African Folklore: An Encyclopedia - Marshalls University

African Americans 79
Sahel region, that replicate the architecture of these phenomena. Southern African and
West African women wove beads, purchased from European merchants and slave traders,
into hair ornaments to match complete body ensembles. It is possible to trace the nature
of European-African contact through a careful examination of trade goods, and industrial
castoffs, that became resources for body adornment.
Traditionally, the most basic tools required, besides the artist’s skill, to create African
hair art included a comb, some grease, a razor (if needed), and the desired accessories for
decoration. For more elaborate coiffures, thread, hair extensions, dyes, and special
ornaments may be used.
The most widespread hairdressing technique is braiding. This involves weaving three
sections of hair into strands, which may be left to cascade individually down the client’s
head, or massed up into buns, knots, or other desired styles. The woven locks can further
be cropped into short bangs, rebraided, meshed, coiled, or sculpted into magnificent
three-dimensional patterns that simulate an infinite variety of shapes such as stars,
bridges, snakes, baskets, topiaries, and brimmed hats.
Twisting achieves an effect similar to the three-strand braid, except the hair is
sectioned into single or two-fold strands that are twisted into ropelike locks. Often, braid
designs feature a combination of both the woven and twisted techniques. Many
contemporary cascading braid designs, like silky twists, dreadlocks, and kinky locks have
been greatly influenced by techniques mastered by Maasai male warriors (known as
morans), whose long history of twisting delicate braids using red ochre, animal fat, and
clay is legendary (Sagay 1983, 31).
Another variation on the twisted or three-strand braid is the technique of cornrowing,
in which hair is parted into simple or intricately shaped sections (with equal attention
paid to detail in the design created by the parted lines on the scalp), and braided in a
creeping fashion along the scalp, with or without artificial hair extensions. Braid patterns
differ significantly, depending on whether an overhand, underhand, or twisting motion is
used. The loose strands at the end of each braided section are usually decorated with
beads and ornaments, or molded into a variety of coiled, threaded, or wrapped designs.
Hair threading traditionally involves wrapping wool yarn, extra-strong mercerized
cotton, metallic, or nylon thread, tightly and evenly (or unevenly for a specific effect)
around small sections of hair. The hair becomes stiff but pliable and easily coiled or
coaxed into bold geometric shapes perched atop the crown. A late-twentieth-century
variation on threading involves wrapping shiny synthetic hair, instead of thread, around
the natural hair (also called silky locks).
Beyond their use in men’s basic grooming routines, shaving and cutting play an
important role in accentuating symmetry, definition, and intricate detail in the execution
of some sculpted hair styles for both men and women. When combined with other
techniques, varying degrees of shaving (from total hair removal to fades) focus attention
on only the highlighted parts of the cranial canvas, or on jewelry.
The increasing virtual and actual traffic of people, commerce, popular music, art, and
artists across borders continues to fuel the appeal of African hair sculpture among a wider
global audience. People of all ethnic backgrounds frequently wear African-inspired
hairstyles as a fashion statement, to mimic the styles of entertainment icons, or as a form
of cultural identification.