{Download PDF} Good Hair : the Essential Guide to Afro, Textured
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A Science-Based Guide to Afro-Textured Hair Care from Nylah’S Naturals
FOR IMMEDIATE RELEASE A Science-Based Guide to Afro-Textured Hair Care from Nylah’s Naturals. This vegan hair care brand shares their top five tips on how to care for Black hair. Afro-textured hair requires special care, as the hair unique structure is prone to extra dryness and therefore are more fragile and susceptible to breakage. Kam Davis, Founder and CEO of Nylah’s Naturals, shares some expert advice on how to care for Black hair. Since ancient times, afro-textured hair has been an integral part of Black culture. From the Ancient Nile Valley civilizations to the establishment of Western African empires, hair has maintained a spiritual, social, cultural and aesthetic significance in the lives of African people. It was a part of a person’s social and cultural identity, signifying personal status. Unfortunately, in recent centuries, Black women and men were forced to follow the standards of beauty industries that did not accept natural afro-textured hair, forcing many to chemically straighten their hair or wear wigs. Encouragingly, over the past few years, the tendency started shifting in a different FOR IMMEDIATE RELEASE direction, with natural afro-textured hair being more and more widely accepted, celebrating its curly nature and uniqueness. “At Nylah’s Naturals, we realize that our mission goes way beyond creating natural, high-quality products catering to afro-textured hair. For so many years Black women were fighting the very nature of their hair, so now we feel there is a need to educate and share the best practices on how to care for Black hair in such a way that it highlights its health and beauty,” - shares Kam Davis, Nylah’s Naturals CEO and Founder. -
AFRO-AMERICAN ART the METROPOLITAN MUSEUM of ART Selections of Nineteenth-Century Afro-American Art
<^ ? AFRO-AMERICAN ART THE METROPOLITAN MUSEUM OF ART Selections of Nineteenth-Century Afro-American Art Selections of Nineteenth-Century Afro-American Art June 19-August 1,1976 Catalogue by Regenia A. Perry The Metropolitan Museum of Art, New York ON THE COVER: Ashur Moses Nathan and Son by Jules Lion. Pastel on canvas, ca. 1845. Lent by Francois Mignon, Natchitoches, Louisiana. Pho tograph by Don R. Sepulvado, Natchitoches, Louisiana. Copyright © 1976 by The Metropolitan Museum of Art 1 he Metropolitan Museum is pleased to present the ex hibition Selections of Nineteenth-Century Afro-American Art as part of our observance of the nation's Bicentennial celebration. We are grateful for the generosity of the lenders, whose cooperation made the exhibition possible, and we congratulate Dr. Regenia A. Perry, who or ganized the show. It is fitting at this time not only to ex amine this important aspect of our national heritage but to view it in the broader context of the history of Ameri can art as represented in the collection of The Metropoli tan Museum of Art. THOMAS HOVING Director ACKNOWLEDGMENTS I would like to express my gratitude to the School of the Arts at Virginia Commonwealth University for granting me a leave of ab sence to work on this project during the academic year 1975—1976, to the Andrew W. Mellon Foundation for funding the fellowship at The Metropolitan Museum of Art which I received during this year, to The Metropolitan Museum of Art for working with me in present ing this exhibition, and to the numerous institutions and private col lectors who have generously lent their works. -
SECRETS to MAKING MONEY in the Business of HAIR BRAIDING & EXTENSIONS
presents SECRETS TO MAKING MONEY in the business of HAIR BRAIDING & EXTENSIONS With JOY G PHIDO (SRH) HAIR BRAIDING BUSINESS CONSULTANT & EDUCATOR www.worldofbraiding.com Acknowledgements This introduction to the Business of Hair Braiding & Extensions is based on my experiences and research put together in my career in Hair Braiding services and education. I would like to acknowledge the students I have trained and the customers’ hairs I have braided. It is the experience I have accumulated while dealing with the customers and the students that inspired me to put this material together. The knowledge, skill and experience I have accumulated continues to be of great value to me. I would also like to thank my family for being supportive as without them I would not have been able to go the extra mile. To my three girls – Mega, Zina and Efe who happily posed as my models during the first few years of starting out, I would say a big thank you as it would not have been possible without them. Joy Gbenewa Phido November 2008 © 2008, World of Braiding & Extensions Ltd All Rights reserved. No part of this material should be reproduced or transmitted in any form without written permission from World of Braiding & Extensions Ltd. 020 8983 9815 [email protected] www.worldofbraiding.com MAKING MONEY WITH HAIR BRAIDING & EXTENSIONS Welcome to the Business of Hair Braiding & Extensions World of Braiding & Extensions aims to introduce you to the business of Hair Braiding & Extensions as this is what we do best. Whatever you’re situation in hair braiding, we aim to combine theory and practical demonstrations in making your understanding of this skill easier. -
