Why One Professor Says 'African American' Is Still Essential in 2026
A scholar makes the case for reclaiming 'African American' as a precise, powerful identity term — and why the debate matters more than ever in 2026.
In brief
The term 'African American' is not redundant — it's irreplaceable. That's the argument a prominent professor is making in The Root, contending that the identity carries specific historical, legal, and political weight rooted in the American slavery experience that no other term replicates. As identity discourse fractures across race, ethnicity, and immigration status, the case for precision has never been more urgent.
Key Takeaways
A professor writing in The Root argues that 'African American' holds irreplaceable legal and historical specificity tied to descendants of American slavery.
The terminology debate is intensifying in 2026 as Black immigrant communities, multiracial Americans, and shifting political rhetoric complicate shared identity frameworks.
Abandoning 'African American' risks erasing the distinct political claims of descendants of enslaved people — including reparations advocacy and targeted policy protections.
Howard University scholars and DC-based cultural institutions have long anchored this debate, making Washington a central arena for how Black identity gets defined and deployed.
The argument is not anti-Black — it is pro-precision, asserting that specificity strengthens rather than divides collective power.
The Core Argument: Identity as Political Infrastructure
The professor's argument, published in The Root — one of the most-read Black digital publications in America — is deceptively simple: the phrase 'African American' does political and historical work that 'Black' alone cannot. 'Black' is a racial descriptor. 'African American' is an ethnic and national identity tethered to a specific lineage — one that survived the Middle Passage, chattel slavery, Reconstruction's betrayal, Jim Crow, and the ongoing fight for full citizenship.
That distinction matters enormously in policy arenas. Reparations legislation, affirmative action frameworks, and targeted social programs have historically been constructed around the experiences of descendants of enslaved African Americans — not the broader category of Black people globally. When the terminology blurs, the political targeting blurs with it.
The NAACP, whose name literally encodes both 'colored' and 'advancement' as historical artifacts, has long navigated this tension. But the urgency is sharper now. The United States Census Bureau reported that the Black immigrant population grew significantly through the 2010s and 2020s, with communities from Nigeria, Ethiopia, Jamaica, Haiti, and beyond reshaping the demographic texture of Blackness in America — including in Washington, DC's own neighborhoods, from Petworth to Takoma to Prince George's County.
For the purposes of DC politics and policy, the stakes are concrete: who qualifies for minority business contracts, who is centered in police reform conversations, who reparations frameworks are designed to reach.
Washington DC as the Crucible of Black Identity Politics
No city in America has more at stake in this debate than Washington, DC. The District has been majority-Black for much of its modern history, though rapid gentrification has shifted those numbers dramatically — The Washington Post has documented how DC's Black population percentage dropped from roughly 60% in 2000 to under 41% by the early 2020s, with displacement concentrated in Wards 5, 7, and 8 east of the Anacostia River.
That demographic reality makes identity terminology more than academic. Which Black residents get policy protection? Whose history is centered in the DC Public Schools curriculum? Whose businesses qualify for DC's certified business enterprise programs? The answers depend, in part, on how 'African American' is defined and applied.
DC power players in the Wilson Building — including members of the DC Council who represent majority-Black wards — are acutely aware of this. The push for a DC reparations commission, which gained traction in 2024 and 2025, specifically centers descendants of American slavery, using 'African American' as the operative legal term rather than the broader racial category.
Howard University, the crown jewel of HBCUs anchored in the Shaw neighborhood, sits at the intellectual center of this conversation. Howard's Departments of Afro-American Studies and Political Science have produced scholars who argue consistently that ethnic specificity within Blackness is not division — it is accuracy. As our Howard & HBCU guide documents, Howard's intellectual tradition is inseparable from the project of defining and defending African American identity on the national stage.
Why 'Black' Alone Isn't Enough — And Why That's Not an Insult
The professor's argument is careful to distinguish precision from hierarchy. Saying 'African American' describes a specific community is not a claim that African Americans are more authentically Black, more worthy of solidarity, or more deserving of respect than Black people from the Caribbean, Africa, or elsewhere. It is a claim about legal standing, historical specificity, and policy targeting.
Consider the reparations debate. The most prominent federal legislation — H.R. 40, the Commission to Study and Develop Reparation Proposals for African Americans — has been reintroduced in every Congress since 1989. The bill's very title uses 'African Americans' with legal precision. It is not a bill for all Black people globally. It is a bill for a specific community defined by descent from enslaved people held in the United States. Strip the terminology, and the legal architecture collapses.
