US Changes How It Categorizes People by Race and Ethnicity in First Revision in 27 Years

An envelope containing a 2020 census letter mailed to a US resident is seen, April 5, 2020, in Detroit. (AP)
An envelope containing a 2020 census letter mailed to a US resident is seen, April 5, 2020, in Detroit. (AP)
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US Changes How It Categorizes People by Race and Ethnicity in First Revision in 27 Years

An envelope containing a 2020 census letter mailed to a US resident is seen, April 5, 2020, in Detroit. (AP)
An envelope containing a 2020 census letter mailed to a US resident is seen, April 5, 2020, in Detroit. (AP)

For the first time in 27 years, the U.S. government is changing how it categorizes people by race and ethnicity, an effort that federal officials believe will more accurately count residents who identify as Hispanic and of Middle Eastern and North African heritage.

The revisions to the minimum categories on race and ethnicity, announced Thursday by the Office of Management and Budget, are the latest effort to label and define the people of the United States. This evolving process often reflects changes in social attitudes and immigration, as well as a wish for people in an increasingly diverse society to see themselves in the numbers produced by the federal government.

"You can’t underestimate the emotional impact this has on people," said Meeta Anand, senior director for Census & Data Equity at The Leadership Conference on Civil and Human Rights. "It’s how we conceive ourselves as a society. ... You are seeing a desire for people to want to self-identify and be reflected in data so they can tell their own stories."

Under the revisions, questions about race and ethnicity that previously were asked separately on forms will be combined into a single question. That will give respondents the option to pick multiple categories at the same time, such as "Black," "American Indian" and "Hispanic." Research has shown that large numbers of Hispanic people aren't sure how to answer the race question when that question is asked separately because they understand race and ethnicity to be similar and they often pick "some other race" or do not answer the question.

A Middle Eastern and North African category will be added to the choices available for questions about race and ethnicity. People descended from places such as Lebanon, Iran, Egypt and Syria had been encouraged to identify as white, but now will have the option of identifying themselves in the new group. Results from the 2020 census, which asked respondents to elaborate on their backgrounds, suggest that 3.5 million residents identify as Middle Eastern and North African.

"It feels good to be seen," said Florida state Rep. Anna Eskamani, a Democrat from Orlando whose parents are from Iran. "Growing up, my family would check the ‘white’ box because we didn’t know what other box reflected our family. Having representation like that, it feels meaningful."

The changes also strike from federal forms the words "Negro" and "Far East," now widely regarded as pejorative, as well as the terms "majority" and "minority," because they fail to reflect the nation’s complex racial and ethnic diversity, some officials say. The revisions also encourage the collection of detailed race and ethnicity data beyond the minimum standards, such as "Haitian" or "Jamaican" for someone who checks "Black."

The changes to the standards were hammered out over two years by a group of federal statisticians and bureaucrats who prefer to stay above the political fray. But the revisions have long-term implications for legislative redistricting, civil rights laws, health statistics, and possibly even politics as the number of people categorized as white is reduced.

Donald Trump, the presumptive GOP nominee for president, recently alluded to arguments made by people who allege Democrats are promoting illegal immigration to weaken the power of white people. As president, Trump unsuccessfully tried to disqualify people who were in the United States illegally from being included in the 2020 census.

Momentum for changing the race and ethnicity categories grew during the Obama administration in the mid-2010s, but was halted after Trump became president in 2017. It was revived after Democratic President Joe Biden took office in 2021.

The changes will be reflected in data collection, forms, surveys and the once-a-decade census questionnaires put out by the federal government, as well as in state governments and the private sector because businesses, universities and other groups usually follow Washington's lead. Federal agencies have 18 months to submit a plan on how they will put the changes in place.

The first federal standards on race and ethnicity were produced in 1977 to provide consistent data across agencies and come up with figures that could help enforce civil rights laws. They were last updated in 1997 when five minimum race categories were delineated — American Indian or Alaska Native, Asian, Black or African American, Native Hawaiian or other Pacific Islander and white; respondents could pick more than one race. The minimum ethnic categories were grouped separately as not Hispanic or Hispanic or Latino.

The interagency group that worked on the latest revisions noted that categories are sociopolitical constructs, and race and ethnicity are not defined biologically or genetically.

Racial and ethnic categories used by the US government reflect their times.

In 1820, the category "Free Colored People" was added to the decennial census to reflect the increase in free Black people. In 1850, the term "Mulatto" was added to the census to capture people of mixed heritage. American Indians were not explicitly counted in the census until 1860. Following years of immigration from China, "Chinese" was included in the 1870 census. There was not a formal question about Hispanic origin until the 1980 census.

Not everyone is on board with the latest revisions.

Some Afro Latinos feel that combining the race and ethnicity question will reduce their numbers and representation in the data, though previous research by the US Census Bureau did not find significant differences among Afro Latino responses when the questions were asked separately or together.

Mozelle Ortiz, for instance, is of mixed Afro Puerto Rican descent. She feels the changes could eliminate that identity, even though people can choose more than one answer once the race and ethnicity questions are combined.

