oceanic and Atmospheric Administration.
Behind the illicit seafood trade is an opaque world standing at the crossroads of intertwining issues. There is the legacy of brutal human rights violations that have enabled sea slavery to become the norm. Those involved in the efforts of organizations like the international Freedom Fund and Thailand’s Labour Protection Network, which work to end modern-day slavery in the region, say many workers are murdered at sea, abused and often brought into a cycle of debt bondage.
There is the lawless nature of the seas, which has emboldened traffickers to exploit desperate fishermen and impoverished casual laborers. Then there are the geopolitical factors at play: In a race to dominate the seas, China and, to a lesser extent, Vietnam, the Philippines, Taiwan and Malaysia have all built outposts and bases on shoals, reefs and atolls. Fishing fleets — of which China has the largest in the world — are fast becoming more militarized as a result.
All of this has imposed a heavy cost on unique ecosystems and led to devastating socioeconomic impacts on artisanal and small-scale fishers.
Three countries illustrate the intersectional nature of overfishing:
Thailand
Fishing vessels are seen docked together at a landing site in Chumphon, Thailand, on Jan. 22, 2025.
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“Fish were in abundance before,” says Mimit Hantele, 53, a member of the Urak Lawoi tribe on the island of Koh Lipe in Thailand. “But now, the fishing season is a lot shorter, the variety of fish is far fewer, and I sell less. So I take tourists out on scuba expeditions to earn money.”
For generations, the Urak Lawoi plied the rich waters around them for sustenance. Sea gypsies in a time past, the villagers evolved to rely only on what they could catch and used simple fishing equipment cast from small wooden boats.
Then, in the 1970s, came the big Thai and Malaysian fishing boats. Fishermen on Koh Lipe say the boats fish illegally around the island, appearing only at night to escape detection and in a protected national forest area. The ships use purse seiner nets and demersal trawlers, destroying the coral underneath and, consequently, the habitat for fish. Such overexploitation has led the Indigenous group to turn to tourism to make up for lost income and declining fish stocks. “Fishing is in our blood,” Hantele said, but “our way of life has changed. We can’t rely only on the fish.”
Frozen Spanish mackerel and other species of fish in cold storage in Samut Sakhon, Thailand, on Jan. 15, 2025.
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Fishermen mend nets in Samut Sakhon, Thailand, on Jan. 15, 2025.
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Small-scale artisanal fishermen shake sardines from nets to gather them en masse after returning to shore with their catch, in the Gulf of Thailand, off the coast of Prachuap, Thailand, on Jan. 20, 2025.
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According to a 2001 report from the U.N., roughly 80% of fishers in Southeast Asia at the time were small-scale or artisanal, relying on traditional practices. However, declining nearshore fish stocks have forced many artisanal fishers to venture farther from shore in search of commercially valuable species. Added to that are government subsidies for fuel and tax breaks for commercial fishing vessels, which have propped up the seafood industry. Rapid advancement in maritime technology has made fleets far more effective at finding rich hunting grounds while avoiding detection by switching off their monitoring systems.
Oranee Jongkolpath, 30, a veterinarian at Thailand’s Department of Marine and Coastal Resources’ research and development center in the Rayong province, prepares to clean a hawksbill turtle in Prasae, Thailand, on Jan. 18, 2025. The turtle was found by fishermen in a garbage patch and was likely entangled in ghost nets — fishing nets that are lost or discarded by fishermen — that had caused severe damage to its two front flippers.
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A seafood merchant displays dried seahorses for sale in Chumphon, Thailand, on Jan. 22, 2025. Dozens of countries around the world are involved in the dried seahorse trade, with Thailand, the Philippines, Vietnam and India being the largest exporters. As the trade of seahorses, which are typically used for traditional medicines, has sharply increased, the seahorse catch has declined over time. Seahorses are among the species protected under the Convention on International Trade in Endangered Species of Wild Fauna and Flora.