This is the professor's sharpest point: identity language is legal infrastructure. When communities abandon precise terminology under social pressure or in the name of pan-Black solidarity, they can inadvertently dismantle the scaffolding that holds targeted policy together.
It's a point that resonates far beyond academic journals. NPR's Code Switch has covered the identity terminology debate for years, documenting how younger Black Americans in particular navigate multiple, sometimes competing identity frameworks simultaneously — 'Black,' 'African American,' 'Afro-Latino,' 'Afro-Caribbean,' and more.
Why This Matters in Washington
Washington, DC is where Black identity gets operationalized into law. Every federal agency, every congressional caucus, every municipal contract program, every census category begins here. The political influence rankings of Black lawmakers on the Hill — from the Congressional Black Caucus to DC's own non-voting delegate Eleanor Holmes Norton — are shaped by who those lawmakers are understood to represent and advocate for.
The professor's argument lands with particular force in a city where the Black community is simultaneously the historical cultural backbone of DC and a population under active demographic and political pressure. When identity terminology gets loose, so does accountability. Precision is not just philosophical — it's protective.
The debate also plays out in DC's cultural institutions, from the Smithsonian National Museum of African American History and Culture on the National Mall — which uses 'African American' in its very name — to the Anacostia Community Museum, which has documented Black Washington life for over 50 years. These institutions make a curatorial argument every day: this history belongs to a specific people with a specific name.
Track more stories like this through our Culture and Politics coverage, and explore where DC's Black community intersects with power moves reshaping the city.
The Forward View: Identity in a Fractured Political Moment
The professor's essay arrives at a moment when the political right is actively working to dismantle race-conscious policy frameworks, and when some on the left argue that class-based universalism should supersede racial specificity. Both pressures, however ideologically opposite, push toward the same outcome: the erosion of 'African American' as a legally and politically operative category.
That's precisely why the argument for reclaiming and defending the term is not nostalgic — it's strategic. The communities most harmed by the collapse of precise identity language are the ones least able to absorb that loss: descendants of enslaved people who have waited generations for the specific redress they are owed.
The bottom line: 'African American' is not an outdated term waiting to be replaced by something more inclusive. It is a precise, hard-won identity with legal, historical, and political teeth. The professor's argument, published in The Root and resonating across DC's corridors of power and culture, is a reminder that in Washington, the words we use are never just words — they are policy, power, and promise.
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FAQ: The 'African American' Identity Debate
Q: What is the difference between 'Black' and 'African American'? A: 'Black' is a broad racial descriptor that encompasses people of African descent from anywhere in the world. 'African American' is a more specific ethnic and national identity referring primarily to descendants of enslaved Africans brought to the United States. The distinction matters significantly in legal and policy contexts, including reparations legislation and affirmative action frameworks.
Q: Why does the professor argue we must 'become' African American rather than simply 'be' African American? A: The argument is that African American identity must be consciously claimed and defended — not passively inherited. In a political environment where race-conscious terminology is under attack from multiple directions, active identification with the term preserves the legal and political infrastructure built around it.
Q: How does this debate affect DC-specific policy? A: In Washington, DC, the terminology directly impacts who qualifies for minority business enterprise certifications, who is centered in reparations commission deliberations, and how public school curricula frame Black history. The DC Council's ongoing discussions around a local reparations framework use 'African American' as the operative legal term.
Q: What is H.R. 40 and how does it relate to this debate? A: H.R. 40 is the Commission to Study and Develop Reparation Proposals for African Americans, reintroduced in every Congress since 1989. Its title deliberately uses 'African Americans' to specify descendants of enslaved people in the United States — not all Black people globally. The legal precision of the terminology is foundational to the bill's scope and intent.
Q: Does arguing for 'African American' specificity divide the broader Black community? A: Proponents argue the opposite — that precision strengthens collective advocacy by making policy targeting more accurate and legally defensible. The argument is not that African Americans are more deserving than other Black communities, but that specific historical injuries require specific remedies, and those remedies require specific language.