Black Music of All Colors
SÉRIE ANTROPOLOGIA 145 BLACK MUSIC OF ALL COLORS. THE CONSTRUCTION OF BLACK ETHNICITY IN RITUAL AND POPULAR GENRES OF AFRO-BRAZILIAN MUSIC José Jorge de Carvalho Brasília 1993 Black Music of all colors. The construction of Black ethnicity in ritual and popular genres of Afro-Brazilian Music. José Jorge de Carvalho University of Brasília The aim of this essay is to present an overview of the charter of Afro-Brazilian identities, emphasizing their correlations with the main Afro-derived musical styles practised today in the country. Given the general scope of the work, I have chosen to sum up this complex mass of data in a few historical models. I am interested, above all, in establishing a contrast between the traditional models of identity of the Brazilian Black population and their musics with recent attempts, carried out by the various Black Movements, and expressed by popular, commercial musicians who formulate protests against that historical condition of poverty and unjustice, forging a new image of Afro- Brazilians, more explicit, both in political and in ideological terms. To focus such a vast ethnographic issue, I shall analyse the way these competing models of identity are shaped by the different song genres and singing styles used by Afro-Brazilians running through four centuries of social and cultural experience. In this connection, this study is also an attempt to explore theoretically the more abstract problems of understanding the efficacy of songs; in other words, how in mythopoetics, meaning and content are revealed in aesthetic symbolic structures which are able to mingle so powerfully verbal with non-verbal modes of communication. -
Gender and Hair Politics: an African Philosophical Analysis
Gender and Hair Politics: An African Philosophical Analysis by Sharon Adetutu Omotoso, PhD [email protected] Institute of African Studies University of Ibadan, Nigeria ABSTRACT One wonders if there is anything called philosophy of hair. It may be argued in some philosophy quarters, that to endorse any philosophy of hair is to strip philosophy of its intellectual nature, relegating it into realms of trivialities. While anthropologists, sociologists, psychologists and scholars in the sciences have attempted discussing hair issues, philosophers have paid minimal attention based largely on a claim that there are more important life issues to philosophize. While ‘head’ (ori in Yoruba language) as a concept in African Philosophy has been widely theorized, very little work has been done on hair as a part of the head. Consequently, this paper argues that the importance of hair in the development of social constructs of the body puts forth the need for a gendered study of its philosophy and politics. Politics of hair in Africa is interesting and highly debatable yet overlooked by existing literatures. Using methods of critical analysis, reflective argumentation, deconstruction and reconstruction to carefully consider social, economic, cultural and religious dimensions in the politics of hair among men and women, this work draws out the implications for Africa’s holistic development. Dr Sharon Adetutu OMOTOSO is currently with the Gender Studies Program at the Institute of African Studies, University of Ibadan, Nigeria where she coordinates the Women’s Research and Documentation Centre (WORDOC). She is a a Chartered Mediator & Conciliator, Senior Research Fellow Institut Français de Recherche en Afrique (IFRA) and Research Fellow (Gender/Women Issues) of the Ibadan School of Government and Public Policy (ISGPP). -
“Hair” They Are: the Ideologies of Black Hair
THE YORK REVIEW, 9.1 (Spring 2013) “Hair” They Are: The Ideologies of Black Hair Tiffany Thomas woman’s hair is said to be her crowning glory and man- Aifestation of her femininity. Hair is considered a key indicator of a woman’s health and beauty. The Western standard of beauty defines beautiful hair as that which is long and prefer- ably straight. Having such a standard creates a hair hierarchy, with long straight hair on the top of the hair pyramid and Afri- can American hair on the bottom. A black woman’s hair is tradi- tionally dry, tightly coiled or curled. In order to attain the West- ern standard of beauty, the majority of African American women chemically straighten or “relax” their hair. This notion is embed- ded in media such as Sophisticate’s Black Hair Styles and Care Guide and other magazines featuring black women with straightened hair. However, more recently, there has been an increase in the number of black women returning to their natural hair texture; that is, they are no longer chemically straightening their hair (Healy, 2011). The decision to return to the natural texture of one’s hair is termed “going natural.” The media has noticed black women’s sudden movement toward natural hair and has begun to include more natural-haired African Americans in advertisements. Some reasons that black women decide to go natural are: to follow a healthier lifestyle, to explore curiosity about their natural texture, to support their daughters’ hair, and to save the time and energy they spend using relaxers. -
