On the contempo alternation afterpiece of “black-ish,” an arrangement of Black hairstyles was on display: cornrows, box braids, sponge-brushed curls, twists and Afro puffs. All were beat by the casting aloof as they had been during the ABC show’s eight-year run. The alternation had consistently depicted Black beard with pride, carefully featuring it as a commonality of Blackness.
Take “Hair Day,” the “black-ish” adventure committed to the complexities of Black hair. Culturally specific capacity like ablution day, touch-ups and the countless hairstyles that Black women abrasion are accent in ball and song, evoking balmy memories of the adorableness salon. For those accustomed with the subject, it’s a blithesome representation of the culture. For those unfamiliar, it’s a abundant assay of all that is Black hair, from the aliment to the sagas of detangling, conditioning and accepting beard done by Mom. As Jill Scott sings in the episode, “Wear a cottony beanie and grease it at night and don’t let them cull your edges too tight!”
For the architect of “black-ish,” Kenya Barris, beard was its own character. It’s “such an absurd differentiator amid us and boilerplate America,” he explained in an interview, adding, “That’s why aback we booty our ability back, why we do Bantu knots, why we do dookie braids, why we do braids. We’re adulatory our difference.”
Black, or Afro-textured, beard has consistently been at the beginning of African American identity, but its accord to boilerplate America and Hollywood has been complicated. It’s article the accepted bearing of stylists are acutely acquainted of as they go about their assignment on shows and films like “black-ish,” “Insecure,” “The Harder They Fall” and “King Richard.”
Araxi Lindsey, the arch hairstylist for “black-ish” during its aboriginal six seasons and a affiliate of the aggregation that won an Emmy for the abreast looks featured on “Hair Day,” said she was blessed to be allotment of a alternation that reflected the accord amid Black women and their tresses. The alternation showed that men “can adulation their wives with natural-textured hair, that a adolescent boy can abatement in adulation with a babe with Afro-textured hair,” she said, adding, “I can’t delay for it to be normalized that we can abrasion our accustomed hair, not wigs and weaves, that we can bless the beard that artlessly comes out of our scalp.”
From onscreen images of African Americans as minstrels to white actors in blackface, Black lives in the aboriginal 20th aeon were rarely projected in a absolute light.
Black bodies fought those abrogating caricatures by amalgam a adaptation of Blackness that appeared added acceptable to whites. This new angel chaotic stereotypes by adulatory the accomplishments that abounding Black bodies accomplished adjoin amazing odds. The ambition was to accomplish a affectionate of respectability, accepting accepting into analytical areas of society, both bread-and-butter and political, to which African Americans had been denied. This was about a adaptation tactic while at the aforementioned time redefining a people. Black hair, which Black bodies as far aback as American bullwork had subjected to a arrangement of beatnik and atrocious straightening techniques, was a key additive in this rebranding.
As Ayana D. Byrd and Lori L. Tharps explain in “Hair Story: Untangling the Roots of Black Beard in America,” in their adventure for the American dream “one of the aboriginal things Blacks had to do was accomplish white bodies added adequate with their actual presence.” The authors address that apprenticeship “made little aberration if a actuality looked too ‘African.’ Kinky hair, advanced noses and abounding aperture translated to ‘ignorant’, ‘uncivilized’ and ‘infantile.’ So Blacks did what they could to challenge European standards of beauty.”
Or as Barris put it, “Our beard is such an important affair because at one point we approved to assimilate. We approved to align it, we comatose it.”
Natural styles, associated with how beard had been beat during enslavement, were accounted unsophisticated. As the Great Migration took hold, African Americans were acceptable added cosmopolitan, and their coiffures reflected that transformation. Afro-textured beard was country, beeline beard was chic. Consequently, for women especially, Afro-textured styles were broadly frowned upon, while straighter ones were admired as added adapted by Americans, both Black and white.
Such images became expected, and ultimately required, for Black women onscreen. And those preferences, reflected by Hollywood in its casting, persisted into the 21st century.
Lindsey has been administration Black beard on blur and television sets for added than 25 years. Aback she began her career in the 1990s, accustomed hairstyles were not advantaged for Black actors, abnormally women.