"My entire lineage, that of my Black Puerto Rican grandmother’s and all other non-white Spanish speaking peoples, will be erased," Ortiz wrote the interagency group.

Others are unhappy about how some groups of people such as Armenians or Arabs from Sudan and Somalia were not included in the examples used to define people of Middle Eastern or North African background.

Maya Berry, executive director of the Arab American Institute, said that while she was "incredibly happy" with the new category, that enthusiasm was tempered by the omissions.

"It is not reflective of the racial diversity of our community," Berry said. "And it’s wrong."



China’s Porcelain City Carries Centuries-old Heritage to New Generation

Chinese porcelain artist Chen Qing holds up two cups after painting them in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)
Chinese porcelain artist Chen Qing holds up two cups after painting them in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)
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China’s Porcelain City Carries Centuries-old Heritage to New Generation

Chinese porcelain artist Chen Qing holds up two cups after painting them in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)
Chinese porcelain artist Chen Qing holds up two cups after painting them in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)

Chinese porcelain artist Chen Qing has a vivid memory of her grandfather. It was the only time he wrote down the formula for her family’s distinctive red pigment.

He asked her mother to memorize it and burned the paper minutes later. The secret has since been passed down orally from one generation to the next.

“My mother did not reveal the formula to me until I was over 30,” Chen said.

Her family has practiced the craft since around 1860 in Jingdezhen, known as China’s “Porcelain Capital.” It is located in Jiangxi province, about 1,180 kilometers (735 miles) southeast of Beijing.

Students practice traditional ceramic craftsmanship at Zhan Shao Ceramic Arts Practice Base in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)

Jingdezhen’s pottery-making history spans more than 2,000 years. It began during the Han Dynasty, and its porcelain sites were inscribed on UNESCO’s World Heritage List in 2026.

Small details take years to master Jingdezhen’s craftsmen have kept alive techniques once used to produce porcelain for the imperial court. That knowledge later spread to private artisans.

Chen’s ancestors adopted some of those traditions after the fall of the Qing Dynasty in 1912.

“The craft is very difficult for an outsider to master,” The Associated Press quoted Chen as saying. “A family might spend nearly a century developing a single technique.”

Two tables in her studio are covered with brushes, unfinished pieces and pigments. She works in silence, a lamp lighting her strokes.

Chen’s fingers never touch the porcelain’s surface. She steadies her hand against its outer edge, holding the brush firmly as she paints delicate, precise strokes.

Painting a porcelain teacup can take days to complete. A single particle of dust or sweat could ruin the piece and require her to start from scratch.

Landscapes are the most difficult scenes to paint because their boundaries are not clear. A mountain summit might be emerald green, gradually shifting to brown and other warmer colors farther down the slope.

“Mastering a craft is a lifelong process,” Chen said. “Few people are willing to spend more than 10 years learning such a painstaking craft.”

Fragments of porcelain reveal a spiritual past Artists like Chen work alongside archaeological sites and museums to preserve China’s porcelain heritage.

Chinese ceramic wheel-throwing artist Zhan Shaolin demonstrates his craft in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)

Jingdezhen’s Imperial Kiln Institute researches and restores ceramics excavated from an adjacent complex, where pieces for emperors were crafted in kilns whose remains are still visible today.

The institute is incorporating new technologies into its work, including artificial intelligence, to help match and reconstruct ancient porcelain fragments.

“By the establishment of our ceramic gene bank, we can collect all kinds of information,” said the institute’s president, Weng Yanjun. “We hope that we can retrieve ancient technology with modern science.”

That research can also shed light on the culture and beliefs that surrounded porcelain-making centuries ago.

Among the tiles made at Jingdezhen’s imperial kilns were those used in the Bao’en Pagoda.

It was part of a Buddhist temple complex that was destroyed during a 19th-century rebellion in the city of Nanjing. Its exterior walls were covered with porcelain tiles, each bearing an image of the Buddha.

Traces of other religious traditions can also be found in porcelain studied by the institute, Weng said.

“Islam, Buddhism, Taoism and, later on, European Catholic Christianity harmoniously blend into the porcelain decorations,” he added.

Porcelain-making was surrounded by its own beliefs Within Jingdezhen’s imperial kiln complex stands a shrine commemorating Tong Bin, the protective spirit of ceramics.

Known as the “Immortal Master of Wind and Fire” or “Kiln God,” Tong was revered during the Qing dynasty for sacrificing himself in protest against the abuse of kiln workers, according to local tradition.

The shrine remains open today, with a statue honoring Tong inside alongside figures representing other traditional roles in porcelain-making.

“In ancient times, the technology was not as advanced as it is today, so, in many cases, people had to rely on their beliefs — their gods — to help bring good luck and better results,” Weng said.

How artisans today honor their craft varies widely Some Jingdezhen craftsmen say they hold no particular beliefs associated with porcelain-making. Others display figures of Budai — or the laughing Buddha — in their workshops as symbols of good fortune and prosperity.