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Lax regulations on the most destructive types of fishing, particularly demersal trawling and cyanide fishing, the capture of juvenile fish that prevents the replenishment of stocks, the poor oversight of labor laws and the exploitation of workers desperate to earn a living have all contributed to the devastating knock-on effects for communities along coastlines and the potentially irreversible environmental consequences.
Members of a crew working on a Thai fishing vessel, most of whom are from Myanmar, prepare to show their documents to Port In Port Out (PIPO) inspectors in Chumphon, Thailand, on Jan. 22, 2025. PIPO inspection centers were set up in 2018, following an outcry in the international community over Thailand’s gross human rights abuses in its fishing industry.
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A Burmese dock worker sorts fish after a catch from a Thai vessel was unloaded in Ranong, Thailand, on Jan. 23, 2025.
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In Thailand last year, artisanal fishermen held protests over the rollback of major fisheries reforms implemented a decade ago that had helped to rebuild fish stocks in Thai waters. Thai corporations, which own a significant share of commercial fishing vessels, pushed the government to deregulate the fishing industry to increase their profits. Protestors focused on their concerns that relaxing the rules would revive illegal, unreported and unregulated fishing and lead to increased overfishing. The rollbacks, they argued, would reduce transparency and accountability across the industry and reduce checks on gear and labor. Less transparency would lead to less knowledge about what is left in the sea. In turn, sustainability decreases, hurting artisanal fishers who depend on the sea for sustenance and livelihoods.
The Philippines
Filipino fishermen unload Yellowfin tuna, Bigeye tuna and blue marlin at a fish port in General Santos, the Philippines, on May 21, 2025.
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The first time Donald Carmen was harassed by Chinese boats off the coast of Palawan was in December 2024. The following February, they harassed him and another fisherman again, getting close enough to hit their outriggers. “They forced us to move away and recorded us with cell phones and cameras. I have been fishing in this area since 2016, and back then, everyone was free to fish. I would catch 400-500 kilograms of fish in a night, about 60 nautical miles offshore. Now, because I don’t dare venture out as far, I’m lucky if I catch 200-300 kilograms over three days,” Carmen said as he steered his banca just weeks later, on the lookout for Chinese fishing boats and militia.
A drone shot of the shoreline in Rizal, Palawan, the Philippines, on May 28, 2025. Many fishermen here have lost more than half their incomes because of harassment by Chinese ships, limiting the distances they can go out to sea to fish for specific species.
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Vincent Gehisan, 36, enjoys a meal at his home in Quezon, Palawan, the Philippines, on May 24, 2025. Gehisan was hassled and detained for nearly a day at sea by Chinese Coast Guard and navy ships while out on a resupply mission the year before and now says he’s afraid to venture far from Filipino shores to fish.
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People sing karaoke on May 21, 2025, at a local bar near the main fish port complex in General Santos, the Philippines, where the clientele are mainly fishermen on their days off.
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Illegal, unreported and unregulated fishing is inextricably linked to the geopolitical struggle for maritime dominance in the South China Sea. Over the past two decades, China has rapidly scaled up its fishing militias in a race to assert control over a vast area while trying to meet the country’s insatiable demand for seafood. Vietnam, the Philippines, Malaysia and Taiwan have followed suit on a much smaller scale.
The South China Sea — or the East Sea, as Vietnam calls it, and the West Philippine Sea, as it’s known in the Philippines — is one of the world’s most strategic waterways. China’s use of its fishing fleet to control trade routes and dominate territory to create maritime buffer zones threatens the food security and livelihoods of fishers in the region.
Family members of Filipino fishermen place bait on fishing lines in Quezon, Palawan, the Philippines, on May 24, 2025.
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Small-scale Filipino fishermen unload their catch a fish port in General Santos, the Philippines, on May 22, 2025. The city is known as the Philippines’ tuna capital and hub for tuna fishing and products exports.