“If they were activity out for a role, they couldn’t abrasion their beard natural,” she said. “If you wore your beard in locks or braids, you would be looked at as an outcast. So you had a lot of women with tight, Afro-textured beard absent these silky-straight wigs and weaves.”
She acclaimed that abounding of the roles offered to actors with accustomed hairstyles were generally derelicts or villains. The choices for Black women were simple: abrasion a straightened attending to get the part, be casting as a bent or, worse, don’t get casting at all. (For Black men, a actual abbreviate circumscribed aggregation would suffice.) It would booty decades for Black stars in Hollywood to appeal the abandon to abrasion their beard as they chose, abnormally aback it came to arena a advance or a adventurous interest.
As the hairstylist for Issa Rae, the architect and brilliant of the dramedy “Insecure,” Felicia Leatherwood has apparent immediate how important such choices are to viewers. Rae, arena a adventurous lead, wore affluence of accustomed hairstyles, her Afro-textured looks connected and apparent — one of the abounding affidavit the alternation was groundbreaking.
“People were autograph me, ‘I aloof watch the appearance for the hair,’” Leatherwood recalled. “I said, ‘Wow, I didn’t alike apperceive the beard had that appulse on people.’ They were like, ‘Yeah, I was cat-and-mouse to see what her beard was activity to do.’ Or, ‘I got my assignment hairstyles off the show’ and ‘I did my daughter’s beard like that.’ I didn’t alike apprehend the appulse of her beard until Twitter showed up.”
Leatherwood said her job as a hairstylist is to accommodate a faculty of aplomb and advance account of Black adorableness application textured hair. “My ambition is to accomplish abiding that we admit the queen or the baron in us, we admit the ability through the hairstyles,” she said, abacus that her assignment was added about “instilling self-esteem in agreement of my association and my ancestry.”
This charge was reflected in the arrangement of accustomed styles she created for Rae, looks that were meant to advertise the versatility of Black women’s hair. On “Insecure,” she said, “I got advantageous with actuality able to aloof actualize from my own acuteness and after any pushback.” Instead, Rae and the show’s added writers and producers were supportive, with abnormally absolute reactions to the star’s accustomed looks on set. “This was one of my joys,” Leatherwood said, adding, “Even the men would appear and say her beard looks absolutely nice.”
The actual act of presenting Black beard can be able in itself. “Hair is an announcement of who we are and how far we’ve come. It’s our legacy,” said Reinaldo Marcus Green, administrator of the biopic “King Richard,” about the ancestor of the tennis stars Venus and Serena Williams.
Throughout the movie, the adolescent actresses arena the Williams sisters affectation a arrangement of cornrow and braided looks, accepted styles for African American girls. The athletes were aboriginal alien to America as they looked in their accustomed lives: unapologetically cutting beaded braids. A attending that would become the sisters’ signature about the apple was an African American tradition.
The administrator recalled a arena in “King Richard,” set afore a big match, aback their mother, Oracene Price, is braiding Venus’s beard and reminding her daughters to never lose afterimage of their pride in actuality Black and in who they are. “Hair is one anatomy of our expression,” Green said, “and it’s admirable that it’s on abounding affectation in our film.”
That arena presented a breakable moment amid a Black mother and daughter: Venus (Saniyya Sidney) sitting patiently as her mother braids. A few account later, Venus active to the court, her white-beaded braids accepted in apathetic motion.
“I don’t apperceive how abounding bodies accept texted me about aback she came out with those braids,” Green said. “I don’t do a lot of apathetic motion in the film, but it was actual important for me because it was such an iconic moment in history, for them and cutting those beads, what those chaplet meant to ancestors of girls and boys.”
When Venus enters the bout with her new headdress, Green’s mission was to appearance that “she has appear into her own as a adolescent woman,” adding, “She is now accessible to abrasion this armor out, it was like her Superman cape.”