Men's Catalog
The Edge Color: 330 See pages 4-5 ON RITE MEN’S CATALOG CALL 800-327-5555 TO OPEN YOUR ACCOUNT. PRODUCT INDEX OUR MISSION PRODUCT PAGE As a leader in the hair replacement industry, Hair Visions International is Afro II 22 committed to providing the highest quality products and outstanding service. Alan Series 21 We will continue to innovate and create marketing and business services that Alan-LM Alan-XL bring added value to our clients. Our customers will always come first; we Anagize Hair & Scalp Regimen 26 maintain an uncompromising commitment and passion in providing superior Bella Moda Series 16 customer service by exceeding our customers’ expectations daily. Capri Roma Milano Sorrento OUR CORE VALUES Palermo Torino Our guiding principal is to always do the right thing, conduct ourselves with Color Reference Chart 24-25 integrity, accountability and respect. We will treat everyone with a friends first Danté 2 attitude and never shy away from hard work or challenges. Duplicator 17 Our success will always be measured by our customers’ success! Echelon 20 Edge Series 4-5 Edge XT Edge Edge Lite Edge Plus Edge Lace ON RITE MEN’S CATALOG Education 27 Elán Series 6-7 We are very proud to introduce topf -o -head and full-cap designs. The Elán-T Elán-EZ our current men’s catalog On Rite men’s systems featured in Elán-LT Elán-EZF featuring fashion forward hair this catalog are available in European, Elán-SF Elán-TF styles, photography, and hair care Human and Remi hair. If there is ever Elation 20 products. -
Barriers to Braiding How Job-Killing Licensing Laws Tangle Natural Hair Care in Needless Red Tape
Barriers to Braiding How Job-Killing Licensing Laws Tangle Natural Hair Care in Needless Red Tape By Angela C. Erickson July 2016 Barriers to Braiding Barriers to Braiding How Job-Killing Licensing Laws Tangle Natural Hair Care in Needless Red Tape By Angela C. Erickson July 2016 Barriers to Braiding Barriers to Braiding Table of Contents Executive Summary . 1 Introduction . 3 Barriers to a Traditional Art . 7 Methods . 10 Results . 13 Discussion . 18 Implications . 22 Appendix A . 25 Appendix B . 27 Appendix C . 28 Endnotes . .29 Barriers to Braiding Executive Summary African-style hair braiding is a traditional art and a time-tested way of caring for tightly coiled Afro-textured hair naturally, without scissors, heat or chemicals. Yet, in most states, people who wish to braid for a living must first obtain a government permission slip—an occupational license requiring up to 2,100 hours of training. This study investigates whether the natural craft of braiding poses risks that justify occupational licensing and whether braiding licenses create barriers that keep people out of work. 1 Barriers to Braiding This report finds: Braiding is safe—in states with strict licensing and in states without. • Complaints against braiders are extremely rare. Licensing boards in nine states and the District of Columbia turned up just 130 complaints in seven years—and the vast majority concerned whether braiders were properly licensed, not health or safety. Only six complaints raised questions of consumer harm, none of them verified by boards. • Complaints against braiders are so rare that a person is 2.5 times more likely to get audited by the IRS (8.6 in 1,000) than a licensed or registered braider is to receive a complaint of any kind (3.4 in 1,000). -
A FEMINIST CULTURAL STUDY of IDENTITY, HAIR LOSS, and CHEMOTHERAPY by Céline Guillerm a Dissertation Submitted to the Faculty
A FEMINIST CULTURAL STUDY OF IDENTITY, HAIR LOSS, AND CHEMOTHERAPY by Céline Guillerm A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, Florida December 2015 Copyright 2015 by Céline Guillerm ii ACKNOWLEDGMENTS The seed of this dissertation was planted during my first year enrolled as a doctoral student, when I was diagnosed with Hodgkin’s Lymphoma. The following year, I met Dr. Scodari when I took her course in “Feminist Cultural Studies.” Her class was truly a revelation and she became my mentor. Therefore, I would like to express my sincere and deepest gratitude to Dr. Scodari for her expert guidance and support throughout my research. I am forever grateful for her patience and encouragement, and for always being available. I also would like to thank Dr. Munson and Dr. Blattner for serving on my committee. Thank you for believing in me and encouraging me all these years. Finally, I would like to thank my parents, my sisters, my nieces and my nephew, my grandmother, my uncle, and my dear friends for their love and support. I love you. iv ABSTRACT Author: Céline Guillerm Title: A Feminist Cultural Study of Identity, Hair Loss, and Chemotherapy Institution: Florida Atlantic University Dissertation Advisor: Dr. Christine Scodari Degree: Doctor of Philosophy Year: 2015 The main aim of this dissertation is to discuss the way women negotiate the cultural meaning of hair loss, alopecia, as a result of undergoing chemotherapy, and to understand, accordingly, how cancer’s cultural effects regarding women can be deeply different from those of men. -
Workplace Discrimination and Eurocentric Beauty Standards by Kim Carter
