AphroChic Magazine: Issue No. 1

APHROCHIC
a curated lifestyle magazine
ISSUE NO. 1 \ VOLUME 1 \ FALL 2019
SARTORIAL ARTISTRY \ INTERIOR AESTHETIC \ SAG HARBOR
APHROCHIC.COM

When AphroChic began, our blog was dedicated to highlighting the contributions
of Black people in the world of design while providing content for smart, design
savvy people of color - an audience we were often told did not exist. At first it
was just a hobby, but things have a way of growing and AphroChic had a mind of
its own. Two years after it started, our blog became a product line, then a book
and after that an interior design company. Now, 12 years since our first blog post,
we’ve come full circle.
Four years ago we had the honor of speaking at Harvard’s first Black in Design Conference.
It was an amazing event gathering hundreds of Black architects, designers,
and students from all over the country. It was truly inspiring; yet as it went on, we
realized how little we all knew about each other. It drove home to us the importance of
increased representation - not just within the so-called “mainstream” - but in our own
community. We realized how much we needed to see us, for us, and we decided to do
something to help.
AphroChic has always been about filling voids. The blog looked to fill a void in a conversation
that took no notice of Black creatives or a Black audience. We created products
because we saw so few luxury items for the home that connected to our culture or represented
our history. We wrote a book and designed spaces to show how rooms and the
things we put in them can tell our story.
With this magazine, we want to fill another void. We want to provide a platform for
showcasing our presence and our talents, a lens for appreciating Black creativity in all
fields. This isn’t a design magazine or even a lifestyle publication - it’s a quarterly love
letter to the cultures of the African Diaspora, to the people who fought to create them
and to those who work now to see them continue and evolve.
In each issue, we will highlight stories of Black creatives in a variety of disciplines,
industries, and fields while exploring the connections between art, design, architecture,
food, technology, music, politics, and history that fit together to make a culture.
Thank you for taking this first step with us. Welcome to AphroChic Magazine.
Jeanine Hays and Bryan Mason
Founders, AphroChic
Instagram: @aphrochic
editors’ letter

Fall 2019
DEPARTMENTS
Read This,
Visual Cues,
A Family Affair,
Coming Up,
Mood,
FEATURES
Fashion // Sartorial Artistry,
Interior Design // Interior Aesthetic
Food // Food & Fellowship,
Culture // A Day at the Beach,
Travel // Morocco: A Photographic Journey,
Reference // The Questions of Diaspora,
PINPOINT
Artists & Artisans,
Hot Topic,
Who Are You,

CONTRIBUTORS
APHROCHIC
a curated lifestyle magazine
ISSUE NO. 1 \ VOLUME 1 \ SEPTEMBER 2019
Cover Photo: Brittany Ambridge
SAG HARBOR STORY \ BECOMING NINA \ VINTAGE VISION
APHROCHIC.COM
Publishers/Editors: Jeanine Hays and Bryan Mason
Creative Director: Cheminne Taylor-Smith
Contact:
AphroChic
Brooklyn, NY
AphroChic.com
info@aphrochic.com
Photo Contributors:
Chinasa Cooper
Lauren Crew
Patrick Cline
issue one

READ THIS
Contemporary imagery showcasing art and culture across the African Diaspora is few
and far between. But three recent books show another picture. In these works, we see
catalogs of Black contributions in fine art, explore the photographs that brought visual
representation to the Black is Beautiful movement, and explore the ways that people
of African descent have not only influenced fashion, but set the standard for what it is.
These books break new ground, adding an important element of self-recognition to the
way we see the cultural institutions we love.
Black Refractions: Highlights from the Studio
Museum in Harlem. Written by Thelma Golden
and Kellie Jones and Connie H. Choi.
Publisher: Rizzoli Electa. $45
Kwame Brathwaite: Black Is Beautiful.
Essays by Tanisha C. Ford and Deborah
Willis. Publisher: Aperture. $32
How to Slay: Inspiration from the Queens and
Kings of Black Style. Written by
Constance C.R. White.
Publisher: Rizzoli. $55
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VISUAL CUES
We are transfixed by Adepero Oduye’s short film, To Be Free. In the film, which
showcases Oduye’s many talents as writer, directer and star, she transforms herself into
the legendary Nina Simone. Filmed in Brooklyn, NY, with an intimate cast of friends
and fellow actors, the audience is transported to the 1960s for a single impromptu
performance by Miss Simone, where she is truly free. Having the opportunity to
participate in the film as part of the audience, we saw first-hand the making of a film
that not only celebrates an icon, but the freedom that can come in a moment of honest
self-expression.
Visit aphrochic.com to listen to our podcast with Adepero Oduye.
Photography by Jenny Baptiste
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issue one

IT’S A FAMILY AFFAIR
At the beginning of 1956, the Belfield area of Philadelphia was a predominantly white
part of the city. With few exceptions, just about all of the African Americans to be found
there were domestic workers, coming in and out of houses as they finished their work as
maids. But in October of that year, a new family arrived. Made up of three generations
- a grandmother, her four children, and two grandchildren - they were only the second
Black family to move onto the block.
My mother was a few days past
her seventh birthday when she moved
with her family into the new house.
They came from North Philadelphia,
and a house where they had
lived along with even more family
members. Purchasing the new home
had been a group effort - one that
required the whole family to pool
their money together. But a new
home meant new possibilities, and
buying the home in Belfield eventually
led to the purchase of others.
The home was a row house,
something of a staple in Philadelphia.
Row homes are attached
houses, appointed with sizable front
yards and smaller back lots. With
three-stories, three bedrooms, and
a full basement, it was large enough
for a family of six to live in comfortably.
And over the next six decades,
“the house,” as we’ve always called it,
has been a cornerstone for my family.
A place for holidays and casual visits,
a place for kids to run and for pets to
live, a perfect place for being together
at any time and for any reason. While
the list of occupants has changed over
time, the house has always been ours
and it’s always been there for anyone
who needed it. Someone moving up
from the South? They can stay at
the house. A grandchild in need of
a place to live after college? There’s
room at the house. A new baby on
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the way, a friend in need - there is
always room for family at the house.
My family’s house is unique,
but it’s far from being the only one
of its kind. The Black family home is
a significant cultural institution in
America. So many of us recognize
the warm feeling that comes from
thinking of that one special house
where the family can always be found.
For people like my great-grandmother
Lola Harper, affectionally
called “Mama,” and her children,
home ownership was not an easy path.
Covenants that barred ownership
and access to specific neighborhoods
were common across the country in
the 1950s and before. To purchase a
home was a challenge, but well worth
it, as ownership provided security
for the family. It gave you something
to call your own, something to
pass down to future generations.
Today, this institution is in
danger. According to the US Census
Bureau, home ownership among
Black families dropped in 2019 to
40.6%, the lowest it’s been since 1950.
Beginning in 2007, the decline marks
the complete erasure of progress
made since the 1968 Fair Housing Act,
which barred the discriminatory real
estate practices that had always disenfranchised
Black people seeking
to own their own homes. Causes for
the losses include predatory lending
practices, subprime mortgages,
and struggles with upkeep, but
behind them all are many of the
same attitudes that created barriers
to Black home ownership in the
past. For many Black families, “the
house” is in danger of being lost.
To preserve our family home
of 63 years, we began an effort to
update the space to keep it in good
repair for years to come. The process
has been an ethnographic study of
my family, the community, and the
importance of ensuring that the
Black home remains a family affair.
My mother was a child when she
first moved into the house. Years later,
she would inherit it from her mother
as her mother had inherited it from
Mama. Today, my sister lives there
with her husband and son; and my
wife and I continue the home’s legacy
by being stewards for the next generation
that will certainly call it home.
It‘s a Family Affair is an ongoing series
focusing on the history of the Black family
home, stories from the Harper family,
and the renovations and restorations of a
house that bonds this family.
Photos from Harper Family Archives
Words by Bryan Mason
issue one

