In the wake of cuts to federal funding for the NEA, Trump’s overreach of executive power became personal for many Austin creatives. Beloved Austin arts institutions, like ZACH Theatre, Austin Film Festival, Women & Their Work, and Austin Theatre Alliance, were left reeling from the cuts, and continue to search for alternative funding sources to ensure the future of their programming. The termination of NEA grants also had devastating impacts on up-and-coming arts organizations and community projects.
Forward ATX, a grassroots, women-driven political advocacy organization, called for artists to rally behind banners representing different sectors of the arts at Saturday’s protest. In the dense crowd, it was easy to spot the gold crowns with “No Kings” printed on them that the group made, lending, as many others did, their creative flair to the rally’s message.
Forward ATX arts committee member Carolyn Cohagan spoke to the crucial role visual art and symbolism often plays in protest and said she hoped the crowns and banners in the crowd could show unity and help create “images that are inspirational for the people who are [at the protest] but are also a little more enduring.”
“No kings, just queens.” – Chant at No Kings protest
Onstage, performers and speakers also sought to inspire the public with enduring artistic messages. Austin’s Raging Grannies, local members of the international activist organization whose name says it all, performed updated parodies of folk songs like Woody Guthrie’s “Union Maid,” evoking America’s long history of advocacy through music. A group of women in chicken costumes danced while calling for Congress to “not chicken out” of enforcing checks and balances. Drag queens served as emcees and unofficial symbols of resistance throughout the protest – “no kings, just queens,” was a common refrain on signs and in chants. In addition to Brigitte Bandit’s Rage Against the Machine performance, local performer and activist Maxine LaQueene closed out the official panel of speakers by thanking the crowd for “positive, peaceful resistance today and every day.”
On the sidewalk near Congress Avenue, far from the stage, music-based activist group ResistDance organized in a drum circle, playing a loose rendition of “This Land Is Your Land” and improvising danceable rhythms.
“We’re trying to bring some joy and raise some spirits,” a drummer told the Chronicle. “Because the things we’re protesting are fucking depressing.” Passersby cracked smiles as they swayed to the music with their signs and flags, the mood lightened for a moment by Austin’s enduring creative spirit.
This article appears in June 20 • 2025.
