{"id":60,"date":"2019-08-15T21:41:53","date_gmt":"2019-08-15T19:41:53","guid":{"rendered":"https:\/\/africamericanos.vistprojects.com\/en\/?page_id=60"},"modified":"2019-10-05T19:37:17","modified_gmt":"2019-10-05T17:37:17","slug":"be-still-hair","status":"publish","type":"page","link":"https:\/\/africamericanos.vistprojects.com\/en\/be-still-hair\/","title":{"rendered":"Be Still, Hair!"},"content":{"rendered":"

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BE STILL, HAIR!<\/div>\n
Liliana Angulo, Colombia<\/div>\n

A collective project about traditional hairstyles and haircare in communities of African descent<\/p>\n

When slavery existed in Colombia, fugitive slaves used hairdos as maps of escape routes. Braids and other designs were employed as secret codes. The braid style known as tropas<\/i> (troops) was used to point out that the escape route was by land, while the one known as espina de pescado<\/i> (fishbone) indicated that the escape route was by sea. Some other styles signified risky or dangerous routes. As sucedidos<\/i> (events) were braided, the residents of a community found out what was going on at the local mine or plantation, as well as what they had to do in order to escape. People kept seeds and gold in their hair to survive after they had reached freedom.<\/p>\n

The knowledge of hairstyling and haircare is part of the cultural heritage of African descendants: a legacy of struggles for land and for the creativity, imagination and self-determination of black women and black communities. It is both a collective cultural tradition and a pragmatic instrument of resilience, activism, and political resistance for black communities.<\/p>\n

By setting up situations where people meet each other, Be Still, Hair!<\/i> seeks to contribute to the transmission of oral traditions, memory and practices associated with hairstyling. It documents performative practices as well as techniques, histories and cultural expressions related to hairstyling and hair-care.<\/p>\n

Participants:<\/p>\n

Be Still, Hair!<\/i> attempts to lend visibility to the experience of contemporary, self-taught hairstylists from communities of African descent in various regions of the Americas, revealing how physical appearance is used as an important element in the day-to-day struggles of black women for their identity, territory, and lives.<\/p>\n

Participating hairstylists in Quibd\u00f3:<\/p>\n

Daily Johanna Ibarg\u00fcen Palacios, Irene Rivas, Diana S\u00e1nchez Ibarg\u00fcen \u201cManzana,\u201d Disney Chaverra, Yensy Milena Renter\u00eda Valoyes, Deirath Cuesta Valencia Chaverra, Sandra Johanna Moya Mosquera, Anni Jennifer Mosquera \u201cJuanita,\u201d Sonia Arroyo Lara, Jorlenis Ram\u00edrez Moreno, Inefina Palacios Mena, Yanny Samira Hern\u00e1ndez Mosquera.<\/p>\n

Participating hairstylists in Buenaventura:<\/p>\n

Lucina Valencia Herrera, Antonia Olave, Karina Mosquera Rodr\u00edguez, Yuri Vanessa Barco Camacho, Vicky Tatiana Valencia Rodr\u00edguez, Delly Briggite Riascos Mosquera, Yuri Aceneth Castillo Vent\u00e9, Ingrid Tatiana Palacio Mosquera, Mercy Yolanda Tovar Cuero, Gladis Johanna Caicedo, Ana Ruby Micolta Sol\u00eds, Yamile Milena Gonz\u00e1lez, Olayne Renter\u00eda Castillo, Marisela Cuero L\u00f3pez, Diana Yulermi Renter\u00eda, Diana Marcela Mosquera Gamboa, Anyela Gissell Garc\u00eda, Karen Lishe Casivo, Marta Anacelly Cadena, Carolina Cuero.<\/p>\n

Participating hairstylists in Isla de San Andr\u00e9s:<\/p>\n

Suleima Fiquiare D., Johana Stephens, Elodia Xiomara Brock, Guadalupe P\u00e9rez, Mercedes Ru\u00edz, Erika Arrieta, Derlie Dawkins, Iris del Carmen Simancas P\u00e9rez.<\/p>\n

LILIANA ANGULO<\/div>\n
(b. 1974) Bogot\u00e1, Colombia<\/div>\n

In her artistic work, Liliana Angulo explores the notion of the body and the image from a perspective of gender, ethnicity, language, history, and politics. As an Afrodescendant, she has dealt with issues of representation and identity and with discourses of race and power, even as she questions the stereotypes constructed around women, whose role she seeks to champion. In 2012 she received a Fulbright-Garc\u00eda Robles Scholarship. She participated in the Rencontres d\u2019Arles in 2017, the Encuentro Internacional Medell\u00edn in 2007, and the 9th edition of the Bienal de Arte de Bogot\u00e1 in 2006. In her solo exhibition Observing Whiteness: A Pop-up Exhibit<\/i>, presented at the Center for the Study of Race, Politics, and Culture of the University of Chicago in 2018, Angulo reflects on the construction of race and representation in the urban space.<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":20,"comment_status":"closed","ping_status":"closed","template":"template-proyecto-en.php","meta":[],"_links":{"self":[{"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/pages\/60"}],"collection":[{"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/comments?post=60"}],"version-history":[{"count":6,"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/pages\/60\/revisions"}],"predecessor-version":[{"id":593,"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/pages\/60\/revisions\/593"}],"wp:attachment":[{"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/media?parent=60"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}