COMING UP
Events, exhibits, and happenings that celebrate and explore the African Diaspora.
La Biennale di Venezia 2019
Venice, Italy
Through Nov. 24
Sculptor Martin Puryear is representing the United
States in a solo exhibition, only the fourth African
American artist to do so in the famed event’s 58-year
history. Commissioned by Madison Square Park Conservancy,
Puryer created A Column for Sally Hemings,
above, specifically for the Venice Biennale.
martinpuryearvenice2019.org
Taste of Soul Festival
Los Angeles
Oct. 19
The largest one-day street festival in Los Angeles, with
over 350,000 attendees. Taste of Soul features local
and international cuisine that reflects a Black cultural
experience, fused with diverse cultures and traditions.
It also includes five stages with major acts like Queen
Latifah and Stevie Wonder.
tasteofsoul.org
Afro Syncretic
New York
Nov. 8
Afro Syncretic presents the work of nine artists highlighting
the African roots of the Latinx diaspora. Collectively,
the works center on the vibrancy of diasporic blackness
within Latinx culture and urge viewers to confront dominant
narratives of what it means to be Latinx.
wp.nyu.edu/latinxproject
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MOOD
Silhouette Pouf,
AphroChic, $555
Broom Pouf,
AphroChic, $555
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Must-have products we have our eye on this season.
AphroChic x Dounia Home
Handmade in Morocco, the Amur Table Lamp blends
the centuries-old technique of creating pierced metal
lanterns with modern lighting aesthetics. The perforated
globes allow precision control of the amount of
light in a space, while the abstract base adds a contemporary
feel.
Amur Table Lamp
$1,250
Jomo Furniture
The Ashanti I stool is a modern interpretation of the
traditional Ashanti stool from Ghana. Re-imagined
in Baltic birch plywood with a sleek silhouette, this
adjustable stool reflects a deep appreciation for traditional
craftsmanship and modern style.
Ashanti I
$2,100
Slate Eau de Parfum
$95
House of Linnic
Edgy and seductive, Slate is an eclectic scent crafted
to evoke the feel of New York City. Blending notes of
white tea, frankincense, pepper and peony, its organic
ingredients and essential oils fuse to create a sophisticated
sensory experience, perfect for when you’re
feeling irresistible.
issue one

FEATURES
Sartorial Artistry | Interior Aesthetic | Food & Fellowship | A Day at the
Beach | Morocco: A Photographic Journey | The Questions of Diaspora

Fashion
Sartorial
Artistry
Photos by Gregory Prescott
Words by AphroChic: Jeanine Hays and Bryan Mason
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With ankara fabric draped in a backyard in
Brooklyn, photographer Gregory Prescott
captures images of model, George Okeny. The
author of By Window Light a nd t he upcom i ng Only
HUMAN, Prescott has found his most enduring
source of inspiration in capturing the human
form. In his artist’s statement he writes, “My
photographs have successfully embraced both
the inner and outer beauty of men and women.
GOD is the true artist. I am the channel.” In
this sartorial series, Prescott explores the way
that color, texture, and shape converse in the
interplay of the body with fashion. With Okeny
standing boldly in fall staples, like a leather
coat and deeply-hued bomber, Prescott reveals
to us this Sudanese model’s beauty, strength,
and piercing humanity. AC
Visit gregoryprescott.net to learn about the photographer’s
self-produced first solo exhibition set for October 2019, and
his next coffee table book, Only HUMAN.

