AFA 4352 - Section 1H31 - FALL 2014

African American Studies Program The University of Florida

Dr. P. Hilliard-Nunn
Class Day/Time:
Class Location:
Office Hours:

Tues Period 5 11:45AM-12:35PM

Thurs Periods 5-6 11:45AM-1:40PM
Room 120 Bldg. FAC
Wednesdays 1:00PM-2:00PM
Other Times By Appointment

Credit:(03) Three Hours Exam: 18E

Office Location: 105 Walker Hall
Office Phone: 352-392-5726
e-mail: hilliardnunn@ufl.edu

COURSE GOAL:
The goal of this course is to critically examine the history, art, psychology, sociology, economics, culture
and politics of Black hair and the evolving meaning(s) connected to it.
COURSE DESCRIPTION:
From ancient times in Africa, during enslavement, throughout the Diaspora, to the present, Black hair
has had its own meaning(s). Spaces between the knees of a braider, kitchens, beauty/barber shops, and
Youtube are creative spaces that have afforded Africans opportunities to teach multiple cultural lessons
about hair and life. Black hairstyles have been glorified, imitated and simultaneously scorned in a world
where European standards of beauty have been elevated via popular culture as African-like phenotypes
(i.e. tightly curled hair, dark skin, thick lips, etc.) and have been devalued. Manifestations of
contemporary stereotypes about Black hair are seen when people are labeled/judged based on hair texture,
length, color and style. These stereotypes have had real psychological, social, economic, and legal
consequences for Africana people.
According to Chris Rocks popular documentary Good Hair (2009), Black hair care is a $9 billion
industry. Still, economics is just one part of the complex saga of Black hair politics, long a source of
discourse among scientists, writers, scholars, poets, filmmakers, artists, business owners and lay people.
That saga requires an interdisciplinary approach to help reveal the meaning(s) that Black hair has in the
world.
The Politics of Black Hair course provides a comprehensive interdisciplinary examination of issues
related to the history, culture, sociology, psychology and economics of Black hair. Students will
explore contemporary social construction of Black Hair and the manner in which hair styles may
signify, resist, and conform in society. Students will also explore the invention and modification of
creative techniques and products made for grooming and for the artistic, social and political expression of
Black hair throughout history. Like specific music, dance, and other forms of Black cultural production,
Black hair design and care has an economic component that students will explore. Finally, students will
examine the relationship between Black hair, European cultural hegemony and the mass media a key
cultural socializing force. Classes will consist of lectures, discussions, film screenings, group
presentations, individual research projects, class exercises, a quiz and a final exam.
COURSE OBJECTIVES: Students will be able to:
1) Describe the ancient African origins of and practices in Black hair care and some of the
individuals and institutions that have influenced Black American hair industry.
2) Demonstrate an understanding of basic concepts and theories (i.e. world view, culture, power, race,
gender, stereotype, lookism, cultural hegemony, conflict theory, symbolic interactionism, AfricanConsciousness, Womanism etc.) and describe their utility in discussing the politics of black hair.

3) Identify and explain some of the theories and works of scientists, scholars, poets, filmmakers and
authors who specifically address the politics of Black Hair in their work,
4) Name and discuss some Black hairstyles (naturals, permed, braided, dreaded, weaves,
extensions, Afros, twists, knots, etc.) and their social and political meaning(s) and challenges,
5)

Outline the ever-evolving artistic elements of Black hair design/styles and how it has influenced
and been influenced by other cultures,

6) Explain the ways that class, gender, religion and other attributes might interface with identity, cultural
dependency and self-concept to influence personal hair care regiments and hairstyle choices, In
particular, address how individuals consciously and subconsciously symbolize resistance,
empowerment, oppression, etc.
7) Describe the basic elements (manufacturing, distribution, licensing, trade shows) of the Black Hair
care industry,
8) Identify some of the controversies that accompany certain hairstyle choices (natural, straightened,
locks, etc.) and sociological and socio-political effects (employment, relationships, law),
9) Draw a connection between physical and mental health and some black hairstyling practices,
10)

Sharpen critical thinking skills and articulate a personal account of their own experience(s)
(evolution, challenges, joys) and understandings with hair.

