IASPORA BEAUTY of
MARGINALIZED
WOMEN TA SCHEN
Copyright © 2017 Jane Doe. All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. Printed by DiggyPOD, Inc., in the United States of America. First printing, 2017. Example Publisher 111 Address St. City, State, 12345 www.yourwebsite.com
To the women who came before us, thank you for gracing us with both your physical and spiritual grace.
TABLE CONTENTS OF
9
NATIVE AMERICAN
34 AFRICAN/BLACK
The Hozho of Navajo Nation
26 CHICANA/LATINA Las Pachucas: Female MexicanAmerican Empowerment through Cultural Consciousness
Betty Davis, 1975
Respect our Roots: A Brief History of our Braids
42
ASIAN/AAPI The Beauty and Charm of Japanese Traditional Hairstyles
omen White w White women omen White w White women W omen White w White women omen White w
women White n White wom women White White women women White n White wome women White Beauty standards... who defines them? "It was important for [those racial theorists] to be superior in all areas," –Nell Irvin Painter
T here are a million different reasons we find certain people beautiful.
But there's no denying that a lot of current beauty standards in the U.S. are based on a particular type of beauty — one that centers a type of
white femininity that's only accessible to a select few. To begin with,
a lot of current Western beauty standards celebrate whiteness — not
some objective, biological, evolutionary thing, but literally just being
a white person. In fact, if you go back and look at the work of some early racial theorists — people like Christoph Meiners and Johann Blumenbach — they defined the category of “white,” or “Caucasian,” as being the most beautiful of the races. “It was important for [those racial
theorists] to be superior in all areas,” says Nell Irvin Painter, an artist and historian who wrote The History Of White People.
BOTTOM RIGHT: Marilyn Monroe BOTTOM LEFT: Grace Kelly MIDDLE: Natalie Wood TOP LEFT: Bettie Page
Native American
The Beauty Way The Beauty Way is derived from Hózhó, the Navajo word for the concept of living in a holistic environment of Beauty, Balance, Harmony, and Well-Being. This Beauty Way is to be aware and attuned to the essence of Beauty, not to particular forms or superficial aesthetics. The Beauty Way cultivates the skillful means of awareness, intention, community, spiritual practice, and
Chapter 1
ceremony. These nourish and support us as we walk this path together. Walking the Beauty Way is the action of living harmoniously with all of Life as it is unfolding; to live in harmony with the Divine, with the natural world, with our own self, with our loved ones, and with our communities.
8
Navajo woman taking photograph, 1945
GA
Native American
Chapter 1
9
c E
GAr
Hózhóog háa doo. jí’ hózhó asháa do Walking in Beauty
Closing Prayer from the Navajo Way Blessing Ceremony
In beauty I walk
I walk with beauty before me. I walk with
With beauty before me I walk
beauty behind me.
With beauty behind me I walk
I walk with beauty below me. I walk with
With beauty above me I walk
beauty above me.
With beauty around me I walk
I walk with beauty around me. My words
It has become beauty again
will be beautiful.
Today I will walk out, today everything
Through the returning seasons, may I
negative will leave me
walk.
I will be as I was before, I will have a cool
On the trail marked with pollen may I
breeze over my body.
walk.
I will have a light body, I will be happy
With dew about my feet, may I walk.
forever, nothing will hinder me.
With beauty before me may I walk.
With beauty behind me may I walk.
With beauty below me may I walk.
go naas. Shitsióogo naoo. T’áá With beauty above me may I walk.
With beauty all around me may I walk.
In old age wandering on a trail of beauty, lively, may I walk.
In old age wandering on a trail of beauty, living again, may I walk.