Fashion
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issue one

Interior Design
Interior
Aesthetic
At Home with Fashion Designer
Nana Yaa Asare-Boadu
Photos by Patrick Cline
Words by AphroChic: Jeanine Hays & Bryan Mason
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Interior Design
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“I’m not much of a talker,” says Nana Yaa Asare-Boadu, looking out the
window of a Brooklyn cafe at all the activity of a morning in New York City.
She says it quietly, the way she says most things, and though she’s here
specifically for a conversation, her first confession is more believable than
the next: “I don’t think that deeply about fashion.”
But if there’s one thing to learn
from Nana Yaa, it’s that not being much
of a talker should never be confused
with not having much to say. A career in
fashion that has spanned major brands
and nation-states has given her plenty
to say about fashion, design, and the
lopsided dialectic between honesty and
commerce in the life of a creative. That
doesn’t mean she wants to talk about it.
“People should just do it,” she says. “Stop
talking. Go places. See for themselves.
Listen, and then have their views.”
Nana Yaa is the definition of a global
citizen. Born in London of Ghanaian
ancestry and raised in Holland, her
talents have taken her to Paris and
Milan, with stays in Israel and Ghana.
All of that before arriving in
New York to assume a position with
fashion house Jonathan Simkhai that
now sees her time split between New
York and Los Angeles. Along the way
she’s acquired a fluency in French and
Dutch, as well as a working knowledge
of German and Twi.
With so many countries to her
credit, it’s not hard to imagine why
talking is not one of her more valued
pastimes. Perhaps a life lived between
languages has given her an appreciation
of all that words cannot do. Instead,
Nana Yaa favors non-verbal forms of
communication. Drawing, design, and
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Interior Design
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ecently dance are just a few of the
ways she’s found to express herself.
But perhaps her most complete exposition
of who she is comes from the
design of her Brooklyn pied-à-terre.
Luxuriously sized for a city where
cramped quarters are the norm, the
two-story, one bedroom apartment is
elegantly designed in an understated
yet expressive way that blends family
photos, touching gifts, and lucky
finds from all over the world to tell a
story as unique and intriguing as the
designer herself.
More than its space, the interior
of the home has the kind of “bones”
that interior designers dream of.
Small architectural details, original
to the home, are built into the walls
and doorways bringing personality
and interest into every room. It’s
the perfect palette for an artist with
so many stories to tell, and the type of
find all New Yorkers dream of. “I was
really lucky,” she recalls of the process
of finding her home.
Living in London and searching
for apartments online, Nana Yaa came
across her future home, and immediately
dismissed it as too good to be
true. “I told my mom, I’m never going
to get it, but she kept saying, just call
them. Just call them, so I did.” A call
turned into a conversation and soon
Nana Yaa dispatched a local friend
to see the place firsthand and let her
know what she was getting into. “You
should get it,” was the quick reply.
Stepping through the garden level
entrance of the home presents visitors
with an immediate choice: up the
stairs to the right and to the second
floor, down the hallway in the center,
or through the open entryway to the
left. Those who choose left will find
themselves in an expansive dining
room presided over by a beautiful
reclaimed wood table. Generally unissue
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assuming despite its delightful
texture and capacity to seat eight, no
one would ever suspect that the table
is a perfect example of how Nana Yaa
decorates her home, and the types of
stories that make up her life.
“This was a beautiful surprise,” she
smiles as she remembers. “It basically
came with the house.” The table was
one of several curiosities - including an
antique deep sea diving helmet - that
were waiting for her when she moved
in. About a year later, Nana Yaa was on
a job interview and her interviewer
asked her about living in Brooklyn. He
asked what neighborhood, what street
and finally the address. After she’d
answered, he revealed that he’d once
lived in Brooklyn as well. Same neighborhood,
same street, same address.
“Do you still have that dining room
table?” he asked. “I left one there when
I moved out.”
Nana Yaa’s home is less a space
decorated in furniture and accessories
and more a library of stories,
each one encased in some seemingly
mundane object yet curated and
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Interior Design
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Interior Design
presented with as much care and
style as great works by renowned
masters. A narrow hallway between
her dining room and her kitchen has
been converted into a small yet dense
library. In it, she reveals another of
her decorating secrets. “I’m a bit of a
hoarder,” she confesses, and books are
high on her list of coveted items.
From an early age, the designer
wanted nothing more than books for
birthdays, holidays or any occasion
where gifts were a possibility. Over
the years her collection has grown
and, quickly exceeding the confines
of these few shelves, Nana Yaa’s books
are a constant presence in every
room. On tables they become objects
of interest, places for conversations to
begin. On mantles, they add color and
texture to the stark white of her walls.
Stacked on the floors to improbable
heights, they become statuary or
makeshift tabletops, often adorned
with curiosities and accessories of
their own. If this is hoarding, she
should give lessons.
Past the library lies the kitchen.
Here, amid the appliances and
utensils, Nana Yaa continues to find
opportunities for small narrative
moments. On the counter, a pestle
from Ghana sits beside a jar gifted
from a friend found while traveling
in Mexico. On the walls there are
photos taken by her of designs she
created while studying in London
sitting alongside a fashion illustration
she framed while living in Paris. The
crown jewel of the space is a Ghanaian
mask made by children at a foundation
that her mother once ran in Ghana. To
raise money, Nana Yaa’s mother would
sell the masks in Holland, and she was
able to keep one for herself.
Wherever she goes in the world
and for however long, Nana Yaa takes
Ghana with her.
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issue one

The only place where
Asare-Boadu embraces
maximalism is with her
collection of books.

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Interior Design

It isn’t only an ethnicity, not
only a part of her identity, Ghana
is a family heirloom passed down
to her from her mother and grandmother,
not through explanation, but
by meaningful objects and meaningful
moments. From her grandmother
and great-grandmother,
the designer received a collection
of Kente cloth. As diverse as they are
beautiful, the collection of vintage
fabrics includes instances of pink and
green stripes and elaborate black and
white patterns, as well as the familiar
patterns that are more commonly
collected under the term. From her
mother she inherited her love of
fashion, remembering the stylish
ensembles her mother would create
and her trademark way of matching
her bag to each outfit.
In more concrete terms, Ghana
is a frequent destination of Nana Yaa’s
travels, as she goes often to visit her
mother. True to form however, it isn’t
the bustle and noise of cities that hold
the most interest for her, but the quiet
spaces further north.
“When I go to Ghana I don’t stay
in Accra for long” she offers. “I like to
go up to where my mother’s family is.
I spend a lot of time talking to them,
and I listen.” In those quiet spaces,
Nana Yaa connects to what she feels
are the essential lessons of the place
and the culture, and discovers the
space to let her creativity find new and
ever-more-honest means of expression.
In its most recent incarnation,
her search has transcended both the
verbal and the visual to explore the
kinetic in a unique and mesmerizing
form of performance art.
Nana Yaa is quick to decry any
notion of her performance as dance
or herself as a dancer. While at first
glance it might seem the most natural
categorization, closer inspection
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Interior Design
reveals that it’s nothing so structured
as that - and that’s the point.
Rhythmic and undulating, unintentionally
yet unrepentantly sensual, her
movements eschew formal choreography
in favor of offering her audience
a glimpse of pure emotion in search of
spontaneous and complete catharsis.
The effect is hypnotic, and more than a
few people have fallen under her spell.
As a result, what began as a few posts on
Instagram has expanded into a series of
artistic and commercial collaborations.
Notably, Nana Yaa was featured in the
#LikeNoOneElse campaign of Turkish
lingerie line, Else.
Nana Yaa’s home and her
movement work fit well together in
the context of her general approach to
creative things. Unchoreographed, yet
flawlessly executed, her living room
expands from a small entryway at the
top of her stair into high ceilings and
large windows that bathe the room in
sunlight. And like her dancing, Nana
Yaa’s style is minimalist, elegant, and
serene. Taken as a whole, the room
comes together in what feels like a very
classic, French style. Its neutral color
palette seemingly exists to highlight the
rooms undisputed star, the modern,
pink, velvet sofa from Saba Italia. Yet
like so much of Nana Yaa’s decor, the
piece wasn’t a find, it was a gift. A
friend, the company’s owner, simply
felt like she needed a pink sofa.
Themes from the first floor repeat
themselves in larger and interesting
ways on the second. Sculptural stacks
of books and magazines become larger
and more ornate. The walls on every
side of the room are adorned not with
art, but with memories. A framed work
in watercolor turns out to be a doodle,
one of many that a former co-worker
would constantly make and discard.
Vibrant photographs are test
shots for runway shows from years
past. Flea market finds from far-flung
shops adorn the mantle and take the
place of wood in the fireplace. And everywhere
there is evidence of family -
photos with mom, old watches awaiting
repair, and an entire wall dedicated
to images of her grandmother when
she was young. There appears to be
nothing in the space that isn’t personal,
nothing that is without its own specific
meaning, yet it all fits together as if its
only purpose was to be in this room.
Appropriate for a fashion designer,
the only way into the bedroom is
through the closet. A brief hallway
separating the living room from the
bedroom became the perfect space in
which to house the designer’s fashion
arsenal. The bedroom itself is a visual
sanctuary - clean lines and soothing
colors accented by small yet stunning
moments. This is where she keeps
her record collection, and opposite
it, a dress form stands adorned in
a dazzling array of traditional hats
and beaded jewelry, all from Ghana.
Blessed with the same large windows
as the living room, it feels like an easy
room to go into and a hard one to leave.
Nana Yaa’s home is a mirror of
herself. Impeccably presented, but with
a depth of meaning that isn’t hidden,
it just isn’t screaming for attention.
Noticing it is inevitable; appreciating it,
unquestionable. But understanding it -
that might take some doing. It isn’t that
her meaning is unfathomable, but that
it requires us to take the time to hear
everything that she’s trying to tell us in
everything that she isn’t saying. It’s a lot
to do in one performance, one visit or
one morning over coffee in Brooklyn -
but that’s ok, she’ll wait. AC
Visit aphrochic.com to see a special performance
by Nana Yaa Asare-Boadu.
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issue one

