Why One Professor Says 'African American' Still Matters in 2026
A professor's argument for reclaiming 'African American' as a political and cultural identity sparks urgent debate about Black naming, power, and belonging in DC.
In brief
The term 'African American' is more than a label — it is a legal, historical, and political identity that one professor argues Black Americans must actively reclaim. As generational divides and pan-African debates erode consensus around Black naming, the scholar contends that abandoning 'African American' means surrendering hard-won specificity in policy, reparations, and representation.
Key Takeaways
A professor writing in The Root argues that 'African American' is a politically necessary identity, not an archaic relic.
The naming debate intersects directly with reparations policy, federal data collection, and Congressional representation — all live fights in Washington DC.
Generational tension between older civil rights frameworks and younger pan-Africanist or diaspora-first identities is fracturing consensus on Black nomenclature.
Washington DC — a majority-Black city governing itself under a Congress that can override its laws — is ground zero for why this debate carries real stakes.
Scholars warn that erasing the 'African American' designation from legal and policy language could dilute targeted remedies for descendants of American slavery.
The Professor's Argument: Naming as Political Survival
The essay, published in The Root, one of the most-read platforms for Black political commentary in America, centers on a deceptively simple claim: what Black Americans call themselves determines what the government owes them. The professor argues that 'African American' is not merely descriptive — it is prescriptive, encoding a specific history of enslavement, Jim Crow, redlining, and state-sanctioned exclusion that demands a specific remedy.
That distinction matters enormously in 2026, as reparations legislation stalls on Capitol Hill and federal agencies wrestle with how to categorize Black subgroups in census data and benefit programs. When 'African American' gets collapsed into a broad 'Black' category that includes recent immigrants from Nigeria, Jamaica, or Haiti, descendants of American slavery argue their particular claim gets diluted — politically and legally.
The U.S. Census Bureau has grappled with exactly this tension, updating its race and ethnicity categories in recent cycles to allow for greater specificity. But critics say federal data collection still flattens distinctions that matter intensely at the community level — and that matter most when dollars and remedies are on the table.
Washington DC: Where Black Identity Meets Raw Political Power
No city in America makes this debate more concrete than Washington DC. The District is home to roughly 400,000 Black residents — about 41 percent of the population — who have watched their political home rule remain subject to Congressional override since the DC Home Rule Act of 1973. That structural vulnerability is inseparable from the city's Black majority identity. When Congress blocks DC legislation, it is, in measurable terms, blocking the self-governance of one of the most concentrated Black populations in the country.
On U Street NW, once called 'Black Broadway,' and in Anacostia, where longtime residents have watched displacement accelerate through the 2020s, the question of who counts as 'African American' carries generational weight. Howard University — the capstone HBCU on Georgia Avenue — has for decades been a laboratory for exactly this kind of identity debate, producing scholars and activists who have argued both sides with rigor. For more on Howard's role in shaping DC's intellectual and political identity, see our Howard & HBCU Guide.
The Wilson Building, home to the DC Council, has itself seen debates about how to define beneficiaries of equity programs — debates that turn, in part, on whether 'African American' means all Black residents or specifically descendants of those enslaved in America. Councilmembers representing Wards 7 and 8, the District's historically Black wards east of the Anacostia River, have pushed hardest for precision in these definitions.
The Generational Fault Line: Pan-African Identity vs. American Specificity
Among younger Black Americans — particularly those under 35 — the term 'African American' sometimes reads as a previous generation's construction, one that feels geographically presumptuous and insufficiently global. Many prefer simply 'Black,' a term that feels more inclusive of the diaspora: Afro-Caribbean, Afro-Latinx, and continental African identities that don't fit neatly into the American slavery narrative.
The professor's essay pushes back on this instinct directly. Solidarity across the diaspora, the argument goes, is a virtue — but it cannot come at the cost of erasing the specific legal personhood that 'African American' has come to represent in American jurisprudence and policy. The two can coexist: one can embrace pan-African solidarity without surrendering the particular claim that descendants of American slavery hold against the American state.
This tension echoes arguments made by scholars like Kimberlé Crenshaw and Nikole Hannah-Jones, whose 1619 Project in The New York Times Magazine similarly argued that the Black American experience is foundationally, specifically American — and that pretending otherwise obscures the debt owed. For broader context on DC's political influence landscape, visit our Political Influence Rankings.
Washington DC is not a passive backdrop to this debate — it is a principal actor. The District's non-voting delegate to Congress, Eleanor Holmes Norton, has spent decades fighting for DC statehood precisely because the city's Black majority deserves the full weight of Congressional representation. That fight is, at its core, an argument about whether 'African American' political identity translates into federal power — and right now, the answer remains painfully incomplete.
