The Justice Department said in a court filing that thunderstorms created safety risks for workers carrying out the removal work and requested an extension until Saturday afternoon.

Democratic Representative Joyce Beatty of Ohio, who filed the lawsuit, opposed the request, calling the delay unacceptable and part of what she described as a pattern of failing to comply with the court’s order.

A federal judge in Washington had earlier rejected a request from the administration and the Kennedy Center board to pause the removal order while an appeal moved forward.

US District Judge Christopher Cooper ruled that only Congress has the authority to rename the performing arts venue, which was established as a memorial to former President John F. Kennedy.

The administration appealed the decision to the US Court of Appeals for the District of Columbia Circuit, which also declined to suspend the order.

Attorneys for Beatty said the law was clear that changing the Kennedy Center’s name required congressional action.

The Kennedy Center opened in 1971 as a memorial to Kennedy, who was assassinated in 1963. After Trump appointed several board members, the board voted in December to rename the center to include his name.

Trump announced plans earlier this year for a major renovation of the center as part of a broader effort to reshape Washington’s landmark sites.

A new examination of Hindustani classical music has turned attention towards khayal, a centuries-old vocal tradition, and the lesser-known musicians who continue to preserve its complex practices outside the mainstream cultural spotlight.

The book “The Secret Master Arun Kashalkar and a Journey to the Edge of Music” explores the journey of a khayal performer and examines the changing environment surrounding Indian classical music, including questions of commercialisation, institutional support and the survival of traditional learning systems.

The author described the work as both a biography and an analysis of the wider ecosystem in which Hindustani music exists. The book traces the evolution of khayal while looking at the challenges faced by musicians who maintain demanding artistic traditions away from popular platforms.

At a discussion in Chennai, the author spoke about the relationship between Hindustani and Carnatic music, saying that greater interaction between the two classical traditions could benefit performers and audiences.She said khayal attracted her because of its wide range of tempos and its emphasis on gradual musical development.

The form allows performers to move from slow, expansive passages to faster compositions while exploring different emotional and technical possibilities.Her interest in the subject deepened after she heard Arun Kashalkar perform at a small concert in Mumbai in 2016.

She later became connected with his teaching community and began exploring his approach to music and the broader tradition he represented.Kashalkar’s style combines elements from three different gharanas, or schools of Hindustani classical music.

The author said studying his career revealed the existence of a larger group of musicians who work within highly specialised traditions but remain outside the main cultural conversation.She said the book was written to understand why such musicians exist on the margins and to examine the relationship between mainstream recognition and lesser-known artistic practices.

The author said she interviewed leading figures in Mumbai’s Hindustani music community and attempted to address difficult questions rather than present a purely celebratory account of one musician.The book also explores the personal sacrifices involved in pursuing classical music at the highest level.

It examines the physical and emotional demands of long-term training and the challenges faced by artists when changing economic conditions affect opportunities for performance and recognition.

The discussion also focused on the changing place of classical music in contemporary India, where social media, commercial sponsorship and entertainment markets have altered how audiences engage with traditional art forms.

A noted Carnatic musician involved in the conversation said the book raises questions about how classical traditions survive in a culture increasingly shaped by commercial pressures.The author argued that khayal remains connected to India’s diverse cultural history and that its practitioners continue to recognise the contributions of different communities, including Muslim musicians and historical figures who helped develop the form.

However, she said the tradition faces pressure from broader cultural and economic changes. She described current debates around Indian culture as being influenced by political ideology, market forces and the demand for easily consumed entertainment.

According to her, this environment creates difficulties for art forms that require patience, concentration and long-term engagement from both performers and listeners.She said khayal represents a less visible part of India’s cultural heritage and requires stronger support systems to survive.

The discussion highlighted the role of institutions that provide performance opportunities and support for musicians. Some organisations have attempted to promote Hindustani classical music through specialised programmes, but the scale of support remains limited compared with investment in other international cultural events.

The shortage of performance spaces outside traditional centres of Hindustani music was also discussed. Chennai, known internationally for its Carnatic music tradition, has relatively fewer regular platforms for Hindustani performances despite interest among audiences.

The Carnatic musician said the city needs more smaller venues where younger performers can develop audiences and sustain their careers.“The problem in the South is that the only kind of Hindustani music we experience is one built around corporate sponsorships and superstar talent,” he said, arguing that smaller performance spaces could help create stronger ecosystems for emerging artists.

The author said the survival of the guru-shishya parampara, the traditional teacher-student relationship central to Indian classical music, depends on recognising the economic realities faced by teachers and students.She said institutions need to provide resources that allow gurus to continue teaching and allow students to pursue rigorous training without financial insecurity.

“We need institutional frameworks that will give these gurus money and other resources,” she said.The discussion also raised the possibility of expanding gurukul-style models across the country and creating stronger links between cultural institutions, artists and journalists who cover the arts.

The author said khayal currently faces uncertainty but expressed cautious optimism about its future.Ending the book on an ambiguous note, she referred to a Chinese proverb: “Dying embers can still start a fire.”

A historic theatre in Kyiv prepared to stage a scheduled performance despite suffering damage from a Russian attack that struck part of the Ukrainian capital, highlighting the efforts of cultural institutions to maintain operations during the war.

The attack affected the Lukianivka district, where fire swept through a shopping mall and market complex, leaving significant destruction in the surrounding area. Buildings near the site also sustained damage from the blast.

Among them was the Mala Opera, a small theatre and performance venue located across the street from the damaged shopping centre. In the aftermath of the strike, workers began carrying out emergency repairs to prevent further deterioration of the building.

Oleksandr Buryma, the venue’s chief technician, said crews were installing plastic sheeting over shattered windows as a temporary measure. According to Buryma, the building’s roof had also been damaged, while a section of the rear wall was blown out by the impact of the attack.The theatre occupies an early 20th-century structure that has long served as a cultural venue in Kyiv.

Originally established as a community centre for tram workers, the building has evolved into a performance space known for hosting theatre productions and musical events.Despite the damage, management intended to proceed with a scheduled performance on the evening of May 29.

Buryma said the venue was preparing to stage Railroad, a play by U.S. writer Bryan Reynolds that is set during the rise of Nazism.The decision to continue with the production reflected a broader effort by Ukrainian cultural institutions to preserve public life and artistic activity despite the challenges posed by the conflict.

Throughout the war, theatres, museums and cultural organisations across Ukraine have sought to remain operational where security conditions permit.At the Mala Opera, the immediate focus remained on stabilising the damaged building while ensuring the scheduled performance could proceed.

Temporary repairs were underway as staff worked to address the effects of the strike and maintain the venue’s ability to host audiences.

The scene underscored the impact of the conflict on civilian infrastructure in Kyiv, where attacks have periodically damaged residential, commercial and cultural sites. It also illustrated the determination of cultural workers to continue operations despite the risks and disruptions associated with the war.

As repair work continued around the venue and evidence of the attack remained visible across the district, theatre staff prepared for the evening performance, seeking to keep the stage active even as recovery efforts unfolded outside the building.