aphrochic

Food &
Fellowship
Chef Rashad Frazier Is Connecting
Cultures Through Food
It’s a random day. The middle of a hectic week, and Rashad Frazier is
stopping by. The chef, a longtime friend, has a new recipe in mind. We
are willing guinea pigs, eager to see what he wants us to test today.
Photos by Rashad Frazier, Patrick Cline, and Bryan Mason
Words by AphroChic: Jeanine Hays & Bryan Mason
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Food
In the past there’s been a karaage
fried chicken sandwich, a slab of
Japanese baby back ribs, even cornmeal
crusted okra. We’re meat-lovers, but
today Rashad’s encouraging us to try
something new. He comes bearing
the most beautiful of gifts. Bags full of
fresh ingredients, aromatic spices, and
fresh shrimp. Before he even begins to
prepare our lunch, we’re ready to give
up red meat (at least for an afternoon).
For Chef Frazier, food is more
than just fuel. It’s a canvas, a history
lesson. And most of all, it’s an opportunity
to connect. The Food Network
star, host of the show Hate It or Plate
It, often uses the phrase “food at play”
when describing his dishes. But when
his food hits the palette, you feel that
there’s something more than play at
work. There’s innovation, meaning,
memory, and a narrative in each bite.
As we sit in our kitchen in Brooklyn,
Rashad cooks comfortably and
we watch in wonder as our stovetop
does things it’s never done before.
We learn as we wait that the dish, a
skillet shrimp, is a recipe from his
food concept, Yoshi Jenkins. On the
surface, Yoshi Jenkins is a combination
of African American and Japanese
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culinary traditions.
An unlikely alliance, one would
think, until you talk to Rashad a little
more. The inspiration for the brand
and its signature fusion of flavors is
rooted in history. Specifically, it references
a brief and extraordinary
period in the 1930s, when Los Angeles’
Little Tokyo district was referred to as
Bronzeville. During that time, Japanese
Americans and African Americans lived
in close proximity before the period of
Japanese internment. Rashad reflected
on this moment in history, wondering
what types of dishes would result from
the two communities living together.
We have no idea what Rashad can
do with a brush and paint, but in a
skillet, he mixes colors like a master.
Bright yellows, reds, and greens mix
together, creating a festive backdrop
for the pops of pink from the shrimp
that are the star of the dish. The
resulting fusion is as subtle as it is
effective. Shrimp are as much a favorite
in Japan as they are in his native North
Carolina. For this dish he prepares
them in coconut oil and ginger,
longtime staples of traditional Japanese
cooking. At the same time, the cast iron
skillet is reminiscent of the big black
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Food
pot used for the fish fries that are one of
his fondest memories of home.
With Yoshi Jenkins, the dishes span
continents. It takes only a single bite for
the concept to come together. We taste
the American South and understand
Rashad’s stories about fresh tomatoes
in his grandmother’s garden. The
shrimp have the distinctive flavor of the
Far East, notes of ginger and coconut
accented by cilantro and parsley.
The fusion is seamless and complete,
worlds colliding in a single pan.
But this food isn’t just about connecting
distant cultures, or bringing
attention to moments in time long
past. This is food for the here and now,
and for people to enjoy together. Not
only do we love the shrimp, sopping
up every last bit with slices of french
bread, we talk, we laugh, and we forget
about everything other than the food in
the bowls and the people in the room.
We end the afternoon as we usually
do, with more talking, more laughing,
and more trips to the skillet. After a
whole day of cooking and eating in
fellowship, we see that food is far
more than fuel. It brings our senses
to life; tells us our stories and those of
countless others, and ultimately it pulls
us together. AC

Yoshi Jenkins Skillet Shrimp
INGREDIENTS
1/4 cup coconut oil
20 jumbo shrimp (about 2 pounds), shelled and deveined
Kosher salt
Freshly ground pepper
4 garlic cloves, thinly sliced
2 tablespoons minced shallots
1 tablespoon minced ginger
4 bird’s eye chilies, seeded, stemmed and chopped
1 cup shellfish stock
4 tablespoons cold unsalted butter, cut into cubes
1 cup heirloom cherry tomatoes, halved
3 tablespoons fresh lemon juice
1/4 cup Italian parsley, chopped
2 tablespoons cilantro, chopped
TOOLS
Large Skillet
Wood Spoon
Spatula
Sharp Knife
Cutting Board
In a large skillet, heat 3 tablespoons of coconut oil. Pat the shrimp dry. Moisture will prevent
shrimp from caramelizing. Season the shrimp with salt and pepper.
Once skillet starts to smoke, add the shrimp to the skillet and cook over moderately high heat
until lightly browned, about 1 to 2 minutes per side. Transfer to a plate.
In the same skillet, heat remaining 1 tablespoon of coconut oil. Add garlic, ginger, shallots, and
chopped chilies and cook over moderately low heat, stirring constantly (this prevents it from
burning), until softened, about 1 minute.
Add the shellfish stock and bring to a boil. Simmer over moderate heat until the broth has
reduced by one-fourth. Whisk in the butter a few cubes at a time until incorporated. Add the
tomatoes and shrimp and simmer until the shrimp are cooked through, about 2 minutes longer.
Stir in the lemon juice, parsley, and cilantro and serve.
Serve with sliced, buttered, and toasted baguette.
Serves 4.
For more about Yoshi Jenkins listen to our One Story Up podcast episode on Food, Culture & Fusion, aphrochic.com.
issue one

Culture
A Day
at the
Beach
Celebrating Sag Harbor with Mr. Baldwin Style
Written and Produced by AphroChic:
Jeanine Hays & Bryan Mason
Photos by Brittany Ambridge
Styling by JL Goodman
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58

There are some days that are magic. Days when it all goes right - the perfect
setting, the perfect weather, and the perfect group of friends gathered to mark
an important occasion.
For Donnell and Courtney Baldwin, New York fashion
stylists known for their brand, Mr. Baldwin Style, that
moment came on a sunny day at Havens Beach in Sag
Harbor. The idyllic location, set among bright white sands,
long blades of grass, and even a few deer roaming by the
ocean, was perfect for the couple’s celebration of their
six-year wedding anniversary.
To make the most of a beautiful day, the couple, whose
brand works with Ralph Lauren and Rosario Dawson’s
globally conscious Studio 189, called on an equally fashionable
array of guests to toast their latest milestone in one of
their favorite places to visit.
“We enjoy visiting Sag Harbor during all times of the
year,” says Courtney. The couple was first introduced to
the area when Donnell lived in East Hampton for a short
time. “Each season has its own charm. In the summer, Main
Street is bustling with a mix of residents and weekenders
heading to or coming from the beautiful area beaches. In
the winter, the town is visibly less populated, but equally
charming. Sag Harbor serves as an escape and a place to
recharge year-round. It’s a place where you can go for fresh
air and get a fresh perspective, whether it be for the day or
the entire summer.”
On this day, guests arrived in a steady stream.
issue one

S
b
o

ag Harbor is special to us
ecause it’s a perfect blend
f so many things we love.