ATTENDANCE POLICY:
Attendance is based on you being on time, signing the roll sheet, being prepared and staying for the entire
class. It is assumed that enrollment in the class means that there are no conflicts with other obligations
(work, weddings, medical appointments, travel, meetings, hair appointments, etc.) during class time. Poor
attendance and tardiness will affect your final grade. If you are over 10 minutes late for two classes
meetings, you will earn one full absence. No further admonishments will be made. In the case of an
official university excuse or a documented medical emergency provide me with a written letter and/or
medical excuse on a physicians official letterhead or official university letterhead that includes the time
and date of your care or other business upon your return to class. Simply telling me that youll be
absent or that you were sick does not automatically become an excused absence.
MAKE UP POLICY: All assignments are known in advance; therefore, permission to hand in an
assignment late or to make up and exam is only granted for exceptional circumstances.
Quiz/Test/Exam: Students with documented official university or medical excuses may take a make up
test. The professor must be notified before or immediately after the absence and the test must be
scheduled on the first day that the student returns to campus. Students who do not provide documentation
and reschedule the test within two days of missing it, will not be given a make up.
Assignments: Students with valid official university or documented medical excuses be allowed to turn in
assignments within one day of her/his return to campus without penalty. The assignment will be
considered late and reduced one letter grade for each day the assignment is not turned in beginning with
the due date if the proper documentation is not provided.
ACCOMMODATIONS FOR STUDENTS WITH DISABILITIES:
In compliance with the University of Floridas policy and equal access laws, I am available to discuss
appropriate academic accommodations that may be required for students with disabilities. Requests for
academic accommodations are to be made during the first three weeks of the semester, except for unusual
circumstances, so arrangements can be made. Students are encouraged to register with Student Disability
Services to verify their eligibility for appropriate accommodations. The Disability Resource Center in the
Dean of Students Office provides information and support regarding accommodations for students with
disabilities. More information may be found here: http://www.dso.ufl.edu/drc/.

STATEMENT REGARDING HARRASMENT:

UF provides an educational and working environment that is free from sex discrimination and sexual
harassment for its students, staff, and faculty. To learn more about this policy, visit:
http://www.dso.ufl.edu/sccr/sexual/
UNIVERSITY CODE OF HONOR:
Each student in this course is expected to abide by the University of Floridas Student Honor Code and
Code of Conduct. Any work submitted by a student in this course for academic credit will be the
student's own work. Students suspected of academic dishonesty or of violating the Honor Code will be
reported to the Dean of Students Office. To learn more about the UF policy regarding Academic
Honesty, please visit: http://www.dso.ufl.edu/judicial/academic.php
COUNSELING ASSISTANCE: Students who may experience stress related personal issues are
encourages to visit the University of Florida Counseling and Wellness Center at 3190 Radio Rd.
www.counseling.ufl.edu/cwc/ 392-1575.
REQUIREMENTS AND EVALUATION:
1.

CLASS ATTENDANCE & PARTICIPATION

(10%):
(See the Attendance Policy on Page 2) Participation means that you have completed your readings
and/or assignments on time and are able to contribute to the class discussions. Any information
and/or changes that are announced in class are YOUR responsibility, whether you attended class
or not. Unexcused absences and tardiness will decrease your grade for participation. If you must
miss class, for any reason, on a day that you are due to present or turn in an assignment, you must
turn in your work ahead of time. Notebook: You should purchase a dedicated spiral notebook
for this class. You should make a habit of taking lecture notes, reading notes and media notes.
Note the names of article authors, film titles, etc.
If youre absent, do not ask me if you missed anything important. I will do my best to make all
classes relevant and interesting. Get to know your classmates so that you may ask them what you
missed. If you have any questions about lectures, readings or anything else, please do not hesitate to
visit or e-mail me at hilliardnunn@ufl.edu.

2.

HAIR BLOG/VLOG COMMENTARY

20%:
Select one (1) of the thousands of BLACK HAIR blogs or vlogs or websites on the internet. Read
or view a video story on a topic that interests you and write a review of the article and the
comment section. Be sure to select a site that has AT LEAST 15 responses/comments. Write a
five (5) page analysis of the comments. What themes do you find? What issues are raised and
how is Black Hair addressed? What do you think about the comments? What, if anything, do the
comments say about our society? What, one paragraph, comment would you add to the blog?
Include the complete citation for the source that you choose. Include references. (Due:
9/16)

3.

QUIZ
________
(10%):
Based on class readings, discussions, presentations, lectures and media shared in class. The quiz will
consist of short (essay) items. You may use your dedicated class spiral notebook ONLY. No
articles, loose note pages or books, pasted in paper, etc. may be used.
(Due: Oct 7)

4.