My words will be beautiful…
Native American
The Hózhó of Navajo Nation
“Hózhó is a Navajo word that means “walking in beauty” – or living in a manner that strives to create and maintain balance, harmony, beauty and order. Hózhó is similar to, but much richer in meaning than the term “conservation” as it implies a deep connection between people and land. One cannot restore land health without people and culture. This concept forms the founding principal for understanding ecological and cultural resilience on Navajo land. It is my deep pleasure and honor to continue learning the deep wwisdom that this beautiful land and culture shares with me. The traditional hair bun is an essential component of life. It is compathe identity of each person, their intellect, and even their way of life. It is a hair style worn by men and women. Each yarn strand used to form
Chapter 1
rable to the relevance of eagle feathers or tobacco because it represents
the bun is sacred and purposeful. The tsiiyéél is as much a spiritual such a beautiful (nizhóní) outcome, it is necessary to care for the hair in specific ways. The washing of the hair, adorning it, and how one chooses to dress with it all becomes part of an individual expression of belonging to the entire Navajo people. It would be fair to say that, for many, one’s connection with their hair is a connection to the memory Navajo woman with a Tsiiyeel Bun
of creation. It allows one to connect to that first man, who felt the need to tie up his hair as a way to gather his thoughts.
13
practice, or a form of prayer, as it is a way to put one’s hair up. To create
Beau Beau Beau Beau I wal
-NAVAJ
uty is before me uty is behind me uty is above me uty is below me lk in beauty!
JO POEM
A d E pt
“Tattoos symbolized moments in a woman’s life, reflecting things like marriage and children. More tattoos meant a woman was older and had accomplished more, which was also celebrated.” —Maya Sialuk Jacobsen
Regaining Identity Through Tattooing Among Inuit Women Helena Kalousková
Tattooing has been part of the Inuit culture for more than three and a half thousand years as shown in the archaeological record ; the oldest known portrait of a human: an ivory maskette from the Dorset culture representing a woman, whose face is covered with tattooed lines...Tattooing practices were carried out by all Arctic bands, though it was common mostly among women. Probably, one of the first records of this practice was made by Sir Martin Frobisher in 1576; where he describes the Inuit women having lines tattooed on their chin, forehead, cheeks, and also hands and wrists (Krutak 146–149). The tattooists were generally older women who were trained as skin seamstresses (making skin-made products e.g. parkas, boots, hide boat covers, etc.) and acquired the skill of precise stitching important also for ‘sewing’ the human skin (Krutak 149). Deep knowledge of - for tattooing suitable - animal products, pigments, and natural substances was necessary in order to perform tattooing the traditional way. Most of the designs were freehand but in some cases, they were sketched right on the skin beforehand. Some women had bands tattooed around their wrist, representing their band (Krutak 149–150). According to Crowe, designs of Inuit women face tattoos were not distinct by the band in which they lived. Most of the designs were lines on the forehead, the chin, and the cheeks (54). Among Inuit, there were no female tattoos defining a role or a job in a band.
Native American Chapter 1
19
Native American
Native American
A woman with chin tattoos wearing a necklace and earrings. Little Diomede Island, 1928
stones in life e.g. first-kill tattoos or rites of passage
of illnesses as well as protection against supernatural
tattoos. Hunters got their first-kill tattoos which were
powers. When the natural remedies failed it was up to
aesthetically and functionally similar to joint tat-
a shaman to help cure the person. Medicinal tattoos
toos received for protection against evil spirits. This
were not always the choice, sometimes the shamans
practice was more common among men than women
performed bloodletting. The tattoo artist, during
which can be deduced from the social roles.
some practices, even licked the blood shed while
It was supposed to protect the person from the animal
performing a tattoo to somehow sanctify it and facili-
spirits since Inuit believed dead animals’ spirits trans-
tate the release of evil spirit (Krutak 164–169). Inuit
formed into a semi-human form (Krutak 154–155).
believed multiple souls occupied their bodies, each
Tattooing practices differed among Inuit groups:
soul in a different joint/knuckle, and were assuring
women even ritually tattooed their face to honour
the body’s life processes (breathing, feelings, think-
and attract animals that would bring fortune to their
ing, speaking, etc.)