Culture
Shoes were quickly discarded in
favor of the feel of sand and surf and
sun on bare feet. Among the guests, a
number of people in the fashion world
came to celebrate the couple’s anniversary.
Fashion designer Jerome
LaMaar arrived in a flowing lilac
kimono, while stylist James Bianca
stunned in an African wax print dress.
Vintage blogger Krystle DeSantos
came in a stylish assortment with a
‘70s vibe. In addition to the fashion
crowd, other creatives were also in attendance,
including interior designer
Mikel Welch from TLC’s Trading
Spaces, and advertiser Law Smithson.
Over the years, Sag Harbor
and its many beaches have seen
countless days like this, when African
Americans gathered to celebrate
moments like these. It’s a history
that begins with freed slaves coming
as laborers in the 19th century, and
later in the 1940s, African Americans
developing safe places of refuge
and leisure. This was particularly
true in the Sag Harbor Hills, where
African Americans have lived in the
beach community since World War
II. During the Jim Crow era, the area
served as a seasonal destination for
affluent and middle class African
Americans. Notable figures, including
Lena Horne, Harry Belafonte, Duke
Ellington, and Langston Hughes
to name a few, have long come to
Sag Harbor as a summer retreat.
The area’s legacy is so important
to American history that the SANS
neighborhood, named for the historically
Black Sag Harbor Hills, Azurest
and Ninevah areas, was recently
added to the New York State Register
of Historic Places. “When we first
began visiting Sag Harbor, we always
felt a connection to the town, but
had no idea of the history,” remarks
Donnell.
aphrochic

Culture
For this special day at Havens
Beach, with the historic SANS houses
in the background, guests gathered
for an intimate afternoon soirée.
Donnell and Courtney worked with
John Goodman of JL Goodman Design
to create the perfect look for their
gathering. Sitting firmly in the sand,
with the tide lapping about its legs,
a carved, wooden table looked as if it
had risen magically from the ocean.
Goodman’s design featured a bold mix
of pink, fuchsia and lavender, offering
a bright pop of color against nature’s
palette of green, blue, and sandy
brown. The tablescape, with pampas
grass and fuchsia coral, was a modern
nod to the coastal setting, complete
with beach sand and pebbles dusted
lightly across the surface of the table.
Against the backdrop of sand and
surf, guests toasted the couple while
nibbling on local cheeses, fruits, and
vegetables all from the Hudson Valley.
As Courtney and Donnell
learned about the history of the
place following their first visit, they
began to better understand the connection
that they felt whenever they
were there. Prior to the Civil Rights
Movement, African Americans were
not allowed access to many of the
beaches and entertainment activities
in the area - so we created our
own. For over 40 years, the summer
crowd in Sag Harbor consisted of a
mix of affluent and middle-class Black
people. Doctors, lawyers, educators,
and blue-collar professionals met
each year to escape the racism that
they faced in the world away from
the beach. Meanwhile many of these
families took advantage of the opportunity
to buy beachfront property,
a chance that was scarcely available
elsewhere. Today, many of the homes
in the area have been passed down to
family members and there are still a
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few of the original residents that live
in the coastal communities, helping
to continue the traditions and teach
others about the long-standing importance
of the area.
“There are a lot of places that we
enjoy in Sag Harbor. We love Long
Beach and Havens Beach. Both are
fairly small in size but offer a little
something different. Havens Beach
is adjacent to the historically African
American private beaches,” reflects
Courtney. “From there you have a
great view of the boats and yachts that
come in and out of the town harbor.
Long Beach is beautiful, with areas
of no traditional sand at all, just large
pebbles. It’s just a few minutes drive
from the main village and offers
some of the best views of Sag Harbor’s
amazing sunsets.”
Many things have changed since
Black people first sought out Sag
Harbor in search of the freedom to
enjoy a day at the beach. What hasn’t
changed is the joy of gathering to
celebrate the best parts of life in a
place that requires no explanation,
asks for no apology. For Courtney
and Donnell Baldwin it was the only
place to come to celebrate their life
together, surrounded by friends and
inspired by history. “Sag Harbor is
special to us because it is a perfect
blend of so many things that we love,”
Donnell explains. “Every time we visit,
we learn something either through
experience or conversation that we
can apply to our current business
or that adds to the pursuit of our
wildest dreams. We keep coming back
because of how we feel when we are
there and how refreshed we feel when
we return to our busy and sometimes
hectic life in New York City.” AC
To learn more about Mr. Baldwin Style,
mrbaldwinstyle.com. Visit aphrochic.com to
see more from their day at the beach.
issue one

Culture
Sag Harbor Travel Tips from
Mr. Baldwin Style
WHERE TO EAT
Our favorite restaurant is nothing fancy but has the best seafood! The
Dock House is a favorite of locals and visitors alike and has been our
favorite restaurant since we started coming to Sag Harbor. If we decide
not to eat in the restaurant, we will take our to-go boxes straight to the
beach to enjoy our dinner in perfect view of a beautiful sunset. We also
have a tradition of visiting Buddha Berry, a local frozen yogurt shop that
offers non-dairy soft serve "ice cream," before we head back to the city.
TRAVEL TIPS
You can hop on the Hampton Jitney or into your car and in less than two
hours from Manhattan you can arrive in a sophisticated beach town with
a rich culture that provides an immediate escape and recharge. There’s
no plane or airport hustle required. It’s especially perfect for a romantic
getaway because very little advanced planning is required.
SHOPPING SOURCES
Sag Harbor has intentionally been kept free from large retail chains to
maintain the village charm, so the boutiques that line Main Street are
unique. We love visiting Donna Karan's new Urban Zen store. It’s part
clothing store, part furniture & artifact store, and part restaurant. The
space is truly meditative and peaceful. Upon visiting the store, you are
automatically taken on a journey to Africa and Haiti where many of the
retail items have been made by local artisans.
WHERE TO STAY
We enjoy renting area homes or staying at a local hotel called the Baron's
Cove. The hotel is great in every season, not crowded, and the indoor and
outdoor fireplaces are delightful.
THE HISTORY
After visiting several times we learned about the rich history of the
area and began looking for ways to connect with the history however
we could. We began reading everything we could find about Sag
Harbor and connected with locals during our visits. It has sparked our
interest in learning more about the history of African American leisure
communities around the country.
aphrochic

Travel
Morocco
A Photographic Journey
The story of Marrakech begins in
the year 475 AH (1062 AD), as two
men walked together in the Sahara
desert. Cousins by blood, brothers
in arms and ideology, they had spent
years at war and were touring the
desert in search of a future.
Photos by Lauren Crew
Words by AphroChic: Jeanine Hays & Bryan Mason
aphrochic