PERSONAL HAIRSTORY ESSAY & PRESENTATION

(20%):
Write a 5 page essay about your personal relationship with hair (grooming, preferred styles, forced
styles, desired styles, exploration, judgments from other people, etc.). Incorporate a discussion about

your early lessons about the meaning of hair and rules for hair care and styling as they relate to
gender, race, age, class, faith, etc. Address what role others may or may not have played in your
experience with hair. Address the role that mass media socialization may have played in your
experience and the shaping of your hair identity. Your paper must incorporate a research based
position on issues and theories addressed in class. Use at least six (6) references, not including the
course readings.
(All papers are Due: 10/28)
HAIRSTORY PRESENTATION: Share your story with the class. This should be done using a
power point OR by making a brochure that includes images that depict your hairstory. You will
have 10 minutes maximum to share.
(DUE: dates will vary)
6.

GROUP RESEARCH & PRESENTATION ON BLACK HAIR and CULTURE

(20%):
Students will sign up to work with one group. Each group member must contribute in a meaningful
way to researching, organizing and preparing a solid presentation that illuminates critical issues
related to the topic. The group has the flexibility to focus on an area of the pre-assigned topic that
they wish. Groups will turn in a written component and give a class presentation. The group
presentation will last no less than 30 minutes and include a presentation of research that addresses
individuals, issues and theories,that are relevant to the topic. Presentations must include a Power
Point, or DVD, or a skit, or an audio production or a combination of these elements. Pay attention
to form, creativity and substance are very important. I must approve the outline of your
presentation no later than two weeks before you present. E-mail your full group report by
3:00PM the day before your presentation). (See the Handout for more information) (Due: Varies)

5.

TEST
BRING A BLUE BOOK
______
(20%):
Based on class readings, discussions, presentations, lectures and media shared in class. The test will
consist of short (essay) items. You may use your dedicated class spiral notebook ONLY -No articles,
loose note pages or books may be used on the test. The test will not be given early. (Due: Dec 11)

REQUIREMENTS & EVALUATION AT A GLANCE

%:

WRITE YOUR GRADE

1.

Attendance & Participation & Notebook

10%

_______

2.

Quiz

10%

_______

3.

Blog/Vlog Report

20%

_______

4.

Personal Hairstory Essay & Presentation

20%

_______

6.

Group Presentation Article

20%

_______

5.

Test

20%

_______

TOTAL

100% _______

Your Grade Will Be Based On The Following Scale: 94-100=A, 90-93=A-, 87-89=B+, 83-86=B, 8082=B-, 77-79=C+, 73-76=C, 70-72=C-, 67-69=D+, 63-66=D, 60-62=D-, 57-59=F+, 57 and below = F.
PRESENTATION OF WORK:
All assignments must be typed, double-spaced using Times New Roman 12 point font in MS Word. Use a
standard one-inch margin - no bold-faced fonts. Use the style APA, MLA or Chicago that is used in your
academic discipline. All pages should be numbered and stapled. Include two lines of identifying
information in the upper right hand corner, single-spaced. Quotations should be kept to a minimum and
should only be used if they help to move your thesis forward. Be sure to incorporate the terms, concepts

and theories discussed in class. Work will be considered late and graded down one letter grade after the
beginning of class on the due date. Work will continue to be reduced a letter grade for each additional day
it is late. Finally, DO NOT e-mail or fax papers unless I ask you to.
UF has an online writing assistance site at http://web.cwoc.ufl.edu/owl.
EVALUATION OF ALL CLASS ACTIVITIES AND ASSIGNMENTS IS BASED ON:
The instructor will evaluate and provide feedback on all written assignments. Your work will be evaluated
with respect to 1) Quality, scope and organization of documentation; 2) Clarity and coherence of
expression; 3) Spelling, Grammar and Punctuation; 4) Quality of critical analysis; 5) Demonstration of an
understanding of information and concepts addressed in the readings and/or discussed in class; 6)
Following directions and completing assignments on time. Students are also expected to meet the
minimum word count and deadlines as outlined in the syllabus.
NOTE: No eating or drinking in class. Eat BEFORE class. No cell phones, pagers, laptops or other
electronic devices may be used in class.
REQUIRED COURSE TEXTS:
1.