Q: Where does Howard University fit into this conversation? A: Howard University in DC's Shaw neighborhood has been a central intellectual hub for African American identity scholarship for over 150 years. Its faculty and alumni have consistently argued that ethnic specificity within Blackness is a form of accuracy, not division — making Howard a key institutional voice in the ongoing terminology debate.
What to Watch Next: The DC Council's reparations commission deliberations, expected to advance further in 2026, will force a public, legal answer to exactly these terminology questions. Watch also for Howard University's fall 2026 symposium calendar — the institution reliably produces the scholarship that shapes how 'African American' gets defined in federal policy. And follow the Congressional Black Caucus as it navigates the H.R. 40 reintroduction push, where the precise language of African American identity will face its most consequential test yet.
Reporting drawn from: The Root. Washington DC Magazine provides original analysis, DC-specific context, and editorial perspective beyond the source material.This article was produced with AI assistance and reviewed by WDCM editorial staff. Washington DC Magazine is committed to accuracy, transparency, and editorial integrity. If you believe any information in this article requires correction, please contact editor@washingtondcmagazine.com.
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CAN I KICK IT? screens New Jack City at the Sylvan Theater, Washington Monument, on Aug. 22. (Courtesy SHAOLIN JAZZ)
The live-cinema series CAN I KICK IT? returns to the National Mall this month with what its producers are calling the "Gangsters on the Mall" chapter of their free outdoor summer run. On Saturday, August 22, the SHAOLIN JAZZ production brings the 1991 crime classic New Jack City to the Sylvan Theater at the Washington Monument for a night of film, music, and community under the DC summer sky.
What sets the event apart is the sound. As the film plays, DJ 2-Tone Jones builds an original score in real time, reimagining one of the most iconic crime movies of the ’90s through hip-hop, soul, funk, and more. It is less a movie screening than a live performance built around the film.
The details:
Film: New Jack City (1991), with a live soundtrack by DJ 2-Tone Jones
When: Saturday, August 22 — seating opens at 7:30 p.m. (bring lawn chairs and blankets); film begins at 8:30 p.m.
Where: Sylvan Theater at the Washington Monument, Independence Ave SW & 15th St NW
A parking note from the organizers: expect road closures and restricted parking east of 14th Street NW due to a separate race event in the District. Roads west of 14th Street NW will be accessible and available for parking.
New Jack City is the second of three screenings in this year’s free CAN I KICK IT? outdoor series, which opened with Black Panther at Skyland Town Center and concludes with Scarface at the Lincoln Memorial on September 5. Produced by the Washington, DC-based multimedia arts company SHAOLIN JAZZ, the series has presented more than 150 live cinematic experiences at venues across the country, from Lincoln Center to SXSW.
"I wanted to be able to tell good stories with substance and remove the ‘ego’ out of the art," said Andrew Huang during a recent interview. Now, he’s building his career at the intersection of discipline, creativity and innovation.
Andrew Huang, founder of New Place Studios. (Courtesy photo)
As a Chinese American, Huang was reared with a deep respect for hard work, consistency and excellence. He describes his childhood as "not so affluent" and later attended college to hone his passion for videography. "In college I tried to do something I loved, which was video, but along the way I knew that I had to find a job. And so I thought, ‘what was the low hanging fruit to get to that stable 9 to 5 job?,’" he stated.
Later in life, Huang found himself working for corporations where his creativity was often limited, eventually leading to burnout. "I worked in a corporation for a long time and there were a lot of missing pieces. I wanted to fill in gaps missing in corporate video production," said Huang.
He later described how his upbringing and a mindset of "survival" led him toward a corporate career. However, his desire for balance and authentic storytelling ultimately pushed him to take the entrepreneurial leap.
"I founded a new place where you can create video and film with ‘substance and style,’" said Huang. His desire for work-life balance and passion for storytelling naturally evolved into a small business based in Virginia. With the launch of New Place Studios, the entrepreneur quickly found himself reconnecting with the values that would become the foundation of everything he creates behind the camera.
Huang said being a business owner has allowed him to first embrace himself. While others may see video as simply capturing moments, he sees it as a way to preserve stories that inspire, connect and leave a lasting imprint.
By combining cinematic visuals with cutting-edge production techniques and a keen understanding of branding, Huang helps organizations and individuals communicate their vision with purpose. He said understanding a client’s "why" serves as the compass for delivering the services they need.