family, others were getting fertility face tattoos. The
If one of those souls left the body, the particular body
face tattoos also had a role of distinguishing a man
part or the person got sick. This fact connects the im-
from a woman, not only in real life but also in the
portance of joint tattoos with Inuit traditional beliefs.
afterlife. Interestingly, face tattoos of women inhab-
Tattoos also took a big part in funerary events: small
iting the St. Lawrence Island were mostly for their
dots were tattooed onto various joints by a female
beauty and each design was specially modified for
tattooist (did not matter if the tattooed person was a
each member, their arm and hand tattoos were some
man or a woman) to protect the pallbearers from the
sort of family tree since the designs were symbols
evil spirits entering their bodies through the joints
representing their clan. In a group 2,500 miles east
(Krutak 152–154).
from the St. Lawrence Island, women tattooed their thighs toassure the first thing the new-borns saw was something beautiful (Krutak 161–163).
21
Inuit also used tattooing as a precaution and healing
Chapter 1
It was more of a practice of reaching certain mile-
Native American
The squash blossom as a symbol of fertility —Laura Peluso
Yes, this hairstyle is called the squash blossom whorl, and it is the traditional hairstyle for unmarried girls in the Hopi tribe. The Hopi are a Pueblo Native American tribe who have farmed land in what is now the state Arizona for many hundreds of years. The Hopi year is divided by two major events, the winter solstice and the summer solstice, and a complex series of minor events, including ceremonies and traditions with agricultural themes developed to promote healthy crops, fertile ground, and the most favorable growing conditions. Using their surroundings as inspiration, the Hopi people have creatively interpreted their need for rain, corn, and crops
Chapter 1
by imitating natural forms and cycles in dance, jewelry, pottery, and yes, hairstyles. The most complex element of these ceremonies and traditions is the role of the kachinas, which can most simply be defined as the guardians of the land and of the people. During the Soya’la, a ceremony celebrated at the time of the winter solstice, squash blossoms are used as a decoration:
“An individual drama is enacted by the Hawk Youth, Ki’ sha Ti’ yo, and his companion, the Hawk maiden, Ki’ sha Ma’ na. This is performed, in part, in the open, The youth is costumed with a brightly colored, feather headdress. His chin is blackened, and so are his feet. The maiden carries a framework of crossed rods which are arranged to represent clouds. This is decorated with a squash blossom at each intersection. …The blossoms are beautifully Top left & bottom right: Hopi Maidens
contrived by a means which only the makers know how to produce and are handsomely dyed. After a long ritual, the youth and the maiden dance together. In the course of the dance, the maiden shakes the frame which she carries and dislodges the squash blossoms. The dance and other details of the drama symbolize the rebirth of all plants and all creatures — the new life that is now to begin.” (2)
Native American Chapter 1
23
“Pachuca style...was a way in which they could assert their independence, individuality and discontent as Mexican Americans with second-class citizenship” —Princess Gabbara
O R Na
te
brown ha es the fac ders hair you wann The Beauty of a Latina Beauty Unafraid
Dark peircing eyes ,a glance into them
leads you to a trance,full of mystery and unknown things .
Long eyeslashes, with just one blink
people fall to their knees ,only one man lucky enough to see them up close.
Eyebrows , so nicely shaped to fit the
beauty of the face. A nose not crooked, but a blend into the cheeks . High cheek bones ,
that make a man moan with just one
caress ,tightening in the shaft with just one smile. Lips so beautiful ,dreams of just touching them haunts your sleep .
Features so delicate , yet prove to be so strong.
air that c ce and sh r that ma nna touch Slightly curled long brown hair that
caresses the face and shoulders , hair that makes you wanna touch .
A womenly swell , so delicate , so wanted , leads to the curves to her hips ,
so adored for their movement .
Legs so nicely shaped , so perfect so great . This beauty isn’t seen often ,
when they do see it foolish people act as
if it is nothing . They will lust but never
truly show their affection .It takes a true man , to realize this is beautiful .
It takes a true man , to love this creation of God unashamed and unafraid.