Travel
Abu Bakr ibn Umar, leader of the
Almoravids, and his top lieutenant
Yusuf ibn Tashfin were continuing
a fight begun by Abu Bakr’s brother
Yahya ibn Umar and their teacher, the
Maliki jurist and preacher Abdullah
ibn Yasin. Both had fallen in battle,
leaving it to Abu Bakr and Yusef to
continue to expand their dominion,
and with it their vision of Islam.
Unrivaled in combat, the Almoravids
were unbeaten on the field and
were, at that moment, suffering the
consequences of their success. They
had conquered and occupied Aghmat,
a wealthy and sophisticated city, but
the courtly life of a crowded city was
proving impossible for an army of
hardened desert nomads.
Abu Bakr and Yusef had gone into
the desert seeking a solution - a place
where the Almoravids could build
the type of military encampment
their ranks were used to, defensible
and efficient, with lots of open space.
When they found what they had been
looking for, work on the new encampment
began.
From that time on, the city of
Marrakech has stood for more than
900 years. It has been the capital of
an empire that stretched from present-day
Senegal up through much of
Spain and across most of North Africa.
It has been a center of learning and
philosophy, a hotbed of sedition, and
the seat of rulers, rebels, and tyrants
alike. It has been besieged, sacked,
restored, colonized, and liberated.
Today, from the Koutoubia
mosque to the Almoravid koubba
(bathhouse), through the maze-like
passages of the souks, to the open
plaza of the Medina, Marrakech - like
all ancient places - carries the weight
of its history. In every moment there
is an almost tangible sense of all that
has come before.
But Marrakech is not simply a
place of the past. Its arts, architecture
and culture continue to touch the
world, influencing everything from
the fashion of Yves Saint-Laurent to
modern interior design. Few places
on earth bridge the gap between the
old world and the new so well. This is
Marrakech, a city in pictures. AC
aphrochic

Travel
aphrochic

issue one

Travel
aphrochic

“Traveling - it gives you
home in a thousand strange
places, then leaves you a
stranger in your own land.”
Ibn Battuta (1304-1369)

Travel

issue one

Reference
The Questions
of Diaspora
It’s hip-hop and street style. It’s Juneteenth in Harlem, the Caribbean Day Parade in
Brooklyn and Carnevale everywhere. It’s all over Beyonce’s latest video. But what is the
African Diaspora? It’s a common term for referring to the collection of cultures across
the world that trace their roots back to the African continent.
But many of us refer to it so often
or hear of it so frequently that we may
not stop to explore precisely what it is
Edwards calls, “a confusing multiplicity
of terms…including ‘exile,’ ‘expatriation,’
‘post-coloniality,’ ‘migrancy,’
‘globality,’ and ‘trans-nationality’
but as so often happens, getting to a
good answer is all about asking the right
questions.
or what it means. In fact, there are many
among others…”
definitions of the African Diaspora,
various constructions describing its
inner workings, and even different perspectives
on the point in time at which it
came into existence.
The difficulty in pinning down a
specific definition for the term might
stem from the fact that it’s even harder
to define what diasporas are in general.
Over the past 50 years, diaspora
has become the favorite answer to a
multitude of theoretical questions and
French sociologist,
Dominique Schnapper, traces
the history differently, asserting that
diaspora has not spawned these terms,
but rather that, “since 1968 it has designated
all forms of population dispersion,
until then evoked by the terms
expelled, expatriate, exile, refugee,
immigrant, or minority.”
So coming to an agreement on the
definition of diaspora is difficult, even
before trying to describe a specific one.
But the level of importance that’s been
The Question of Origins
Diaspora is an ancient term with
a long history. Meaning simply “dispersion,”
or “scattering,” in Greek, the
historian Thucydides was likely the
first to use it to describe the displacement
of people by war. Its association
with dispersed Jewish communities
began with the translation of the
Hebrew Scriptures into Greek between
the 3rd and 2nd centuries, BC. Deuteronomy
28:25 is often referred to specif-
the basis for countless more.
It has
placed on the concept in recent years
ically for its use of the word to describe
given rise to what scholar Brent Hayes
is undeniable. So getting a clear idea of
what diaspora is might be a good idea,
the Jewish nation being “scattered to all
the kingdoms of the earth.” For the next
Words by Bryan Mason

Ngbaka mask, Democratic Republic of the Congo, Yale University Art Gallery

Reference
two millennia, diaspora was used
almost exclusively to refer to dispersed
Jewish populations throughout history.
But by the 20th century other groups
had begun using the word as a designator.
Armenian writers begin focusing
on displacement in their work as early
as 1915, while the African Diaspora
sees its first mention by the late 1960s.
It wasn’t until the early ‘90s that the
explosion of communities regarded
as diaspora began an expansion of the
term. The trend has continued into the
21st century, expanding the application
of the term beyond national dispersions
to include the many groups that inhabit
the concept today.
In 2000, listing the number of
studied diasporas, Khachig Tololyan,
editor of the academic journal Diaspora,
counted “three dozen trans-national
communities…ethnics, exiles, expatriates,
refugees, asylum seekers, labor migrants,
queer communities, domestic service
workers, executives of trans-national corporations,
and trans-national sex workers,”
and the list has grown since then.
The Question of Movement
At the core of every construction
of diaspora is the idea of movement.
All diaspora communities have their
origins in one place and have moved to
several others. The question raised by
identifying so many disparate groups as
diaspora though, is whether all forms of
movement should be thought of as the
same. The key distinction in this debate
is between migration and dispersion.
The primary difference between them is
simple, but significant: volition. Simply
put, the former is something you do, the
latter is something that someone else
does to you.
Dispersion happens in instances
where communities are forced to
move by forces such as war, mass deportation
or, in the case of the African
Diaspora, a massive international slave
trade. Migration, conversely, is largely
a choice. Even in those situations
where lack of employment or resources
cause movement, they don’t force it in
the same way. And while there is unquestionable
trauma in being forced
into migration because of famine or
a weakened economy, it’s a different
trauma than that of surviving a war or
experiencing the Middle Passage.
Translating that distinction to
currently considered diaspora groups,
we see that differences do become
apparent.
The earliest groups to be considered
diaspora, the Jewish, the Greeks,
the Armenians, and the Africans, were
all victims of dispersion of one type or
another. Later groups, such as that of
international sales representatives, or
even Detroit lieutenant governor Garlin
Gilchrist’s laudable Detroit Diaspora
concept, refer to groups that moved of
their own volition. Other characteristics
common to diaspora constructions,
such as a dream of return to the place
of dispersion or the recognition of a
shared culture between members of the
group, may possibly be said to apply, but
certainly not in the same ways.
If there are dispersed communities
that function as diaspora and cannot be
suitably defined by any other term, we
risk losing sight of the unique features
found in those communities by conflating
diaspora with other forms of
movement and migration. This in turn
can lead to misconstrual of the changing
dynamics of diaspora communities and
a misunderstanding of their needs and
goals.
aphrochic