One benefit of working with a small business, he said, is that clients get to see the production process unfold through a micro lens while working with the same faces throughout the entire project. "The work feels personal," said Huang.
Huang does not regret leaving behind the flash-over-substance mentality and corporate hustle culture. That does not mean the Asian American entrepreneur has been without challenges in the industry. "It’s relatively hard to find other Asian American creatives or people who would want to work with me in the DMV," said Huang.
He identifies the industry culture in which everyone is trying to blend in, creatives may fear displaying their Asian identity and some feel pressure to adopt an American corporate persona. He also points to what he describes as a level of gatekeeping within the industry. According to the U.S. Small Business Administration’s 2024 statistics, Asian American and Pacific Islander entrepreneurs own more than 3 million businesses and employ 5.2 million people in the United States.
After tapping into organizations such as SCORE, which offers free small business mentorship, New Place Studios has become a trusted creative partner throughout the DMV (Washington, D.C., Maryland and Virginia). The company produces a range of creative services, including commercials, corporate branding, documentaries, film, 2D animation, motion graphics and photography.
For Huang, entrepreneurship has become more than a departure from corporate life. It has given him the freedom to create with intention, build meaningful connections and tell stories that go beyond the surface.
The 2026 CAN I KICK IT? outdoor series. Poster courtesy of SHAOLIN JAZZ.
For three Saturdays this summer, some of Washington’s most familiar public spaces will do something they rarely do after dark: fill up with blankets, lawn chairs, and the sound of a movie being scored live, in real time. CAN I KICK IT?, the traveling “live cinema” series produced by the DC-based multimedia arts company SHAOLIN JAZZ, is bringing a free outdoor run to the city — pairing three era-defining films with an original soundtrack performed on the spot by DJ 2-Tone Jones.
The premise is what sets it apart from a normal screening in the park. Rather than simply pressing play, 2-Tone Jones builds a score as the film unfolds, pulling from hip-hop, soul, funk, jazz, rock, electronic music, and sounds from around the world. The result, the organizers say, is less a movie night than a one-time performance — the same film you know, wired to a soundtrack you have never heard and will not hear again. Guest DJs warm up the crowd starting at 7:30 PM before each 8:30 PM screening.
The 2026 outdoor schedule
All three events are free and open to the public.
Saturday, August 8 — Black Panther at Skyland Town Center. A pop-up marketplace and community activities kick off the evening; guest DJs at 7:30 PM, film at 8:30 PM. Marvel’s superhero epic gets a one-night-only live score in Southeast DC.
Saturday, August 22 — New Jack City at the Sylvan Theater, Washington Monument. Seating begins at 7:30 PM; the film starts at 8:30 PM. The 1991 crime drama plays out at the foot of one of the country’s most recognizable landmarks.
Saturday, September 5 — Scarface at the Lincoln Memorial. Seating at 7:30 PM; film at 8:30 PM. The series closes with Brian De Palma’s crime saga against the backdrop of the Memorial, scored live from start to finish.
First up: Black Panther at Skyland Town Center on August 8. Poster courtesy of SHAOLIN JAZZ.
A DC company with a national footprint
SHAOLIN JAZZ describes itself as a Washington-based arts company working at the intersection of music, film, art, and culture, and CAN I KICK IT? is its signature production. According to the organizers, the series has staged more than 150 live cinematic experiences around the country — at performing arts centers, museums, festivals, and cultural institutions including Lincoln Center in New York, SXSW, the Denver Center for the Performing Arts, Republic Square in Austin, the Tacoma Armory, and The Cary Theater.
“CAN I KICK IT? has always been about creating a shared experience,” said Gerald Watson, co-founder of SHAOLIN JAZZ. “When you combine iconic films with live music in public spaces, something special happens. People aren’t just watching a movie — they’re experiencing it together. That’s what makes these nights so memorable.”
Cinema as a community event
The DC run lands as cities across the country look for new ways to activate public space through arts and culture — and this series is a straightforward pitch for how to do it: take a landmark everyone already knows, add a film everyone has an opinion about, and let a live soundtrack turn the evening into something neighbors experience shoulder to shoulder. Families, film buffs, and music fans are all invited, and admission won’t cost a thing.
The CAN I KICK IT? outdoor series runs August 8, August 22, and September 5. All events are free; check SHAOLIN JAZZ (shaolinjazz.com) for the latest details and any weather updates before heading out.