Chicana/Hispanic
Las Pachucas: Female Mexican-American Empowerment through Cultural Consciousness Madeline Walaszek
29
Pachucas and Pachucos (the male counterparts of Pachucas) received national attention during two key events in the 1940s - the Sleepy Lagoon case and the Zoot Suit Riots, incidents thathighlighted the ways in which non-white youth culture was criminalized in American society (Ramírez 2009, p. 28). Las Pachucas were a threat to United States wartime society in that they rejected white “respectable” social and beauty norms and did not conform to white middle class ideas about gender expression, refusing to be passive about their mistreatment in American society. But the Pachuca identity and what it meant to individuals was far more complicated than the media portrayal of Pachucas as troublesome and potentially dangerous. Although not all women who wore styles attributed to Pachucas self-identified as such, by incorporating elements of Pachuca culture into their fashion, they could use it to send a message. I propose that whether young women identified as Pachucas, the Pachuca style and identity was a way in which they could assert their independence, individuality and discontent with second-class citizenship as Mexican–Americans.
Chapter 2
Las Pachucas, Mexican–American young women of the 1940s, became highly controversial but were also admired and emulated for their flamboyant fashions that often included zoot suit jackets, pants or short skirts, tall hairstyles and dramatic makeup (See figures 1 and 2). Pachucas were quickly condemned as sexually loose for their defiance of gender norms and were stigmatized as dangerous gang members rumored to hide weapons in their elaborate hairstyles (Ruiz 1998, p. 146).
Chicana/Hispanic
Previous page: TOP LEFT & FRONT MIDDLE: Pachucas in a zoot suit MIDDLE LEFT:Woman with bouffant
Chapter 2
RIGHT: Woman with a pompadour
Fears about traditional family structures being
The Pachuca style was seen as an exaggeration of main-
undermined plagued many communities, but Ameri-
stream trends in femininity and contrasted with the
can society targeted Pachucas in particular. Chang-
imagery of white middle class femininity frequently
ing gender norms created tension in some Mexican
depicted in war effort propaganda (Ramírez 2009, p. 69).
American households in which immigrant parents and
As Diana Cabral examines in Fashion Aesthetics: The
their American raised children clashed not only over
Legacy of Chicana Fashion on Identity Development,
generational differences but also over cultural differ-
the media frequently condemned the Pachuca style
ences (Ramírez 2009, p. 18). The idea that Pachucas were
and identity, characterizing it as “trashy” and indica-
sexually loose permeated Mexican American and white
tive of lower socioeconomic status (Cabral 2014, p. 48).
communities alike, fueled by their untraditional fash-
At the time, as Vicki Ruiz explains, the beauty industry
ion styles as well as the independence associated with
targeted Mexican American women and pushed white
Pachuca culture... The media characterized Pachucas as
standards of beauty (including skin lighteners). Pachuca
having loose morals that threatened gender and sexual-
style used this makeup but rejected the subtle “modest”
ity norms of the time. This portrayal of “morally corrupt
styles of the time, instead choosing to use bright lipstick
behavior” actually reflects a way in which some
on heavily lined lips, drawn on dramatic
30
women had agency over their sexuality.
eyebrows, and intricately sculpted tall
Thus, the Pachuca identity empowered
hairstyles (Ramírez 2009, p.xii).
people during a time when society
Extravagant Pachuca style was empow-
exerted a great deal of control over the
ering, because it gave young Mexican
lives of young women. Pachuca style
Americans pride in their appear-
was significant because it represented
ance and dismissed the idea that
a rejection of white middle class
femininity had to fall in line with
social and beauty norms and for this
white middle class norms. While
reason mainstream society deemed the
contemporary critics of Pachuca
style unacceptable.
fashion saw this as flashy and undignified, women wearing Pachuca fashion in photographs exhibited pride in their style. .
