The passage is a spoken word piece that explores the cultural significance of black hair, particularly braids and cornrows. The speaker reflects on their own experiences with braiding and the ways in which black hair has been politicized and stigmatized throughout history.
The speaker notes that braids and cornrows were once seen as a symbol of African culture and identity, but were later adopted by non-black people and rebranded as a "trendy" fashion statement. This cultural appropriation has led to the erasure of black culture and the marginalization of black people.
The speaker also touches on the ways in which black hair has been used as a tool of oppression, citing examples of black women being discriminated against for wearing their hair in braids or cornrows. They note that this type of discrimination is still prevalent today, with many black women facing backlash for wearing their hair in styles that are deemed "too ethnic" or "unprofessional."
Despite these challenges, the speaker is heartened by the growing number of black women who are embracing their natural hair and celebrating their cultural heritage. They see this as a sign of resistance and resilience, and a testament to the enduring power of black culture.
Overall, the passage is a powerful exploration of the complex and often fraught relationship between black hair, culture, and identity. It is a call to action, urging listeners to recognize and respect the cultural significance of black hair, and to work towards a more inclusive and equitable society.
Here are the key facts extracted from the text:
1. The speaker learned to braid hair as a child and would spend hours getting their hair braided.
2. The speaker's first memory of braids was sitting down between their mother or family member's legs to have their hair braided.
3. In West Africa, hairstyles could indicate a person's status, marital status, and occupation.
4. During the transatlantic slave trade, enslaved people's hair was shaved, removing their cultural identity.
5. In the United States, during slavery, Sundays were the only day when enslaved people could style their hair.
6. Head rags and cornrows were two hairstyles that emerged during this time.
7. In the 1970s, cornrows became popular among African American women, particularly on college campuses and in urban areas.
8. Bo Derek popularized cornrows in 1979, and they became known as "Bo Braids."
9. The first court case involving cornrows was in 1981, when a black woman named Renee Rogers was told to change her hairstyle by her employer.
10. Today, braids and cornrows are still an important part of African American culture and identity.
11. The speaker is a hairstylist who specializes in braids and cornrows and has been in the business since they were 11 years old.
12. The speaker has had clients since they were 12 years old.
13. The speaker's mother couldn't do their hair, so they learned to do it themselves.
14. The speaker would practice braiding on their friends and family members.
15. The speaker started charging $25 for braids when they were in the seventh grade.
16. The speaker's business has helped their family out of tough situations.
17. The speaker believes that braids and cornrows are a way for black women to express their beauty and culture.
18. The speaker is offended by cultural appropriation and the lack of credit given to black culture for popularizing braids and cornrows.
19. The speaker believes that cultural appropriation is a problem that needs to be addressed.
20. The speaker is hopeful that the conversation around cultural appropriation will lead to more people correcting themselves and giving credit where it is due.
21. The speaker believes that braids and cornrows are a way for people to connect with their culture and heritage.
22. The speaker thinks that the number of black women who are into braids and natural hair is great and outweighs the trendiness of the style.
23. The speaker loves that braids and cornrows have taken their place as a way for people to express feeling beautiful.