BLACK HISTORY MONTH

Connecting with Black History in Washington, DC

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Stevie Wonder in South Africa

Engaging with Black American culture in a global and local context is challenging and it fosters connection, enriches perspectives, and highlights the shared struggles and triumphs that shape our collective sense of purpose.

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How My Experience with Black America Helped Shaped My Purpose

In full transparency, I am a white, East Coast American woman who grew up in various places across the U.S., but my high school years—and what I consider my hometown—were spent in Arlington (South), Virginia, part of the greater D.C. metro area. Living in D.C. at that time, the 90’s and 2000’s, was transformative. The city was evolving into the cosmopolitan, globally connected, tech-savvy, wealthy, and highly educated hub it is today, yet it remained deeply rooted in its history as “Chocolate City,” a center of Black culture, politics, and activism. At that time, and still today, D.C. has a distinct Black identity that I’ve always seen as vibrant, inclusive, and deeply rooted in the city’s culture. It’s reflected in the originality of its artists—Thievery Corporation, Dave Chappelle, Marvin Gaye, Bad Brains, and the unmistakable sound of Go-Go music—all of whom embody the spirit and uniqueness of D.C.

I was fortunate to receive an excellent public school education in a region where discussions about local, national, and international issues were part of daily life. But beyond the classroom, it was my engagement in local social justice work—supporting people experiencing homelessness, working with vulnerable youth, volunteering at free clinics, and advocating for reproductive rights—that truly shaped my worldview. These experiences brought me into the very heart of D.C., working in service to and alongside the Black community leaders, activists, and everyday citizens who were confronting systemic injustices head-on.

At the same time, major historical events were unfolding around us: Rodney King’s beating and the subsequent riots, Nelson Mandela’s release from prison and South Africa’s transition out of apartheid, President George H.W. Bush’s veto of the Civil Rights Act of 1990, the devastating impact of the crack epidemic and mandatory minimum sentencing, the Million Man March, and the highly publicized Clarence Thomas Supreme Court confirmation hearings. These weren’t just headlines—they were lived experiences shaping the people and communities around me.

It wasn’t always comfortable. I didn’t always know what I was doing, and I learned that the classroom hadn’t taught me much, I had to be involved on the ground. So I kept showing up. I listened, I learned, I challenged myself and those around me. I read extensively, asked hard questions, and sat in the discomfort of realizing how much I didn’t know—about history, about systemic racism, and about my own place in it all. I saw firsthand how privilege operates in ways I had never fully understood before, and I defined my role in either upholding or dismantling unjust systems.

The music and arts of the ’90s and 2000s also reflected these struggles. Whether it was Ice Cube, Rage Against the Machine, or Ben Harper, the music carried a consciousness that challenged us to think critically about race, power, and justice. These cultural influences reinforced what I was seeing and learning on the ground, making it impossible to ignore the deep racial and economic divides that persisted in America.

Through these experiences, I came to understand that fighting for justice isn’t about having all the answers—it’s about showing up, listening, learning, being uncomfortable, and using whatever skills and platforms you have to contribute to meaningful change. That realization didn’t just shape my perspective on race and equity in the U.S.—it shaped my entire approach to life and work.

Today, my career is rooted in the work of global public health, community development, and cross-border collaboration. The lessons I learned in D.C. have guided me through my work in Africa, Europe, and beyond, reminding me that real change requires both intention and serious action. My early experiences in Black America didn’t just open my eyes to racial injustice; they transformed my idea of the hard work of finding a purpose—one centered on understanding, equity, and the power of human connection.

***This post is lovingly dedicated to our close family friend, and sixth-generation Washingtonian, Sheila Ross Smith, a beacon of warmth and compassion, who recently passed away in Leander, Texas, on January 17, 2025, at the age of 76. Sheila was born on May 6, 1948, in Washington, D.C., and led a life marked by love, a passion for learning, and an unwavering commitment to her family.

Sheila lived a faith-filled life, quietly but firmly walking in her beliefs. She epitomized selflessness, often putting others before herself, and her loving nature touched all those who had the pleasure of knowing her. In both her personal and professional life, Sheila met each challenge and success with a mix of grace, resilience, and genuine kindness.

We will miss you sweetie!

Shelia (bottom left) with her parents and siblings in Washington, DC.

Later in life, she attended Marquette University, where she earned a Bachelor of Arts in English with a minor in Spanish.

Shelia with her husband and children.

She was a beautiful confidant, a fierce advocate for young people and an enormous basketball fan!