TOP RIGHT: "Two Women, Max Yavno 1946
Chicana/Hispanic
Previous page: BOTTOM RIGHT: Mexican–American female gang, 1942
Chapter 2 31
O
L d
Young woman with Bantu Knots
“Our ancestors may have worn Bantu knots as a protective style decades ago, but in recent years, they’ve become an outward manifestation of our love and acceptance for ourselves.” —Princess Gabbara
woolen h lips of sm butter da of a skin
hair thick miles Shea ark tone beauty o The Beauty Of A Black Woman Jcson Jenuis
The beauty of a black woman
Now the laughs from her penny
You have mocked After striving from slavery,
The beauty of her woolen hair
Still her happiness is drawn in her beauty,
And the thick lips of smiles she shares,
That is the beauty of a black woman.
A warm embracing of a dimple she bare,
She took a stroll And Her joy,
Smeared with Shea butter in beauty,
you explain on her walk,And the bounce
shiny and oily it tells a reflection story,
from her behind you wished
A dark tone of a skin
Whiles her curves you fancy with your
The beauty of mama Africa,
dirty thought,you knew this? but her
Found in the chest of a black woman.
empowerment you fought,
Her strength found within her chest,
Now you witness her reign on the
And her pride you have envied,
coastal forts, As her flag blows strength
From the little dreams she had in many
Raising dreams of the fallen ones.
And the future walls she is building,
That is the beauty of a black woman.
Black/African
Young Nigerian woman
Black/African
Respect Our Roots: A Brief History Of Our Braids —Siraad Dirshe
Getting braids—single plaits, cornrows or any style that weaves together three strands of hair—is a rite of passage for many Black women in America. Who can remember spending hours as a child sitting on the floor between a loved one’s legs as your tresses were carefully intertwined? And today as adults many of us frequent salons for more expertly crafted masterpieces. However, unlike a lot of our popular styles, such as finger waves and rod sets, braids are more than mere aesthetics. They bind us together. They are an integral part of Black culture—past, present and future. The discovery of ancient stone paintings depicting women with cornrows
earliest known forms on the continent, the styles had a duality of purpose: Not only did they uphold societal customs, but they were also fashion-
Chapter 3
in North Africa shows that braids date back thousands of years. In their
able. “African women have a rich history in terms of the ways they adorn their hair,” says Zinga A. Fraser, Ph.D., an assistant professor at Brooklyn College. A specific look could indicate the clan you belonged to, your marital status or your age. For example, a traditional style symbolizing heritage for the Fula women of the Sahel region consisted of five long braids down the back with a small tuft of hair gathered at the top of the crown. Hairstyles were
passed down through the matriarchs of each generation—from grandmother to mother to daughter. The Fula women also went to great lengths to present their hair beautifully. Silver and amber discs accessorized their shoulder-length braids. “These styles were like neat headpieces, worn down the middle of the forehead—regal-like,” says Tamara Albertini, owner of the braid studio Ancestral Strands in Brooklyn. The dichotomy between tradition and artistry existed in perfect harmony until the start of the transatlantic slave trade in the fifteenth century.
39
“Getting braids—single plaits, cornrows or any style that weaves together three strands of hair—is a rite of passage for many Black women in America”
Black/African 40
Chapter 4
A NEW WORLD, A NEW MEANING
According to Fraser, it’s impossible to understand the his-
Braids also served another purpose: They became a secret
tory of braids, and Black American hair culture in general,
messaging system for slaves to communicate with one an-
without looking at the impact of slavery on African women.