Byrd, Ayana and Lori Tharps. (2002). Untangling the Roots of Black Hair in America. NY, NY: St.
Martins Press.

2.

Harris, Juliette and Pamela Johnson. (2002). Tenderheaded: A comb-bending collection of hair
stories. New York: Washington Square Press.

REQUIRED ARTICLES:

Readings are DUE on the day that they appear on the Course Outline.

9/2 Walker, Alice. (April 11, 1987). OPPRESSED HAIR PUTS A CEILING ON THE BRAIN.
Retrieved August 1, 2012 from http://www.endarkenment.com/hair/essays/walker.htm. Also in
This "Living By The Word: Selected Writings 1973-1987" by Alice Walker.
9/9 Tate, S. (2007). Black beauty: Shade, hair and anti-racist aesthetics. Ethnic and Racial Studies,
(30)2, 300-319.
9/13

Dumas, T. L. and Rosette, A.S. (2007). The hair dilemma: Conform to mainstream expectations
or Emphasize Racial Identity. Duke Journal of Gender Law and Policy, 14, 407-422.

9/23

Mercer, Kobena. (1987, Winter). "Black hair/style politics," New Formations, No. 3
Winter, pp. 33-54.

9/25

Saka, Honourable. (2012, Tuesday, July 31). Perfect scenario: More african women set to go
Natural Ghana Web. Retreived from
www.ghanaweb.com/GhanaHomePage/NewsArchive/artikel.php?ID=246393

9/30 Grenee, H. Fields (The Editor) (2011, May 11). What spending a half a trillion dollars
on hair care and weaves says about us. Madam Noire. Retreived from
http://madamenoire.com/57134/what-spending-a-half-a-trillion-dollars-on-hair-careand-weaves-says-about-us/.
10/21 McAlexander, James H., & John W. Schouten. (1989). Hair style changes as transition markers
Sociology and Social Research. 74:58-62.
10/23 Weitz, Rose. (2001). Women and their hair: Seeking Power through resistance and
accommodation. Gender and Society 15(5). 667-86.
11/18 Sekayi, Dia. (2003). Aesthetic resistance to commercial influences: The impact of the eurocentric
beauty standard on black college women. Journal of Negro Education. 72(4). 467-477.

This syllabus is a guide. Please read it carefully.

Should any changes be made you will be notified ahead of time.
WEEK TOPIC
READINGS / WORK DUE
1
Tues-8/26 WELCOME/OVERVIEW

SYLLABUS - INTRODUCTIONS

Thurs-8/28 SANKOFA - HISTORY

READING: Byrd & Tharps Chapter 1

2
Tues-9/2

AFRICAN HAIR & MEANING(S) READING: Walker, Alice

Thurs-9/4

SOCIALIZATION

READING: Byrd & Tharps Chapter 2

IN CLASS: Hairpiece: A Film for Nappy
Headed People by Ayoka Chenzira

3
Tues-9/9 SOCIALIZATION

READINGS: Tate, S.

Thurs-9/11 CULTURAL HEGEMONY

"I Love My Hair" Sesame Street VIDEO

A Girl Like Me by Keri Davis VIDEO

Tues- 9/16

DUE: Blog/Vlog Analysis

IN CLASS: A Question of Color (1989) by
Kathe Sandler VIDEO

WEEK
4

COLORISM / HAIRISM

Thurs-9/13

READING: Dumas, T. L. Rosette, A. S.

IDENTITY &
SELF DEFINITION

WEEK
5

WEEK
6

Whip My Hair by Willow Smith VIDEO

Tues-9/23 POLITICS OF BLACK HAIR

READING: Mercer, Kobena

Thurs-9/25 NATURAL HAIR

READING: Byrd & Tharps Chapter 3

and Saka, Honorable

Tues-9/30

READING: Byrd & Tharps Chapter 4

Grenee, Fields

ECONOMICS

Thurs-10/2 GOOD HAIR

FILM DISCUSSION

and

READING: Byrd & Tharps Chapter 6

IN CLASS: Black Hair, An Incendiary Expose
by Aron Ranen

VIEW IN LIBRARY: Good Hair by Chris

Rock

WEEK
7

Tues-10/7

QUIZ

OPEN NOTE ONLY You may bring

your dedicated course notebook No books
or articles

Thurs-10/9

LOOKISM

READING: Byrd & Tharps Chapter 5

Tues-10/14

ART, ARTIFICE, DESIGN & The Power of Black Hair Video

STYLE / PERFORMANCE
TBA
HAIR WEAVING
IN CLASS: Hair India (2011) by Raffaele
Brunetti VIDEO