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While Chinese aggression has persisted for years in areas off Zambales, a province of the Philippines, it has only recently affected waters off the coast of Rizal in Palawan, as China is believed to be building up its presence in the Sabina and Bombay shoals, much closer to the Filipino coast — encroaching on the Philippines’ claim to the Kalayaan Island Group — from its original areas of claim like the Spratly Islands and the Scarborough Shoal. Among some of the tactics used by Chinese fishing militias to deter fishermen are water cannons, using swarming and encircling techniques, military-grade lasers and ramming fishing boats to intimidate and drive them from fishing grounds.
As countries in the region militarize their fishing fleets, the cost will ultimately be detrimental to ecological sustainability and geopolitical stability.
Indonesia
Indonesian fishermen unload various species, including sharks and wedgefish, which are one of the most threatened, in Tegal, Indonesia, on June 13, 2025.
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In Indonesia, poverty, lack of opportunities and desperation have pushed thousands of Indonesian men into trafficking circles, while others are lured by the promises of a well-paid job in the construction or service industries before being put aboard a fishing vessel unbeknownst to them. Patima Tungpuchayakul, the founder of Thailand’s Labour Protection Network, says hundreds of fishermen go missing from commercial vessels each year, and many more are brutalized while facing appalling conditions and inhumane, unsanitary conditions on board, often at the mercy of the captain or the ship’s owners.
Labor rights activists at the Migrant Resource Center in Pemalang, Indonesia, fishermen and a widow of a woman still fighting for compensation after her husband’s death say agencies in central Java are adept at recruiting Indonesian crew to work primarily on Chinese fishing vessels, entrapping them in a cycle of debt bondage and, in many cases, effectively enslaving them at sea. Workers are not offered compensation for death or injuries unless they or their families were aware of what kind of insurance the vessel owner had for them. In the worst circumstances, they face brutal working conditions and 16- to 22-hour workdays and are often subject to physical violence.
Fishmongers gather to sell the catch brought in at dawn by fishermen at the Tanjung Luar port on June 9, 2025, in East Lombok, Indonesia.
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A drone image of the largest commercial fish port in Indonesia, Muara Angke, where hundreds of commercial fishing vessels are docked, in Jakarta, Indonesia, on June 15, 2025.
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A fisherman poses for a photo in Pemalang, Indonesia, on June 13, 2025. Both Tegal and Pemalang are known as hubs for recruiting laborers who then work on commercial fishing vessels for Chinese, Taiwanese and Korean companies.
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Southeast Asia is still a hub for slave labor, primarily in Thailand and Indonesia, where the seafood trade contributes much of the tuna, shrimp and trash fish used for fishmeal to the supply chains of major retailers and pet food brands in the U.S. and Europe.
“There is now less physical violence and coercion — but coercion is now more debt-based,” says Rosia Wongsuban, a program advisor at the Freedom Fund, a nonprofit working to end modern-day slavery. “Working conditions are the same. Because of a labor shortage, there aren’t enough workers to operate on vessels, and then the crew needs to take the extra burden.”
“In order to work on the fishing vessel, which was Chinese-owned, I was given a loan of 4 million Rupiah,” Akbar Fitrian, 29, a fisherman interviewed in Jakarta, explains. “1 million went to paying for fishing equipment, and then I had to work until I paid back the other 3 million. Sometimes, I had to keep borrowing more to continue working to pay off the initial loan. Sometimes I would only end up with enough salary to buy cigarettes. Sometimes I went into the red.”
Anis Khuprotin, 28, rests her head on the gravesite of her husband, Muhamad Nur, in Tegal, Indonesia, on June 13, 2025. Anis’ husband died on board a commercial fishing vessel after a piece of equipment came loose and struck him in the head. Staff from the recruiting agency the hired her husband told her he died of a heart attack instead of admitting the truth in an attempt to avoid paying insurance fees to the family.