other underneath their masters’ noses. Tharps explains that
In addition to the physical and psychological trauma it
“people would use braids as a map to freedom.” For instance,
caused, an erasure occurred, she says. Before the captured
the number of plaits worn could indicate how many roads
boarded the slave ships, traffickers shaved the heads of the
people needed to walk or where to meet someone to es-
women in a brutal attempt to strip them of their humanity
cape bondage. Despite the immense difficulties they faced
and culture. Perhaps colonizers recognized the significance
during slavery, African-American women did their best to
of the elaborate strands. In any case, they sought to take
hold on to the ancestral tradition of wearing meticulously
away the women’s lifeline to their homeland. As the women
braided styles. However, Emancipation in 1865 brought
endured the rigors of slavery in America, braids became
about a longing to leave all things reminiscent of that hor-
more functional. “In a system [in which they] were just
rific time behind. As Black women flocked to cities like
trying to stay alive, there wasn’t time to make intricate
Chicago and New York during the Great Migration and took
styles,” says Lori L. Tharps, an associate professor at Temple -University and the coauthor of Hair Story: Untangling the Roots of Black Hair in America. Sunday, which provided a
jobs as domestics (one of the few positions available to them), braids soon became synonymous with backwardness. For some, plaits and cornrows were traded in for chemically straightened or pressed tresses. “A
slight reprieve from the torturous
braid was a sign of unsophistication,
conditions, was the only day the
a downgrade of [a Black woman’s] im-
women had to prep their locks.
age,” Tharps says. African-American
“[So] braiding becomes a practi-
women wanted to look citified. With
cal thing,” adds Fraser. “[Hairstyles
their newfound freedom, many chose
needed to] last an entire week.”
to assimilate, and straight styles became the norm.
Black/African
Left: Fulani woman with Fulani hairstyle Right: Yong Fulani woman with top knots
SAYING IT ALOUD
It wasn’t until the Black Power -Movement of the 1960’s
Yet while they were lauded, countless braid–wearing Black
that our perception of our hair began to shift. The move-
women like cashier Cheryl Tatum and telephone operator
ment affirmed us and rejected the Eurocentric framework
Sydney M. Boone faced negative responses: In the 1980’s one
of beauty. Black Americans were developing a deep desire
was fired and the other forced to wear a wig because their hair-
to honor our African roots, and our styles du jour reflected
styles violated their company’s dress code. Unbelievably, we
that. “In the 1970’s braiding one’s hair on intricate levels
are still fighting the same battle today. Just last year Destiny
was very much -connected to [the practices in] Senegal and
Tompkins, a former Banana Republic employee, was told by
Nigeria,” says Fraser. In the 1972 Depression-era movie
her manager that her box braids were unprofessional.
headscarf. During the promotion of the Oscar-nominated
MAINSTREAM MAGIC
Nevertheless, as hip-hop became the standard of pop cul-
braids that hovered around her crown. The actress donned
ture cool in the 1990’s and early 2000’s, braids reigned with
a similarly iconic look on a Jet magazine cover. Throughout
our female artists on the big and small screens and in music
the 1970’s and 1980’s, other stars like singer Patrice Rushen
videos...Regardless of popularity, braids are an inextricable
wore braids on the red carpet and during performances.
part of Black culture. We have carried these styles with us
Rushen often adorned hers with beads.
throughout -history—from Africa to southern plantations to northern inner-city salons and beyond—even when our
Over the years braids became an outward expression of
natural beauty was not acknowledged and with the plethora
self-acceptance and self-love. And it was only a matter of
of hairstyle choices available to us. From generation to
time before others noticed. Ironically, Whites—the people
generation, not only do we proudly opt to wear our braids,
who represent a culture that for centuries has imposed its
but we also reclaim them—time and time again—as our
ideal of beauty on us—began to wear the styles of our ances-
birthright and that of our ancestors.
tors. Despite the fact that naturally straight hair is not as adaptable for braids, the women were called beautiful and cutting-edge. This was cultural appropriation at work.