WEEK
8

Thurs-10/16

WEEK
Thurs-10/21 GENDER AND MEANINGS
9

READING: TBA
READING: McAlexander, and Schouten

Thurs-10/23
EMPLOYMENT
RESISTENCE & ACCOMMODATION READING: Weitz, Rose

WEEK
Thurs-10/28 HAIR STORIES 1
10
Thurs-10/30

HAIR STORIES 2

WEEK
Thurs-11/4 HAIR STORIES 3
11
Thurs-11/6

DUE: ALL Hairstory Essays Due

10 minutes each
10 minutes each.

HAIR STORIES 4

WEEK
Tues-11/11 NO CLASS
12

NO CLASS

Thurs-11/13 BLACK HAIR & LITERATURE BRING: Hair related Poem(s) to share

WEEK
Tues-11/18 AESTHETIC RESISTANCE
13
Thurs-11/20 TRANSFORMATION
GROUP PRESENTATION #1
Self Acceptance: Black Hair
and Identity

WEEK
14

READING: Sekayi, Dia

READING: Byrd & Tharps Chapter 7

Tues-11/25
GROUP PRESENTATION #2
Natural Hair: Language, Rules & Realities
Thurs-11/27

NO CLASS THANKSGIVING

NO CLASS

WEEK
15

Tues 12/2
GROUP PRESENTATION #3
Black American Hair Art and Design
Thurs-12/4
GROUP PRESENTATION #4
Black Men & Hair
GROUP PRESENTATION #5
Black Hair in Film & TV Culture

WEEK
16

Tues 12/9

REFLECTIONS
TEST DISCUSSION

Thurs-12/11

TEST

TEST

LAST DAY OF CLASS

RECOMMENDED WEBSITES and READINGS: There are numerous websites, magazines, books and other
texts which address the care, politics, and other issues related to Black hair.

http://www.blackhairmedia.com/
http://nappturality.com/
http://www.blackhairinformation.com/
http://www.blackhairplanet.com/
http://www.africanwonders.com/
http://www.carolsdaughter.com/
http://karenhalliburton.com/
http://thecoilreview.com/
http://www.nappynaturally.com
http://www.endarkenment.com
Adaeze Enekwechi and Moorem Opal. (Winter 1999). Children's literature and the politics of hair in
books for african american children. Children's Literature Association Quarterly. 24(4), 195-200.
Adrienne, S. (2005, May 1). Guess who sells your weave? Koreans capitalize on black beautys big
business. Ebony Magazine. Retrieved May 15, 2008, from http://encylopedia.com.
Banks, Ingrid. (2000). Hair Matters: Beauty, power, and black womens consciousness. New
York: New York UP.
Brisbon, Abby E. (2009, April). Good hair, bad hair: African-American hair relations in the early
Twentieth Century, Undergraduate Humanities Forum . University of Pennsylvania. 2008-09.
Brooks, Gwendolyn. Brooks, Gwendolyn. To Those of My Sisters Who Kept Their
Naturals. Primer for Blacks. Chicago: Brooks Press, 1980. 12-13.
Caldwell, Paulette M. (1991). A Hair piece: Perspectives on the intersection of race and gender. Duke Law
Journal. 41. 397.
Cheng, Teresa Chun-Wen (2008). Dykes and their hair. ON, Canada. Retrieved 12:54AM August 6
2012. Retrieved
http://www.qzap.org/v5/gallery/main.php?g2_view=core.DownloadItem&g2_itemId=795
Clifton, Lucille. (2006). Homage to my hair. 1980. The Prentice Hall Anthology of African
American Womens Literature. Ed. Valerie Lee. Upper Saddle River: Pearson

Prentice Hall. 277.

Collins, Patricia Hill. (2010). Toward a new vision: Race, class, and gender as categories of analysis
and connection. In Doing Gender Diversity: Readings in Theory and Real-World Experience
20-32. Boulder: Westview Press.
Collins, Hill Patricia. (2004). Black sexual politics: African americans, gender, and the new racism.
New York: Routledge.