Workplace Discrimination and Eurocentric Beauty Standards By Kim Carter Do not remove the kinks from to European beauty standards of being “unprofessional,” your hair—remove them from by straitening—or removing the “unkept,” and “messy” (for more, your brain. kink from—Black hair. Today, see “The ‘Good Hair’ Study: —Marcus Garvey these biases remain relevant in Explicit and Implicit Attitudes American society and our legal Toward Black Women’s Hair,” arcus Garvey was system, nearly 100 years later. the Perception Institute, February a political activ- Now, in the midst of a renewed 2017, kpcne.ws/2OXrkBC). Thus, ist, publisher, and wave of social outcries to right African, Pan-African, and Black journalist whose historical injustices against Black people are pressured to conform to life’s work included people across the nation, Cali- unrealistic European standards of Msparking a Pan-African and Ras- fornia has passed SB-188, known beauty in their pursuit of employ- tafarian movement in America as the “CROWN Act” (which ment or education. as he sought to enrich the lives stands for Creating a Respectful The bias concerning Black hair of oppressed Blacks. Garvey’s and Open Workplace for Natural has created a cultural phenomenon ideology—however radical for Hair; kpcne.ws/33FsKEu), mak- where Black people—attempting the 1920s—far predates the U.S. ing California the first state to to avail themselves of their con- Civil Rights movement of the ban employment discrimination stitutional right to “life, liberty, 1960s and the enactment of the against employees who choose to and the pursuit of happiness” by Civil Rights Act of 1964. -
List of Hairstyles
List of hairstyles This is a non-exhaustive list of hairstyles, excluding facial hairstyles. Name Image Description A style of natural African hair that has been grown out without any straightening or ironing, and combed regularly with specialafro picks. In recent Afro history, the hairstyle was popular through the late 1960s and 1970s in the United States of America. Though today many people prefer to wear weave. A haircut where the hair is longer on one side. In the 1980s and 1990s, Asymmetric asymmetric was a popular staple of Black hip hop fashion, among women and cut men. Backcombing or teasing with hairspray to style hair on top of the head so that Beehive the size and shape is suggestive of a beehive, hence the name. Bangs (or fringe) straight across the high forehead, or cut at a slight U- Bangs shape.[1] Any hairstyle with large volume, though this is generally a description given to hair with a straight texture that is blown out or "teased" into a large size. The Big hair increased volume is often maintained with the use of hairspray or other styling products that offer hold. A long hairstyle for women that is used with rich products and blown dry from Blowout the roots to the ends. Popularized by individuals such asCatherine, Duchess of Cambridge. A classic short hairstyle where it is cut above the shoulders in a blunt cut with Bob cut typically no layers. This style is most common among women. Bouffant A style characterized by smooth hair that is heightened and given extra fullness over teasing in the fringe area. -
“GOOD HAIR” STUDY: Perception Institute
textured hairstyles smooth hairstyles or or Pleasant Unpleasant When the items belong to a category on the left, press the E key. When the items belong to a category on the right, press the I key. Alexis McGill Johnson THE “GOOD HAIR” STUDY: Perception Institute Rachel D. Godsil EXPLICIT AND IMPLICIT Perception Institute Seton Hall University ATTITUDES TOWARD School of Law Jessica MacFarlane, MPH BLACK WOMEN’S HAIR Perception Institute Linda R. Tropp, Ph.D. February 2017 University of Massachusetts Amherst Phillip Atiba Goff , Ph.D. John Jay College of www.goodhairstudy.com Criminal Justice REPORTTHE “GOOD AUTHORS HAIR” STUDY: AlexisExplicit McGill and Implicit Johnson Attitudes Toward Black Women’s Hair Executive Director, Perception Institute Rachel D. Godsil Director of Research, Perception Institute Eleanor Bontecou Professor of Law Seton Hall University School of Law Jessica MacFarlane, MPH Research Associate, Perception Institute Linda R. Tropp, Ph.D. Professor, Department of Psychological and Brain Sciences University of Massachusetts Amherst Phillip Atiba Goff, Ph.D. President, Center for Policing Equity Franklin A. Thomas Professor in Policing Equity John Jay College of Criminal Justice PERCEPTION INSTITUTE Alexis McGill Johnson, Executive Director Rachel D. Godsil, Director of Research Jessica MacFarlane, Research Associate Research Advisors Joshua Aronson, New York University Emily Balcetis, New York University Matt Barreto, University of Washington DeAngelo Bester, Workers Center for Racial Justice Ludovic Blain, Progressive Era Project Sandra (Chap) Chapman, Little Red School House & Elizabeth Irwin High School Camille Charles, University of Pennsylvania Nilanjana Dasgupta, University of Massachusetts Amherst Jack Glaser, University of California, Berkeley Phillip Atiba Goff, John Jay College of Criminal Justice Kent Harber, Rutgers University at Newark Dushaw Hockett, SPACEs Jerry Kang, University of California, Los Angeles, School of Law Jason Okonofua, University of California, Berkeley john a.