Black beard as a acclaimed armor was additionally key to the contempo aftereffect “Coming 2 America,” which was nominated for an Oscar for architecture and hairstyling. The movie, accounting by Barris forth with Barry W. Blaustein and David Sheffield, featured a admirable arrangement of accustomed and Afro-futuristic hairstyles for the affluent characters in the apocryphal African country Zamunda. Their hairstyles reflected the adorableness of African ability and Afro-textured traditions.
As Barris explained, the characters in the 1988 aboriginal were new to the United States and aggravating to alloy in, but with the aftereffect actuality set in Africa, “we weren’t aggravating to fit in. We weren’t aggravating to assimilate. We were aggravating to be different.”
Many of the hairstyles were advisedly elaborate, illustrating the African ancestry of circuitous coifs. As an affiliated antecedent for Black American ability and history, African representation is important, and the arrangement of styles in “Coming 2 America” was advised to account that legacy. A adjoining country’s adjudicator (Wesley Snipes) wears a appearance aggressive by amasunzu, a traditional, crested aggregation of Tutsi men in Rwanda. And the gold-adorned looks of the aristocratic daughters (Bria Murphy and KiKi Layne) reflect the regality of aerial society, while their bizarre Afro puffs and balloon ponytails attending to the future.
Africa and added credibility in the African banishment were the afflatus for “The Harder They Fall,” the all-Black western based on absolute figures. But in that 2021 film, the accustomed ’dos point to the past, said Lindsey, who served as beard administration head.
“I capital to accomplish abiding that we showed Afro-textured hairstyles from altered cultures and influences from the 1800s — styles from Africa, the Caribbean and Europe — and absorb them,” she said. “I capital to bless locks, braids, jewels and all the things that were accustomed to our bodies to admonish them that these styles accept been about for centuries. They didn’t aloof alpha in the 2000s.”
Lindsey explained that because these characters were nomads, their beard would artlessly attending a little added baffling and beneath uniform. That’s why the men and women in the western abrasion a ambit of textures and looks, apocalyptic of their roles in society.
Lindsey disordered the beard of Zazie Beetz, who portrays the gun-toting Stagecoach Mary, while she created locks for Regina King’s tough-as-nails Treacherous Trudy Smith. Both hairdos were envisioned as low maintenance, absorption the women’s brief lifestyles.
No amount the setting, showcasing accustomed Black beard onscreen is important for addition reason: It normalizes Afro textures for non-Black audiences. Such looks become a accepted and apparent allotment of Blackness, including how beard is styled and cared for. Aback these images aren’t readily presented and consumed, abashing and ambiguity can arise.
Lindsey recalled several adventures on sets aback showrunners capital a Black woman to deathwatch up in bed with her beard out.
“I would allege to assertive producers who had no abstraction of the ability and no abstraction of actuality a man or a woman with Afro-textured hair,” she said. She would acquaint them, “‘Hey, if she’s alive up, about for an Afrocentric woman, she would blanket her hair. It doesn’t amount if your husband’s there, unless it’s adult time, for the best part, you’re activity to blanket your beard in a scarf.’ And I would hear, ‘Well, that’s not absolutely attractive.’”
Lindsey added, “They’re speaking from their mind-set of the story, but I’m absolutely speaking from absolute life, from honesty.”
Head wraps in the morning and at night were de rigueur on “Insecure,” and Rae’s appearance was generally in a cottony scarf, alike aback she was abutting to her accomplice in bed. On “black-ish,” a arch bandage ample into a transformative moment in the pilot. The adolescent daughter, Diane (Marsai Martin), was activity to bed and so captivated her hair.
Barris explained, “I accept three girls, and advancing from a Black mother, Black grandmothers, Black sisters — our accepted at night is a altered thing. We blanket our hair. It’s allotment of our upbringing, and we didn’t alike anticipate about it on a mostly Black crew.”
But aback the appearance aired, “people absent their minds,” he said. “They were like, ‘Oh my God, what’s that?’ It had not been done, and that’s how little representation we had.”
Barris alleged that arena a axis point for “black-ish.” Little things he took for accepted were “tantamount to who we are,” he said, adding, “The apple has not apparent us and has not been asked to see us.”
Green declared it addition way. “We’re never activity to be too Black for our own movies.”
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