41
film, she wore upward and crisscrossed gravity-defying
Chapter 3
Sounder, a young Cicely Tyson sported cornrows and a
CA hr M
“Japanese women have long been known to boast elaborate hairstyles to emphasize their social and economic status.” —Kallie Szczepanski
Asian/Pacific Islander
The Beauty and charm of Japanese Traditional Hairstyles — Murata Takako A woman’s hairstyle is the most important element of her beauty.” The renowned writer Ihara Saikaku wrote thesewords in his book Koshoku Ichidai Onna (The Life of anAmorous Woman) in 1686, during the early Edo Period. Saikaku probably described so because, from the HeianPeriod (794-1192) through well into the Edo Chapter 4
Period (1603-1867), long, black hair was very important for Japanese women;indeed it was a key criterion in the assessment of femininebeauty. When we follow the changes in women’s hairstyles, it reflects the changes in women’s own image of the beauty. AGE, OCCUPATION & MARITAL STATUS
44
The Edo Period was the most gorgeous period in the historyof Japanese woman’s hairstyles, with hundreds of differentstyles existed. They differed according to a woman’s age,occupation, regional background and social or marital status. For example, a single woman wore her hair in such stylesas the momo-ware or the shimada-mage. After gettingmarried, the maru-mage, ryowa-mage or sakko styles tookover, and a widow’s hair was cut short to indicate her status(kiri-gami). The most well-known hairstyle for courtesanswas the yoko-hyogo style, resembling a butterfly with it swings spread open. The feudal lord’s waiting maids used the katahazushi style, synonymous with their position itself.
RIGHT:Japanese women with Shimada hairstyle
Asian/Pacific Islander Chapter 4
45
Asian/Pacific Islander FOUR BASIC HAIRSTYLES
1. The hyogo-mage, a simplified form of the karawa-
The courtesan Katsuyama, an innovative character
mage,appeared in the early Kanei Period (1624-1643).
known for wearing her kimono in a masculine way,
It was said to benamed after the courtesans of the
was always in thelimelight for her fashions. Particu-
Settsu-Hyogo area, or a hyogotub (a tub with one han-
larly in her hairstyles –possibly because she was from
dle) possibly because of its resemblance. It was a rather
a warrior family – her habit oftwisting her long hair
casual, unruly manner akin to male styles. Thissubse-
at the back into loops and using the white motoyui
quently became popular among women in general.
string to tie it up when passing through thestreet in a formal procession with a retinue of servants became-
2. The shimada-mage is a variant of the male wakashu-
extremely popular. In the late Edo Period, this style
mageand is one of the most traditional Japanese hair-
evolved to grow in size adopting the same shape as the
styles. Thecommonly accepted origin of the term is
maru-mage worn by married women.
from the courtesan ofthe Shimada station on the old Tokaido road, but there are othertheories. One says
4. The kogai-mage was a style that gained popularity
it was based on the name of ShimadaHanakichi, a
among the upper classes from the Azuchi-Momoyama
famous kabuki actress, or Shimada Jinkichi, akabuki
Periodonwards, eventually spread to the general popu-
actor; another is that it actually was derived from the
lace in the Jokyo and Genroku Periods (1688-1704).
term“shimetaganeru,” meaning to tie up tightly. Vari-
The name originatedfrom the kogai hairpin used to
ous variations ofthis style developed through the Edo
wrap the hair around to create a bun, but with the
Period, and become popularamong young women to
passage of time, as the kogai hairpin wasused just as
indicate that they were still unmarried.
an accessory, the term kogai-mage was no longerused even if the hairstyle featured such hairpins.
3. The katsuyama-mage is said to have begun in the Joo to Meireki Periods (1652-1657) based upon the way the Yoshiwara courtesan Katsuyama arranged her hair. There are other theories too: it was started in the Hoei Period (1704-1711) in Osaka by the kabuki actor named Katsuyama Minato whospecialized in young female roles, another says it originated by actors Katsuyama Senretsu or Katsuyama Senshu.
RIGHT: Shimada mage hairstyle
Asian/Pacific Islander
FROM BUNS TO BACK HAIR KNOTS
Let us take a look at some of the popular hairstyles be-
The hair oil of the day was called bintsuke-abura and was
sides the mage-bun. In the early Edo Period, such mage
a combination of wax and sesame oil spiced with essence
styles as the shimada-mage and hyogo-mage were the
of clove and sandalwood. Once the courtesans developed
main fashions. This is because the four components of
the style, it subsequently spread to the general population.