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Indra, 28, who declined to provide his last name out of fear for his safety, dresses as a clown and plays music to earn some extra money in his neighborhood in Jakarta, Indonesia, on June 14, 2025. Indra, who previously worked on a commercial fishing vessel, recounted harrowing experiences at sea, where he said he witnessed abuses of his fellow cremates. Since returning home, he’s refused to sign up for another job on a commercial fishing vessel, but says he has limited opportunities owing to the lack of a school degree. He currently works in a warehouse, packing boxes, and dresses as a clown to earn extra income.
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Fishermen play a card game on June 10, 2025, on Maringkik Island, off the caost of East Lombok, Indonesia.
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For the nearly 10 million people who rely on these fisheries for their livelihoods and source of protein, the future of Southeast Asia’s fisheries hangs in the balance, at the mercy of consumer demand and political will to enforce laws. The region faces not just ecological collapse, but deepening poverty, food insecurity and social instability if illegal, unreported and unregulated fishing continues unchecked. Overfishing occurs because high demand and global overconsumption for seafood far exceed the ocean’s ability to replenish itself. Growing markets — especially in China, the European Union and North America — have transformed fish and fish products into a highly profitable global commodity. Exports from Southeast Asia alone amount to over $5 billion worth of fish products to the United States each year, illustrating the scale of international trade. This demand fuels industrial-scale fishing operations such as bottom trawlers and purse seiners, which sweep through vast areas of ocean indiscriminately. Supported by government subsidies, these fleets prioritize maximum yield, even when fish stocks are already severely depleted.
But decline is not inevitable. With stronger regional cooperation, transparent supply chains, corporate accountability and informed consumer choices, Southeast Asia can reclaim stewardship over its waters. The survival of its fisheries — and of the communities that depend on them — hinges on decisions being made now, far from shore.
Various species of sharks — some of which are endangered while others are listed as vulnerable — are hauled on shore at dawn by commercial fishermen at the Tanjung Luar port on June 10, 2025, in East Lombok, Indonesia.
Nicole Tung/Fondation Carmignac
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Nicole Tung/Fondation Carmignac
This body of work, based on a nine-month-long investigation supported by the Fondation Carmignac, is on exhibit at the Bronx Documentary Center through April 26.
Nicole Tung is a photojournalist working primarily in the Middle East and Asia. You can see more of her work on her website, NicoleTung.com, or on Instagram, at @nicoletung.
This story is part of Image’s April’s Thresholds issue, a tour of L.A. architecture as it’s actually experienced.
If you buy a product linked on our site, The Times may earn a commission. See all our Coveted lists of mandatory items here.
Yont Studio, Brutalist Pink Vinyl Listening Station, price upon request
(Serdar Ayvaz / Yont Studio)
In the best version of my dreams, I am listening to my favorite records out of the Brutalist Pink Vinyl Listening Station from Berlin-based Yont Studio. The structure — built of foam that’s been reinforced with epoxy layers and finished in a gloss — hugs a Technics SL-1200 MK7 turntable while featuring a dedicated space for records and headphones, with an integrated amplifier and wheels. The baby pink colorway gives it a hard-soft quality that’s hard to match. yontstudio.com
Waka Waka, Double Cylinder Rocker, $3,600
Designer Shin Okuda has described his design principle as such: “Minimum design. Conscious proportion.” The furniture from Okuda’s Los Angeles studio Waka Waka injects something deeply cool into the everyday. This rocking chair is equal parts dramatic and functional, featuring a stacked cylinder back, rocker frame and arm rests in a black glossy finish. (Other finishes include natural oil, white, pompeii red, indigo, grey, purple and forest green.) wakawaka.world
Gambol Studio X Dusty Ansell, knives, $230