For artisans like master Sun Lixin, however, the work retains a spiritual dimension. He is a fourth-generation practitioner who learned the trade from his father at age 13.

“Some traditional rituals have faded considerably,” Sun said. “Yet in the hearts of craftspeople, that reverence remains.”

Every time he paints or fires a piece, Sun is mindful of the hundreds of millions of years of geological history the white clay has undergone before reaching his hands.

He does not visit Jingdezhen’s shrine, but has a practice of his own. Sun instinctively bows to the Kiln God before a firing, wishing for it to be successful and for fine porcelain to emerge.

“If we do not care for it, paint it with devotion and treasure it, how could we possibly do it justice?” Sun said.

Artists from China and abroad find their way to Jingdezhen While Jingdezhen’s pottery-making continues to be passed down within families, universities and residency programs host new generations of Chinese and international practitioners.

Paola Masi is an Italian ceramic artist in a residency program through October.

She said Song dynasty porcelain shaped her early training. So coming to Jingdezhen feels like going back to the roots of her own path as an artist.

Chinese artist Huang Qi graduated from Jingdezhen Ceramic University in 2015 and left the city to work elsewhere. She eventually decided to come back and is also now an artist-in-residence.

“Jingdezhen is where my dream began,” Huang said. “More and more people are coming and the city is attracting growing attention.”

Encountering fellow craftspeople has allowed her to learn new techniques, while Jingdezhen’s inscription on UNESCO’s World Heritage List makes her optimistic about the future.

“It gives us confidence,” Huang said. “Things will continue to get better.”


Lebanon Returns 37 Artifacts Smuggled Out of Egypt

An artifact dating back to the Egyptian Pharaonic civilization, illegally smuggled out of Egypt, is displayed during a ceremony marking its handover to Egypt at the Lebanese National Museum in Beirut, Lebanon, 16 September 2026. (EPA)
An artifact dating back to the Egyptian Pharaonic civilization, illegally smuggled out of Egypt, is displayed during a ceremony marking its handover to Egypt at the Lebanese National Museum in Beirut, Lebanon, 16 September 2026. (EPA)
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Lebanon Returns 37 Artifacts Smuggled Out of Egypt

An artifact dating back to the Egyptian Pharaonic civilization, illegally smuggled out of Egypt, is displayed during a ceremony marking its handover to Egypt at the Lebanese National Museum in Beirut, Lebanon, 16 September 2026. (EPA)
An artifact dating back to the Egyptian Pharaonic civilization, illegally smuggled out of Egypt, is displayed during a ceremony marking its handover to Egypt at the Lebanese National Museum in Beirut, Lebanon, 16 September 2026. (EPA)

Lebanon on Wednesday returned to Egypt dozens of pharaonic artifacts that had been seized from the Beirut port years earlier.

"Thirty-seven antiquities... were seized from Beirut port in 2020, having arrived from an Arab port," Lebanese Culture Minister Ghassan Salameh said during a handover ceremony at the Beirut national museum.

"After investigating the identity and ownership of these items, it was determined that they belonged to Egypt," he added.

Five of the items were on display at the ceremony, including masks made of fabric, wood and clay.

"Cooperation between states... contributes to preserving humanity's heritage," Egyptian ambassador Alaa Moussa said at the ceremony.

Laura Salloum, an official with Lebanon's directorate of antiquities, told AFP that at the time of their seizure, the items were stored in a single container.

They "had been purchased by a Lebanese national without any official documentation regarding their source -- namely, Egypt," she said.

Antiquities smuggling is common in Egypt. Over the past decade, Cairo has recovered nearly 30,000 archaeological artifacts, according to officials.


Cultural Sector Participates in UNESCO Global Forum on Ethics of AI in Riyadh

The cultural sector's participation in the forum underscores the Ministry of Culture's interest in technological developments - SPA
The cultural sector's participation in the forum underscores the Ministry of Culture's interest in technological developments - SPA
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Cultural Sector Participates in UNESCO Global Forum on Ethics of AI in Riyadh

The cultural sector's participation in the forum underscores the Ministry of Culture's interest in technological developments - SPA
The cultural sector's participation in the forum underscores the Ministry of Culture's interest in technological developments - SPA

The cultural sector is participating in the fourth edition of the UNESCO Global Forum on the Ethics of Artificial Intelligence (AI) in Riyadh, taking part in panel discussions and workshops.

These sessions address cultural and linguistic diversity in AI, the ethical use of AI in museums, and the future of work in the field in the age of AI and digital technologies, SPA reported.

The forum brings together more than 100 international speakers and experts to discuss responsible governance frameworks and the ethical and safe development of emerging technologies, with a focus on issues including digital diplomacy, government readiness assessment, privacy, and the protection of cultural and linguistic diversity.

The cultural sector's participation in the forum underscores the Ministry of Culture's interest in technological developments, support for cultural innovation, and efforts to highlight AI-related cultural initiatives, products, and services.

It also provides a broad platform for exchanging expertise and experience with leading local and international experts and specialists.