Japanese hairstyles, maegami (forelocks), bin (sidelocks), In the ukiyo-e of Suzuki Harunobu, active in the
established, and only the mage stood alone as a com-
Meiwa-Anei Periods (1764-1781), beautiful women are
pleted style. From around the Empo Period (1673-1680),
depicted wearing their hair in the kamome-tabo and
the tabo part hanging down at the back started to become
sekirei-tabo styles in which the back knot was turned
longer, and in the Genroku Period, it began to project out
up at the bottom. This is particularly evident in works
from the back and became popular. This was referred to
depicting the three renowned beauties of the Meiwa
as a kamome-tabo (seagull-backknot) becauseof its resemblance to the tail feathers of a seagull.
Period, Kasamori Osen, Motoyanagiya Ofuji and Tsutaya Oyoshi, in which
(1715-1736), hairpinsmade from such materials as whale baleen started to be used to lift the tabo up from the collar of the kimono in order to avoid hair oil stains on the collar.
vogue at the time. The simple look of the hair in relation to the collar shows the popularity of this style.
47
these styles appear as the coiffure in Towards the end of the Kyoho Period
Chapter 4
tabo (back knots) and mage (top knots) were yet to be fully
Bibliography
BIBLIOGRAPHY ARTICLES Beddoe, Marti. WHAT IS HÓZHÓ? WHAT IS THE BEAUTY WAY?, 23 Oct. 2017, https://martibeddoe.com/ blog/2017/10/23/what-is-hozho-what-is-the-beauty-way/? msclkid=97d8bb4ea5c911ec868fa3d618bf9107. Accessed 18 May 2022. Dirshe, Siraad. “Respect Our Roots: A Brief History Of Our Braids.” Essence, 20 Dec. 2020, https://www.essence. com/hair/respect-our-roots-brief-history-our-braidscultural-appropriation/. Accessed 18 May 2022. “The Hozho of Navajo Nation.” Sacred Ecology, https:// sacredecology.com/projects/navajo-nation. Jenuis, Jcson. “The Beauty of a Black Woman - the Beauty of a Black Woman.” PoemHunter.com, 8 Jan. 2019, https://www.poemhunter.com/poem/the-beautyof-a-black-woman/. Kalousková, Helena. “Regaining Identity Through Tattooing Among Inuit Women Bachelor’s Diploma Thesis.” Masaryk University, Masaryk University Faculty of Arts, 19 May 2019, https://www.muni.cz/en. Machado, Carmen Maria. “A New Generation Is Taking on L.A.’s Latinx Beauty Rituals.” Vogue, 23 Feb. 2019, https://www.vogue.com/article/latinx-beauty-march2019-issue. Accessed 18 May 2022.
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Colophon
Colophon TYPEFACES 1 The body copy is Born by Carlos de Toro issued by Behance.net or CarlosdeToro.com 2 Dispay type is Didot of various weights by issued by Sharedfonts.net SOFTWARE 3 Adobe Indesign EQUIPMENT 4 Acer Aspire 3 laptop PAPER 5 Cover/ Soft cover/ Standard smooth semi-matte finish PRINTING/BINDING 6 Printing Blurb San Francisco PUBLISHER 7 Taschen , book not actually published by Taschen DESIGNER 8 Symphony Campbell 9 Typography inspired by Fabien Baron PHOTOGRAPHY 10 Various authors ABOUT THE PROJECT 11 This is a student project only. No part of this book or any other part of this book was produced for commercial use.
UNAPOLOGETIC BEAUTY Before the Progressive Era women were deemed weak, with minimal freedoms or means of equality with only familial titles to their name: mother, daugher, sister etc. But very seldom is the woman viewed as an individual worthy of respect, protection and autonomy without the following titles, and based on the levels in which they meet society’s beauty standards especially in cases of rape, murder and abuse. Women of color are more likley to experience abuse and are least likely to be protected based on sociey’s beauty standards.