Every item in your home being beautiful and well-designed is a flex, down to your cheese knives. Designed by L.A. studio Gambol and handmade by folk artist Dusty Ansell in a set of three, these knives are made of curly maple and stainless steel, featuring etched artwork depicting a hand, arm and fish. gambol.studio
Schiaparelli, Pierced Mouth Bijoux Minaudière, $13,300
Every design-meets-fashion head’s dream is having a pierced mouth clutch molded out of a rigid wood, no? This minaudière from Schiaparelli features a gold-plated metal chain and rhinestone piercing, bringing the idea of a statement bag to levels unheard of. schiaparelli.com
Hannah Lim X Hugo Harris, Bat Shelf, price upon request
(Hannah Lim and Hugo Harris)
Operating as a functional sculpture, the Bat Shelf is a collaboration between London artists Hannah Lim and Hugo Harris. The piece takes inspiration from Chinese fretwork patterns, Art Noveau designs and German sculptor Hugo Leven’s iconic pewter bat candelabras. Cut and welded from 5mm aluminum, the Bat Shelf comes in a raw aluminum finish or a powder-coated red. hannah-lim.co.uk ; hugoharris.co.uk
Formas, Clear Special Vase by Gaetano Pesce, $650
L.A. is so lucky to have Formas, a curated vintage and contemporary design store in the Arts District founded by Natalia Luna and Josh Terris. Formas’ collection is deep and well-researched, filled with rare furniture and design objects like this Clear Special Vase from iconic Italian architect and designer Gaetano Pesce. Handmade of flexible resin, each vase made in this series is a unique creation. formas.la
Estudio Persona, Luna Table Lamp, $2,500
Estudio Persona, the L.A. studio run by Uruguayan design duo Emiliana Gonzalez and Jessie Young, is a living, breathing wishlist. Made of metal and hand-blown glass, this lamp is the place where angles meet curves — a timeless piece with a healthy dose of edge. estudiopersona.com
Alaïa, nylon Maxi Petticoat, $5,030
When we think of an Alaïa piece we’re essentially thinking about shapes — of the body, of the clothes, of the shape made by the clothes on the body. This nylon Maxi Petticoat from the spring/summer 2026 collection, with its asymmetrical hemline and voluminous fit, is a kind of architecture, a way to build yourself into the world around you. maison-alaia.com
Loewe, Aire Sutileza Elixir Eau de Parfum 50Ml, $210
Image April 2026 Coveted
(Loewe Perfumes)
Loewe has added another perfume to its scent directory, and the sixth Elixir in a collection of fragrances that boast an intense concentration of essential oils created by the brand’s perfumer Núria Cruelles with the Spanish Rockrose in mind. The Aire Sutileza Elixir is floral, fresh and earthy, featuring notes of pear, lemon, jasmine sambac, vetiver, sandalwood and musk. perfumesloewe.com
Sunday Puzzle
NPR
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NPR
This week’s challenge
Today’s puzzle is a tribute to Mimi. Every answer is a familiar two word phrase or name in which each word starts with the letters MI-.
Ex. Assignment for soldiers –> MILITARY MISSION
1. Pageant title for a contestant from Detroit
2. One of the Twin Cities
3. Nickname for the river through New Orleans
4. Super short skirt
5. Neighborhood in Los Angeles that contains Museum Row
6. Just over four times the distance from the earth to the moon
7. Goateed sing-along conductor of old TV
8. American financier who pioneered so-called “junk bonds”
9. Little accident
10. Land-based weapon in America’s nuclear arsenal
11. In “Snow White,” the evil queen’s words before “on the wall”
Last week’s challenge
Last week’s challenge comes from Benita Rice, of Salem, Ore. Name a famous foreign landmark (5,4). Change the eighth letter to a V and rearrange the result to make an adjective that describes this landmark. What landmark is it?
Answer
Notre Dame –> Renovated
Winner
Chee Sing Lee of Bangor, Maine
This week’s challenge
This week’s challenge comes from James Ellison, of Jefferson City, Mo. Think of a popular movie of the past decade. Change the last letter in its title. The result will suggest a lawsuit between two politicians of the late 20th century — one Republican and one Democrat. What’s the movie and who are the people?
If you know the answer to the challenge, submit it below by Thursday, April 23 at 3 p.m. ET. Listeners whose answers are selected win a chance to play the on-air puzzle.
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