Spinning By Firelight–The Boyhood of George Washington Gray, Henry Ossawa Tanner, Yale University Art Gallery
In evaluating whether or not certain
communities qualify as diaspora, we must
consider what’s at stake for them in this
categorization, and the extent to which
international salesperson, for example,
I may be dispersed from my homeland,
I may dream of a day of return, I may
even have a tense relationship with the
hostland. But do I have a sense of recognition
with other professionals so
dispersed, even from my own homeland,
to other host lands? Do we recognize in
each other a common struggle or shared
diaspora groups. However it is a very
different conversation for Armenian
or Jewish communities, than it would
be for trans-national executives or
they function as communities. If I’m an
yearnings? Is my dream of return for all of
domestic service workers.
However,
us, or just for myself?
At the same time, reevaluating the
sense of dejection associated with the
loss of the homeland in light of later
prosperity is a common theme for
current frameworks of diaspora make
it difficult to distinguish between them.
The Question of Definitions
Why does diaspora have to have a
issue one

Reference
specific definition that everyone agrees
to? The short answer is: it doesn’t. If
all migrations result in diaspora, then
there can be as many conceptions of
diaspora as there are types of movement
— more even. However, if diasporas are
themselves a unique thing, different in
process and outcome than other types
of migration, it makes sense to study
them as such, especially those groups
for which there’s more at stake than the
designation of being “in diaspora.”
Look at it this way: If one person
believes that a hammer is a building
tool, and another believes it’s a cooking
utensil, they can discuss the importance
of the tool and their love for it all day;
but whether the job is building a house
or baking a cake, they will have a very
difficult time doing it together. They
don’t have to agree on the best ways to
use it, but it would help if they shared a
generally coherent idea of what it is.
The Question of Africa
So what does that mean for us?
Currently there isn’t much that separates
the way that the African Diaspora
is understood from the widely varied
approaches taken in the study of
diasporas as a whole; and for those not
dedicated to studying it specifically, the
African Diaspora is taken to be simply
one more in a field of many. This raises
questions as to whether there are any
unique features of the African Diaspora
that aren’t common to all forms of
migration and that demand specific
attention and study.
This much we know: nearly all
concerned parties agree that those of
African descent who reside in locations
outside of the African continent constitute
a diaspora. However very few
seem to be able to agree on what that
means, or why it is important. Yet these
characteristics do exist, demonstrating
not only the distinctive features of
a diaspora but presenting the African
Diaspora as a unique case for study.
Consider the fact that, unlike other
diasporas, the African Diaspora does not
have a single point of origin. True, we
call it the African Diaspora, but as many
of us are tired of pointing out, Africa is
a continent, not a country. That means
that the story of the African Diaspora
is not a question of dispersal from one
place to several but from many places to
many more. That changes things.
Diasporas are generally about
one culture being scattered to many
places and maintaining relationship to
each other through their shared point
of origin. However each culture of the
African Diaspora is not a scattering
of one culture into many but a fusion
of many cultures into one. In every
instance, dozens of different African
cultures, present in different levels,
came together along with any number of
Native American and European cultures
to become a distinct thing. It became the
African American and the Trinidadian;
it became the Jamaican and the Haitian;
it became Dominican, Cuban, Brazilian,
and more. It became all of us. This significant
difference does not make the
African Diaspora any less a diaspora.
Nor is it more usefully understood as a
series of smaller diasporas from specific
countries in Africa. It is specifically the
joining of many African cultures, in
unique ways, across a variety of places,
that creates the African Diaspora.
Consider also that the African
Diaspora exists not only as a state
of being, but as a concept. In a short
treatment of the subject, historian Colin
A. Palmer lists five distinct diasporic
aphrochic

Am I Not A Woman & A Sister, Anti-Slavery Hard Times Token, American, Yale University Art Gallery
issue one

Reference
moments in African history, beginning
with the first human migrations out of
the continent. His suggestion being that
the existence of other examples of largescale
movement on the part of African
people means that, “there is no single
diasporic movement or monolithic
diasporic community to be studied.”
While it’s true that the global
migration of Africans predates the
trans-Atlantic slave trade, it’s difficult
and to ignore that the African Diaspora
as a concept is a direct development of
that particular dispersal, and more specifically,
of a long history of thought and
action aimed at dealing with the political,
social, moral, and economic ramifications
of that moment in human history.
And it is on that point that we can begin
to answer some of these questions.
The Question of Purpose
What is the African Diaspora for?
That is the right question. It’s right
because it puts every other question
we’ve asked in perspective. Nearly
every construction of diaspora as a
concept holds that the relationship
between dispersed populations and the
“homeland,” whether real or imagined,
is of vital importance to the category.
Yet few if any consider diaspora from a
functional standpoint.
Perhaps the best way to understand
the African Diaspora is not as a
state of being or a happenstance of historical
migration, but as a tool. The
African Diaspora isn’t simply the result
of voluntary or forced migration from
one continent to several. It is an analytical
structure formed out of a complex set
of ideas created by networks of thinkers,
creatives, groups, and movements
working both in concert and in contravention
to one another over hundreds of years.
Understanding the Diaspora in
this way makes several useful changes
to the way we approach the question
of defining it. First, it argues that the
creation of the Diaspora was not an incidental
consequence of dispersion, but
an intentional decision on the part of
those dispersed.
Second, it requires that the
Diaspora conform to the one criteria
that applies to all tools: that it was
created to do a job. And, like any tool,
understanding the African Diaspora is
in large part a matter of understanding
its process of manufacture and the
reasons for its construction. Once those
are ascertained, we can move on to the
only question that ultimately matters:
Does the African Diaspora still have a job
to do, or is it already obsolete?
This essay is the beginning of a
series that will address this question
by analyzing the African Diaspora from
the perspective of a tool. To do so, it
will trace the historical development
of the African Diaspora concept as an
emergence from the extensive tradition
of international Pan-Africanist thought
that preceded it through the various articulations
of the concept that have influenced
the use of the term today.
This series doesn’t claim to be exhaustive
in its survey of contributors
to Pan-Africanism or to the theory and
study of diaspora. Nor does it claim to
be authoritative about the nature and
uses of the concept. The goal here is to
begin a conversation, not end one. And
if it inspires us to do more and say more
to explore and strengthen the bonds
between our communities towards
functional and mutually beneficial ends,
then that would be nice too.
The work of Diaspora is not done,
but we can only reach a better understanding
of the potential uses of the
diaspora concept going forward by
more thoroughly understanding the
needs and processes that brought about
its emergence and the purpose for
which we currently need it. AC
aphrochic

