https://blackgirlnerds.com/ten-years-of-hamilton-has-the-play-changed-the-way-we-view-american-exceptionalism/

It’s been ten years since Hamilton first graced the stage at the Public Theater in New York City, and nothing’s been quite the same since. From the moment Lin-Manuel Miranda delivered those opening lines, “How does a bastard, orphan, son of a whore and a Scotsman…” audiences knew this was something different. A musical about the Founding Fathers told through hip-hop? Performed by a majority-Black and brown cast? It was radical, to say the least, and immediately took its place in pop culture.

In 2016, the musical won 11 Tony Awards, including Best New Musical, and took home the Pulitzer Prize for Drama. It also earned a Grammy for Best Musical Theater Album.

But ten years later, a question arises: Has Hamilton actually changed the way we view American exceptionalism? The short answer is… yes, but not without complication. Let’s talk about it.

American exceptionalism is the belief that the United States is fundamentally distinct from and superior to other countries, due to its political structure, and commitment to democratic ideals. It positions the U.S. as a beacon of freedom, opportunity, and moral authority.

This notion stems from the idea that America was built on principles like liberty and individual rights, setting it apart from other nations. Yet, the concept is not without controversy. Critics argue that it can fuel nationalism, overlook historical injustices, and prevent honest reckoning with the country’s shortcomings. Well, I would have to agree that the critics have a point.

In today’s political landscape, discussions around exceptionalism usually hinge on which vision of America is being lifted up, and whether the country is genuinely upholding the values it claims to represent.

Insert, Hamilton. From its debut, the musical positioned itself as a reimagining of the American narrative. By telling the story of Alexander Hamilton through the lens of contemporary music and a multicultural cast, it reframed the American Revolution not as a dusty old history lesson, but as a living, breathing story of ambition and struggle.

It brought new life to this idea of American exceptionalism, as something earned. Hamilton’s rise “from the bottom” played into the age-old narrative of America as the land of opportunity. If Hamilton could write his way out of poverty, so could anyone. Really though?

This was the energizing idea in 2015 when the Obama presidency was still in full swing. Hamilton seemed to capture the hope and his “Yes, we can” mantra we had on repeat. We believed progress was possible. While Hamilton entertained and inspired us, it felt like proof that America could evolve.

So, here we are a decade later. The political climate has shifted beyond anything we could have imagined. We’ve witnessed a resurgence of white nationalism, ongoing debates over immigration, book bans, attempts to rewrite history curricula, and the continued marginalization of communities of color. The optimism that once surrounded Hamilton now lives beside skepticism about the narratives we choose to celebrate and who gets left out.

Critics have rightly pointed out that while Hamilton centers diversity in casting, it still romanticizes deeply flawed figures. Alexander Hamilton may not have owned slaves himself, but he worked within a system that upheld slavery and he didn’t challenge it. The musical, for all its innovation, largely sidesteps the foundational violence of American history, including the genocide of Indigenous peoples and the central role slavery played in building this nation.

In other words, Hamilton walks a fine line between challenging American exceptionalism and reinforcing it. It invites us to root for a Founding Father, while glossing over the parts of the founding that are trash. It gives us a version of patriotism that feels inclusive, only up to a certain point.

Still, one of the most powerful aspects of Hamilton is how it holds up a mirror to the past but also to the present. When characters rap about revolution, legacy, and power, we hear echoes of today’s headlines. Lines like “who lives, who dies, who tells your story?” hit differently in an era when history is being actively rewritten.

In 2025, the United States is once again reckoning with its identity. The presidential election’s polarization feels sharper than ever and the very idea of truth seems like it’s being held hostage. In that sense, Hamilton remains relevant. It reminds us that democracy can be messy.

I believe that progress is not linear. What is most promising for me is to see how art can intervene in the national conversation. At a time when political discourse is increasingly toxic, Hamilton offered a model for re-engaging with civic life through storytelling. It invited young people who may never had been interested in American history to ask questions about it and who belongs in the room where it happens.

So, has Hamilton changed how we view American exceptionalism? Yes, but the change is more about opening the door for deeper reflection than delivering definitive answers.

Hamilton sparked important conversations about representation and history. It’s made space for other works — like Slave Play, American Son, and Watchmen — that challenge America’s foundational myths. It’s also inspired a new generation of artists to claim their place in shaping what comes next.

I also believe we are more critical now. We recognize that representation alone is not enough, and celebrating one immigrant’s rise doesn’t automatically dismantle the systems that keep so many others out.

Maybe the most powerful thing we can do is continue asking hard questions about our history, who we celebrate, and what kind of nation we want to be. Because the truth is, Hamilton was never meant to be the final word on American identity. It was a jumping-off point to dialogue. In these uncertain times, the invitation still stands.

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