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There have been musicals, documentaries, researches, panel discussions and even talk shows about hair, hair qualities and hairstyles, even Oprah Gail Winfrey chose hair for the magazine's September 2013 theme. According to Adlman (2013), Oprah Winfrey in a video interview said, Women, we have issues with our hair, [Black women's] hair represents the first thing anyone sees of them, or of ourselves, and so we identify with what our hair looks like. On history of Black hair: Hair Story by Ayana Byrd and Lori Tharps (2002) is an entertaining concise survey that follows a mostly sequential path which begins in Africa and ends in America. It details the roots of black hair care in America, from centuries ago to the modern day, outlining how much hair truly signifies in much of African culture. “Ever since African civilisations bloomed, hairstyles have been used to indicated a person’s marital status age, religion, ethnic identity, wealth and rank within the community” (2002:3) The book is not just about history of black hair. It contains quotes and information from a huge wealth of black hair resources, as well as political context of black hair styles and textures and why black hair comes in so many different textures. On styling of black hair: In Hair Story (2002), the authors write about some of black hair style, include the West African manner of wearing their hair in braid or wrap to the current and most popular hair styles: weaves, natural hair and chemical hair straightening by black people- a style considered as imitating "white" hairstyles. Byrd and Tharps (2010) ".... the goal of grooming the hair had morphed from the elaborate and symbolic designs of Africa into an imitation of White styles adapted to Black kinks and curls... ... middle of paper ... ... Found a Familiar Feel in a Pat of the Head of State. Available at http://www.nytimes.com/2012/05/24/us/politics/indelible-image-of-a-boys-pat-on-obamas-head-hangs-in-white-house.html?_r=0. Retrieved 29/03/2014. Byrd, A. & Tharps, L. (2001). Hair Story: Untangling the Roots of Black Hair in America. New York: St. Martin’s Press. Mercer, K. (1994). Welcome to the Jungle: New Positions in Black Cultural Studies. London: Routledge. Adlman, N. (2013),Oprah Shows Off a Sexy Afro on the Cover of Her Magazine—See the Pic! available at http://uk.eonline.com/news/445788/oprah-shows-off-a-sexy-afro-on-the-cover-of-her-magazine-see-the-pic. Retrieved 30/03/2014. Barron, L.(2006) ONTOLOGY in Jupp, V (ed, 2006) The SAGE Dictionary of Social Research Methods Available at http://srmo.sagepub.com/view/the-sage-dictionary-of-social-research-methods/n134.xml. Retrieved on 31/03/2014
Tillotson, M. (2013). Black History/African Background. Personal collection of M. Tillotson, University of Pittsburgh, Pittsburgh, PA.
The African-American Years: Chronologies of American History and Experience. Ed. Gabriel Burns Stepto. New York: Charles Scribner 's Sons, 2003.
Some existing Literature on Natural Hair The existing literature on ethnic and racial studies among African-Americans has focused on issues pertaining to beauty and body politics especially on natural hair. Spellers and Moffitt assert that the body politics that one assumes, guides how one relates to a particular political ideology in a particular society. Black natural hair is considered as a way by which the true identity of African women can be understood (Jacobs-Huey). It is a symbol of power among black women; it influences how people are treated by others.
Black women have been the essence of style, originality all while receiving nothing but bad response from critics who secretly envy them. Natural hair tends to be another widespread trend. I think that some do the natural so they can connect with their African roots while I think others just like the look, or maybe it’s easier. No matter what grade of hair society has one marked term for black hair which is “nappy”. Besides pertaining to actions, the word ghetto is used to describe just about every aspect of a black girl's life. "Girl your hair look ghetto" and "You talk/sound ghetto" are two common phrases used around school. Colored hair, weaves, extensions, dyes and relaxers/perms are all things black girls have encountered. If your hair looks "too" nice, it's assumed that you're wearing weave or that you've gotten a fresh
Hair Care is another popular africanism present in America for African americans. For african american woman going for a natural hairstyle is quite common. Dating back to pre-colonial africa a natural afro hair style defined status and identity. Different styles indicated certain qualitie...
It is no surprise hair texture varies based on ethnic background. But what exactly determines the hair texture of someone based on their ethnic background? In today’s society, image is everything and hair is a great part of one’s image. In fact, the total revenue of the hair care industry in 2013 was $64.8 billion, according to the 2013 Professional Salon Industry Haircare Study. Because the hair industry is so lucrative, it is safe to say that hair is important to many.
She states, “Individual preferences (whether rooted in self hate or not) cannot negate the reality that our collective obsession with straightening black hair reflects the psychology of oppression and the impact of racist colonization” (Hooks 540).
black afro hair, which I am quite famous for as I have been known to
In this paper I’m going to show how African Americans have used hip hop and black hair are two ways in which African Americans embrace their culture and fight oppression. However, as we have reviewed in many classes, oppression is not easily escaped. So in this paper, I’m going to show how cultural appropriation is used as a way of oppressing black culture. So this paper is an expansion of what we have learned in the class.
Hooks, Bell. “Straightening Our hair”. Good Reasons. eds, Lester Faigley, Jack Selzer. Boston: Longman Publishers, 2001. 446-452.
African American Review 32.2 (1998): 293-303. JSTOR.com - "The New York Times" Web. The Web. The Web. 11 April 2012.
Gabriel, Deborah. Layers of Blackness: Colourism in the African Diaspora. London: Imani Media, 2007. Print.
Almost 250 years of slavery and anti-blackness within the United States has created a divide in what type of hair is acceptable. According to Cynthia L. Robinson, “Black hair texture is graded” (Robinson 2011). Precisely, this means that a Black woman has either good hair or bad hair. Good hair has a resemblance of European hair texture, meaning straight and wavy curls. Good hair also diminishes the look of African ancestry. Bad is the complete opposite. The texture is kinky, coiled, and thick, giving the appearance of short hair (Robinson 2011). Hair that bears a resemblance to Eurocentric beauty standards is more beautiful and makes the individual with that hair type more beautiful as well (Robinson
Don’t touch my hair: this should be a sentiment simple enough to understand. However, for many black women this establishment of boundaries can be broken repeatedly and without any regard for personal space. Solange Knowles’ song “Don’t Touch My Hair” and accompanying music video takes this declaration of self and creates an anthem for the empowerment of black women and dismissal of microagressions, white beauty standards, jealousy and appropriation. Her lyrics emphasize the emotional connection that black women have to their hair. But, beyond this pride is an act of self-love militant and radical against white standards of beauty; or is this self-love subscribing to the notion that black women’s hair is an object detached from their personhood- objectifying themselves to other’s gazes and not subverting them? In order to answer this question, theories from Helen
Describing the hair salon experience as “of something organic dying which should not have died,” Ifemelu expresses regret for this attempt at conforming to American standards. Therefore, Ifemelu grieves the loss of her identity as she leaves the hair salon. After “she breezed through the job interview,” Ifemelu wonders “if the [interviewer] would have felt the same way had she walked into that office wearing her thick, kinky, God-given halo of hair, the Afro” (252). By describing her hair as a “God-given halo,” Ifemelu captures the sanctity of her natural hair (252). Despite her success in the interview process, Ifemelu remains disgruntled about her new relaxed hair, which “is like being in a prison” (257). Desperate to resist caving into the pressure of assimilating into American culture and to reconnect with her Nigerian roots, Ifemelu allows Wambui to cut her hair, “leaving only two inches, the new growth since her last relaxer” (258). While Ifemelu initially cedes to American beauty standards to achieve success, she ultimately rejects them to stay aligned with her Nigerian