Reparations proposals moving through Congressional committees in 2026 — including study commissions descended from H.R. 40, the reparations bill first introduced by the late Rep. John Conyers in 1989 — hinge on definitional questions that the professor's essay addresses head-on. Who is owed? How do we define the harmed class? The answer almost certainly requires the specificity that 'African American,' properly defined, provides.
Beyond legislation, the naming debate shapes how DC's cultural institutions — from the National Museum of African American History and Culture on the Mall to the Anacostia Community Museum — frame their missions and their audiences. These are not abstract questions for museum curators. They determine programming, acquisition, and whose stories get told as central rather than supplemental. Track the power players driving this conversation in our DC Power Players Index.
The Naming Debate as a Policy Pressure Point
Federal agencies including the Department of Housing and Urban Development and the Small Business Administration use racial categories to target programs meant to address historical inequity. When those categories are broad, benefits can flow to populations that — whatever their own experiences of racism — did not experience the specific generational wealth destruction of American slavery and Jim Crow.
According to Pew Research Center, Black immigrants now represent approximately 10 percent of the total Black population in the United States, a share that has grown significantly since 2000. That demographic shift makes the definitional question more urgent, not less — because equity programs designed with one population's history in mind are increasingly serving a more diverse Black population whose needs, while real, are not identical.
The professor's argument is not a call for exclusion. It is a call for precision — the kind of precision that the law requires when it tries to remedy a specific harm. And in a city where policy language can mean the difference between a family in Congress Heights getting a first-time homebuyer grant or not, precision is everything. For a deeper dive into how DC's political structures shape these outcomes, see our DC Politics Guide 2026.
What the Academy and the Streets Agree On
For all the theoretical freight the naming debate carries inside faculty lounges and think tanks, the view from Petworth or Deanwood is often more pragmatic: people want their history acknowledged, their community's specific sacrifices recognized, and their children's futures protected by policy that knows exactly who it's for.
The professor's essay, published on a platform read by millions of Black Americans who are not academics, lands in that space. It doesn't ask readers to choose between 'Black' and 'African American' as a matter of personal expression. It asks them to understand that in the arena of law, policy, and political representation, the name you answer to determines the remedy you receive.
That is a lesson Washington DC — a city that has been governed, surveilled, displaced, and resilient across generations of Black life — understands in its bones.
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FAQ: African American Identity, Naming, and Policy
Q: Why does the term 'African American' matter politically? A: 'African American' functions as a legal and historical category that connects descendants of American slavery to specific policy remedies, including reparations proposals, equity programs, and civil rights protections. Abandoning the term in favor of a broader 'Black' category risks diluting those targeted remedies.
Q: How does the naming debate affect reparations legislation? A: Reparations proposals like H.R. 40 must define who qualifies as a harmed class. If the definition is broad, it may include Black immigrants or others whose histories, while marked by racism, differ from descendants of American slavery. Precision in naming directly shapes who receives remedies.
Q: What is the difference between 'Black' and 'African American'? A: 'Black' is a broad, diaspora-inclusive racial identity. 'African American' is a more specific term that many scholars argue refers to descendants of enslaved Africans in the United States, encoding a particular historical and legal claim against the American state.
Q: How does Washington DC's Black population fit into this debate? A: DC's roughly 400,000 Black residents include longtime descendants of American slavery alongside growing immigrant communities from Africa, the Caribbean, and Central America. How the city and federal government define 'African American' determines how equity programs, housing grants, and representation are allocated.
Q: Does the U.S. Census recognize 'African American' as a separate category? A: The Census Bureau has updated its race and ethnicity categories in recent cycles to allow greater specificity, but the core racial category remains 'Black or African American' as a combined designation. Advocates for reparations and targeted equity programs argue that finer distinctions are needed in federal data collection.
Q: Which DC institutions are most engaged with this identity debate? A: Howard University, the National Museum of African American History and Culture on the National Mall, the Anacostia Community Museum, and the DC Council — particularly members representing Wards 7 and 8 — are among the most active institutional voices in DC's ongoing conversation about Black identity and policy.
The bottom line: A professor's essay in The Root reframes 'African American' not as a generational preference but as a political necessity — a term that carries legal weight, historical specificity, and policy consequence. In Washington DC, where Black residents have fought for home rule, statehood, and equity for generations, the stakes of this naming debate extend well beyond semantics. What Black Americans call themselves in 2026 may well determine what the American government owes them — and how soon.
What to watch next: Follow the progress of H.R. 40 reparations study commission legislation in the 119th Congress, the Census Bureau's next round of race category revisions, and Howard University's fall 2026 symposium on Black identity and federal policy — each will test exactly how much this naming debate shapes real outcomes in the halls of power, just blocks from where much of Black America's political history was made.
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.