Kente Prestige Cloth, Ghana, Yale University Art Gallery
issue one

PINPOINT
Artists & Artisans | Hot Topic | Who Are You

ARTISTS & ARTISANS
The Cameroonian Juju Hat
An explosion of plumage, pops of bright festive colors, Cameroonian juju hats have spent
the last few years becoming synonymous with global style in home decor. Originally
meant to decorate people, rather than rooms, their popularity has grown to the point
that lately it seems that no room is complete without one of these beautiful feathered
pieces on the walls. Yet, while juju hats are a common sight on the walls of many modern
interiors, for the Bamileke people of Western Cameroon they were once a rare item
reserved only for a select few.
Like most Bamileke art, juju hats
are created specifically for use at royal
festivals or ceremonies. The frame is
constructed from raffia that is woven to
create the support structure. Feathers
taken from a chicken, guinea hen, or
other wild bird are dyed and attached
to the base. A leather strap attached to
the back is used to pull the hat open to
its full breadth. When not in use, the
hat folds up into a manageable bundle
that not only helps with storage, but
also acts to protect the feathers within
the shell of the much tougher raffia
structure. Protecting the delicate
feathers is a high priority, as the hats
play an important societal role.
In Bamileke societies, the king,
called a Fon, is attended by a committee
of eight men known as the Mkem or
“the assembly of holders of hereditary
rights.” Each man of this council
acts as the head of a particular society
tasked with certain duties within the
kingdom. Every two years the Mkem
hold special meetings at which the
wealth of the king is displayed and each
member dons masks appropriate to
their societies. The most venerated of
these, the elephant and leopard masks,
are reserved only for the king and for
members of the Kuosi and the Kemdje,
both warrior societies. It is with these
masks that Tyn or juju hats are most
commonly seen, though occasionally
they are also worn alone, like on the
death of a king or a wealthy member of
one of the eight societies.
One of the biggest questions about
these hats is what to call them. Juju
is not a term found in any Bamileke
language and no one is sure where it
came from. Two theories are that it is
either a derivation of the word “djudju,”
used by the Hausa of northern Nigeria
to denote an evil spirit, or from the
French “joujou,” meaning a trifle or toy.
From the time of its first recorded
use in the late 17th century, juju became
a popular term among Europeans for
referring to West African religions and
their healers who were called juju men.
It may be that an observer mistook the
wearers of these hats for such healers
and applied the name by which we
now know the feathered hats that the
Bamileke call Tyn.
aphrochic

issue one

HOT TOPIC
Don’t Touch My Hair
It’s 1984 and I’m six years old, one of the few Black kids in my mostly white suburb, and
it’s the night before school picture day. My mother is straightening my hair. The hot
comb sizzles at my edges. She warns me not to move or I will get burned. She doesn’t
need to remind me. My ears have been here before and we both know I’m going to get
burned no matter how still I am.
The battle has begun. My hair is
unruly, wild, out of control; it needs
to be subjugated. The comb will make
sure of it. I get burned, but it’s a small
price to pay for the perfect first grade
photo - I’ll look just like the other
girls. By the second grade, my mother
is elated. No more hot comb needed.
There’s a new product on the market -
kiddie perms. Now I’ll look just like the
girl on the box. Her hair is silky with
sheen and perfect curls, it never fights
back, it’s completely under control.
Now all I have to do is sit still, let it set
in, just a little longer, a little longer…it
doesn’t even burn (well, at least not as
much as the hot comb).
For years my hair was a battle
ground. Wars were waged with hot
combs, lye, flat irons, brushes, curling
irons, anything to make it “acceptable.”
Acceptable meant straight.
Straighter than it was when it grew out
of my head. Straight like it belonged to
somebody else. When it was straight, I
was pretty. Pretty was something that
burned, something I got out of a box.
Pretty meant under control - sitting
perfectly still and lifeless while heat
and chemicals taught my hair to do the
same. But it sent the right message,
it made me acceptable, and it never
lasted for more than a few weeks. When
that perm started to sweat out, pretty
was done and I was advised that I had
better address my “kitchen.”
Fast forward to 2001, the age of
neo-soul, Lauryn Hill’s baby fro, and
my big chop. I was sick of perms, tired
of the girls on the boxes. I decided it
was time to begin my journey into (or
back to) my actual hair. The initial hair
cut was the toughest. The result was
short and stubbly, not exactly flattering,
but it was mine. Thankfully my
tight curls quickly grew into a wellstacked
afro that I styled with colorful
fabrics and wraps. By now the visual
cues of conformity were all but lost.
My mother feared I would never find a
job, even though I already had one. But
if I wasn’t going to be hired because of
what naturally grew from my head, I no
longer cared. It was time to be free. Now
my hair is long and luxurious; dozens
of tightly bound locks that cascade
down my back or over my shoulders
Words by Jeanine Hays. Photo opposite by Jessica Felicio
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depending on the day and my mood. I
don’t look like anyone but me, and I love it.
My mother’s fears were not
unfounded. It was important for me
to realize that the image of beauty that
she presented to me wasn’t just about
aesthetics - it was rooted in a larger
question of survival. Education and
experience were great, as far as they
went, but if I wasn’t “acceptable”, she
knew, I could easily find myself un-hirable.
And it wasn’t just a question for
me, but for many Black women, both
here and abroad, both then and now.
We are now almost 20 years into
the 21st century, and the public acceptability
of Black women’s hair continues
to be a contested issue. In most states,
Black hair is ruled by outside forces.
It’s banned from offices and fast food
chains; a child can even be dismissed
from school for the crime of wearing
her own hair in the way that it naturally
grows. The Supreme Court has failed to
address such discrimination. In most
states our hair is subject to approval,
the oppression thinly veiled by appeals
to workplace and school dress codes.
Conformity remains the priority, and
somehow locks and afros never seem to
fit the desired look. But a movement is
afoot to create change.
In South Africa, young girls have
marched to demand the right to “be
naturally who we are.” In the UK, people
like fashion blogger Freddie Harrel are
empowering Black women through
education and shining light on the lack
of natural hair salons and products in
England. And in the United States, discrimination
against natural hair is being
challenged through new laws in California
and New York. California recently
became the first state to ban discrimination
based on natural hair. The newly
passed Crown Act bans employers
and schools from enforcing grooming
policies that disproportionately impact
people of color. New York has followed
suit and even the US military has
retracted its ban on twists, locks, afros,
and braids for female soldiers.
In 2016, Solange sang, “Don’t touch
my hair.” The words became an anthem
for Black women who know all too well
the pressures of fighting on this front -
whether to conform to the norms that
are imposed on us or to subvert them.
For those of us who enjoy our natural
hair and see it more commonly on celebrities
and athletes, this seems like an
outdated argument - and it is. But for
many more of us, the fear of our hair
being “too Black,” and the fact of being
denied entry into jobs and educational
opportunities is all too current. It has
caused many Black women, like myself,
to endure painful exercises in assimilation
- to get things straight. But around
the world, anthems like it are inspiring
movements to remove the ability of
outside observers to dictate what is acceptable,
presentable or beautiful in us.
It feels like a wake up call and an
opportunity to experience our hair as
an exercise in personal freedom, as
more states, schools, and workplaces
are compelled to follow suit.
Photo opposite by Bryan Mason
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WHO ARE YOU
Name: Stacey Blake
aka Design Addict
Mom
Hometown:
Fayetteville, NC (by
way of Jamaica)
Occupation: Teacher
turned design blogger
designaddictmom.com
“Black culture is a multicultural treasure trove.”
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