Close friends and co-workers, Shelia with my mother in the 90’s.

They worked together for 20 years at the law firm Morrison and Foerster in Washington, DC.

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Black History in Washington, DC

Washington, DC is an extremely significant center of gravity for Black arts and culture in the US and globally. According to the Pew Research Center’s Jan 2025 ‘Facts About the U.S. Black Population’ report, the DC metro area is home to 1.8 million Black residents making it the third largest in the US. With its deep Southern ties, and as the capital of the US, Washington, DC has long been home to a thriving and influential African American community and one of the major battlegrounds for civil rights. Before the Civil War, the city saw a growing population of free Black residents who worked as skilled artisans, drivers, entrepreneurs, and laborers. By 1850, slave auctions were officially abolished, marking a significant step in the city’s evolving history. Check out African American Heritage Trail Washington, DC for detailed info on exploring significant historical sites in the metro area. Whether you visit DC in February or if you are looking to connect to Black History, the capital has much to offer and inspire in-person and online! I hope you get some inspiration to explore more below.

As always for all things uniquely Washington, DC check out the Washington City Paper.

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Connecting with Black History in Washington, DC

The stunning Smithsonian's National Museum of African American History & Culture is a hands down favorite of ours, and it has a packed live schedule of events and for kids and adults during February to celebrate Black History Month. It’s undeniably stylish, inclusive and drives home that Black history, with all its struggles, triumphs, and complexities, isn’t just a part of America; it is America. The museum is FREE but you’ll need to book tickets online in advance (and download them onto your phone).

National Museum of African American History & Culture

Exhibition: 'Making Black Freedom in the World'

National Museum of African American History & Culture

The Pan-African flag (also known as the Afro-American flag, Black Liberation flag, UNIA flag, and various other names) an ethnic flag representing pan-Africanism, the African diaspora, and/or black nationalism.

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Connecting with Black Arts in Washington, DC

Further down the National Mall is the National Gallery of Art (NGA) celebrating Black Arts and Artists in Feb. The Black Arts Movement was a Black nationalism movement that focused on music, literature, drama, and the visual arts made up of Black artists and intellectuals. This was the cultural section of the Black Power movement, in that its participants shared many of the ideologies of Black self-determination, political beliefs, and African American culture.

The Black Arts Movement started in 1965 when poet Amiri Baraka [LeRoi Jones] established the Black Arts Repertory Theater in Harlem, New York, as a place for artistic expression. Artists associated with this movement include Audre Lorde, Ntozake Shange, James Baldwin, Gil Scott-Heron, and Thelonious Monk. Check out: 28 Overlooked Black Artists to Discover This Black History Month

If you can’t make it to the museum, check out the museum’s dedicated page, it has excellent resources for deepening your understanding of African Americans’ indelible contributions and influence in the arts. The NGA is a FREE museum whose motto is ‘For All the People’ is comprised of two stunning and very different buildings (East - modern and contemporary art; and West - works from the 11th through the 19th centuries), fantastic cafes and gift shops.

*The NGA has an open access policy for images of works of art in their permanent collection which the Gallery believes to be in the public domain. Images of these works are available for download free of charge for any use, whether commercial or non-commercial.

National Gallery of Art

Elizabeth Catlett, Links Together ‘The Art of Looking’

*Virtual Event

National Gallery of Art

West Building’s Sixth Street entrance

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Connecting with Black Music in DC

To really connect to local DC Black musical culture, check out or just ask a local about the beloved "Godfather of Go-Go” Chuck Brown. Go-Go is a subgenre of funk that originated from Black musicians in Washington, D.C., during the mid-1960s to late-1970s and is played in the streets and on the local radios today for EVERYONE to enjoy. Mr Brown and his band, the Soul Searchers, developed a laid-back, rhythm-heavy style of funk performed with one song blending into the next (in order to keep people on the dance floor). Brown has said in interviews that he had adapted the Go-Go beat from a gospel music beat found in black churches.

Go-Go is also heavy on call and response and audience participation. The purpose of call and response is to bring the audience together and to make them feel like family. One call and response is for the audience to chant “Wind me up Chuck!” at the beginning of one of these high octane shows.

To this day, Go-Go maintains a devoted audience in the DC metropolitan area and was named the official music of Washington, D.C., in February 2020.

Get ready to sweat!

For a Go-Go fix: tune into local DC radio station WPGC 95.5 or check out a Chuck Brown 9:30 Club concert on youtube.