Craig, Maxine Leeds. (2002). Ain't i a beauty queen?; black women, beauty, and the politics
of Race. Oxford University Press.
Dash, Paul. (2006). Black Hair culture, politics and change. International Journal of Inclusive
Education.10(1) 27-37.
Davis, Angela Y. (1994). Afro images: Politics, fashion, and nostalgia. Critical Inquiry 21, 37-45.
Ducille, Ann, (1994). Dyes and dolls: Multicultural barbie and the merchandising of difference,
Differences: A Journal of Feminist Cultural Studies, 6(1), 46-68.
Firth, Raymond. (1975). Hair as private asset and public symbol, in: Symbols Public and Private (Ithaca,
New York: Cornell University Press. 262-98;
Ghazal Read, JenNan & John P. Bartkowski. (2011). To veil or not to veil?: A case study of identity
Negotiation Among Muslim Women in Austin, Texas. In M.B. Zinn, P. Hondagneu-Sotelo, &
M.A. Messner (eds.), Gender Through the Prism of Difference, fourth ed. (pp. 245-258). New
York: Oxford University Press.
Haidarali, Laila, (2005). Polishing brown diamonds: African american women, popular

magazines, and the advent of modeling in early postwar america, Journal of Womens

History, 17(1), 10-37.
Harvey, Adia M.. (Dec. 20005). Becoming entrepreneurs: Intersections of race, class, and gender at the
black beauty salon. Gender and Society. (19)6. 789-808. Published by: Sage Publications, Inc.
Retrieved from http://www.jstor.org/stable/27640851
hooks, bell (1992). Black looks: Race and representation. Boston: South End Press..
Jhally, Sut. (July, 1990). "Image-Based culture: Advertising and popular culture," Gender, Race and
Class in Media, 249-257.
Johnson, Kimberly. (Fall 2011). Political hair: Occupational licensing and the regulation of race and
gender identity. Du Bois Review: Social Science Research on Race. 8(2). 417-440.
Jones, Lisa. (1997). Bulletproof diva: Tales of race, sex, and Hair, Anchor.
Joseph, Allison. (Mar. Apr 2002). A history of african-american hair. The North American Review.
287(2), The National Poetry Month Issue . p. 6).
Manatu, Norma. (2003). African american women and sexuality in the cinema. Jefferson, NC:
McFarland & Company.
Morrison, Toni. (2007). The Bluest Eye. NY: Vintage Books.
Morrow, Willie. (1971). 400 years without a comb: The untold story. San Diego: CA:
Out of Print.
Negra, Diane. (2001). Off-white hollywood : American culture and ethnic female stardom.
NY: Routledge.
Omi, Michael & Howard Winant. (2010). Racial formations. In Race, Class, and Gender in the United

States, sixth ed. 13-22. New York: Worth Publishers.

Onwachi-Willig, Angela (2010). Another Hair Piece: Exploring New Strands of Analysis Under Title VII. The Georgetown
Law Journal . 98(4).
Peiss, Kathy. (1994). Making Faces: The cosmetics industry and the cultural construction of
gender, 1890-1930, Unequal Sisters: A Multicultural Reader in U.S. Women's
History, ed. V.L. Ruiz & E.C. DuBois (372-394). London: Routledge, .
Rodgers, Carolyn. (1973). For sistuhs wearin straight hair. 1969. Songs of a Black Bird.
Chicago: Third World Press, 14.
Rooks, Noliwe M. (1996). Hair raising: Beauty, culture, and african american women. New
Brunswick, NJ: Rutgers University Press.
Shane White & Graham J. White, (1995). Slave hair and african-american culture in the eighteenthand ninteenth-Centuries, Journal of Southern History 61, 45-76
Sherrow, Victoria. (2006). Encyclopedia of hair: A cultural history. Greenwood Publishing Group
Sieber, Roy & Frank Herreman (eds.). (2000). Hair in african art and culture. New York: The
Museum for African Art; and Munich, London, New York: Prestel.
Walker, Susannah. (2007). Style and status: Selling beauty to african american women, 1920-1975. The
University Press of Kentucky.
Weitz, Rose. (2004). Rapunzel's daughters: What women's hair tells us about women's lives. Farrar,
Straus and Giroux.
Weitz, Rose, and Leonard Gordon. (1993). Images of black women among anglo college students. Sex
Roles. 28:19-45.
Wingfield, Aidia Harvey. (2008). Doing business with beauty: Black women, hair salons, and the racial
enclave economy. Rowman and Littlefield.