Chuck Brown was a fixture on Washington and Maryland music scene as far back as 1966.

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Stevie Wonder in South Africa

Stevland Hardaway Morris - Stevie Wonder

"As an artist, my purpose is to communicate the message that can better improve the lives of all."

For my family, purposeful global living is about finding connection, meaning, and shared experiences across cultures, whether through traditions, values, or everyday moments. As American expats living in several countries over the past few decades, we rely on these moments to keep us both grounded and connected at the same time. For example, in our house, we have a strict family rule: when we hear Stevie Wonder (or the Beastie Boys) playing, we stop, sing along and dance. In February is my daughter’s birthday and as we always do with family birthdays we celebrate by listening and dancing to Stevie Wonder’s Happy Birthday, a tradition from my American childhood. Celebrating her birthday this year with this song transported me back a few years ago to our time in South Africa, where I discovered a beautiful tie between one of America’s most uplifting Black artists and activists, Stevie Wonder, and his lasting influence on modern South African culture.

When we lived in Cape Town were incredibly surprised to find that South African’s have a similar birthday tradition to our wee family—most places and people celebrate by playing, singing, and dancing to Stevie’s Happy Birthday. We first discovered this during my daughter’s fourth birthday party at a local restaurant in Hout Bay (a suburb in Cape Town). When the staff brought out her cake with candles instead of singing the traditional happy birthday song, they all sang Stevie’s version and EVERYONE (parents, kids, other guests) in the restaurant joined in. It was a fantastic surprise! I looked around at my family and knew that for us, this moment was very special and was incredibly welcoming. We also felt immense pride that to us one of America’s best exports, Mr. Wonder an incredible musician and human being, had positively bonded our American expat family to our new community in South Africa. We all felt a powerful connection through song, remembrance and sympathies. I remember, with much pride, my older son saying to his friend that day, “do you know that song was written by Stevie Wonder for Dr. Martin Luther King, to celebrate HIS birthday?” not knowing at the time the deep significance it had in South African culture.

I began to wonder—how and why do South Africans feel connected to an American’s version of Happy Birthday? What I discovered is that the connection runs deep, rooted in the powerful role that Black American music has played in the global fight for racial equality. This one song has both fiercely promoted the incredible work of a revered civil rights leader America and at the same time has served as protest to and a triumph over apartheid in South Africa.

Stevie Wonder wrote “Happy Birthday” and included it on his Hotter Than July album of 1980 as part of his tireless campaign to establish Dr. Martin Luther King Jr.’s January 15th Birthday as a federal holiday. Finally, on January 20, 1986, Martin Luther King, Jr. Day was officially recognized as a US national holiday, celebrating Dr. King’s legacy and reinforcing the ongoing fight for racial justice and solidarity worldwide. Around the same time in South Africa, Wonder’s outspoken support for Nelson Mandela led the apartheid regime to ban his music, turning Happy Birthday and all that it symbolized into a song of protest and resistance in all over the country. Apartheid ended with the formation of a democratic government in 1994 and in 1997, in a show of global support and admiration, Wonder performed Happy Birthday for Mandela’s 80th birthday, reinforcing the deep ties between Black American activism and the fight for global racial equality. When South Africans sing Happy Birthday today it is to celebrate, to unify and to acknowledge the importance of the ongoing fight for racial justice and how that shared consciousness connects and benefits us all, regardless of our race.

‘And we all know everything
That he stood for time will bring
For in peace, our hearts will sing
Thanks to Martin Luther King’

- Stevie Wonder’s Happy Birthday

I once saw Stevie Wonder, in a small club in Adams Morgan in Washington, DC. He was in the audience, really having a great time, beaming, just enjoying everything, especially the music. It was so incredibly special to see him not as a performer, but as a patron, emanating the love and positivity that he writes, sings about and tirelessly campaigns for. I think of that moment any and every time we hear and dance to his bright and powerful voice and am deeply humbled that we can connect to our shared global humanity through his fantastic music.

Black history, whether celebrated through music, art, or activism, is a dynamic and essential part of a shared global experience. From Stevie Wonder’s far reaching and lasting impact on South African culture to the deep-rooted influence of Black arts and music in Washington, DC, these connections remind us that Black history is not just a chapter in one nation’s story—it’s woven into the global fabric of our collective past, present, and future. Whether celebrating a “Happy Birthday” in South Africa or connecting to the African American cultural landscape of DC, these moments of recognition and celebration can unite us in understanding, appreciation, and purpose.