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In this study, besides the headdresses of Kyrgyz women/girls with a long history, age classes, hair weaves, features and beliefs related to them have been tried to be mentioned. Turks living in a wide geography have made a great contribution to world civilization since the earliest ages of history. One of them is the Kyrgyz Turks. For a long time, girls/women have had an important place in the Kyrgyz family structure and society. Although the Kyrgyz emphasized the importance of the male child, which is necessary for the continuation of the lineage, they did not distinguish the girls/women, whom they called "evin kutu", from the men, didn't look them down, saw them as guests and treated them special as they would marry in the future and become members of another house. For this reason, the Kyrgyz dressed their girls/women, who classified them as "biykeç", "beşkökül", "koluktu", "kelin", "zayip", "baybiçe" according to their age, and kept them in chests to wear when they got married. The headdresses of girls/women come first among the clothes that have emerged with the influence of life and lifestyle, even if a little, with the influence of religious rules. One of the important reflections of the culture, the national titles of Kyrgyz girls/women have a long history and have varied widely since ancient times. Headdresses such as the "takıya topu" worn by the girls when they were little, the "tebetey" that they wore when they grew up, the "şökülö" that the married girl wore from her father's house, and the "eleçek", the marriage symbol, gave a message to the society with their ornaments and the way they were made. At the same time, the titles of girls/women, like other elements of material culture, were closely tied to the ideological views and perspectives of the society. Many ways of thinking based on archaic beliefs and cults are hidden in the way the headdresses are made and decorated, and the differences in the braiding of the hair. In addition, religious views/beliefs have also influenced the development of these titles. For example, feathers attached to hats have a sacred meaning. Because the feathers, wings and nails of some birds are known as talismans by the Kyrgyz and have protective power. An example of this is that women hide their hair and cover their heads after marriage. The Kyrgyz did not consider the headdresses of girls/women separately from their hair. For this reason, they did everything they could to ensure that their daughters' hair grew healthy when they were young, and they also did whatever was necessary to protect them from evil spirits and the evil eye. Among the Kyrgyz, there are many rules that need to be followed to prevent the evil spirits from haunting the hair of girls/women and not to be touched by the evil eye. Therefore, Kyrgyz people have followed a set of rules against titles in their traditional lives. For example, the titles are not left on the ground, they are not sat on and they are not printed. According to the Kyrgyz, the title means head. They have always hung it up, kept it clean and believed to be holy. The hair ornaments of Kyrgyz girls/women stood out with their diversity. Hair caps and similar ornaments not only protected women from evil, but also ensured that their hair was kept clean during migration. The shaping of the national characteristics of the headdresses of Kyrgyz girls/women is closely related to the ethnic history of the people. [ABSTRACT FROM AUTHOR]

Americanah (2013) by Chimamanda Ngozi Adichie brought to the forefront the natural hair movement as a form of resistance to Western aesthetics. However, this conversation overlooks the labor that goes into creating Africentric hairstyles. In this essay, I examine what hair signifies for immigrant hairstylists in order to articulate a cosmopolitan experience from the perspective of the racialized, gendered, and undocumented migrant worker. To understand how these migrants find belonging in the world, I argue against the abstraction of space, a predominant tendency in invocations of cosmopolitanism and its related strand, Afropolitanism. With that in mind, I look at the hair salon, a highly gendered and stratified space that reveals not only how the female workers are placed in a restrictive position, but also how they shape the space that they occupy through their service of braiding hair. I juxtapose this service and cultural act alongside Achille Mbembe's concept of interweaving worlds to show that the female migrant workers interweave divergent perspectives despite the disharmonious encounters produced by the invisible racial, ethnic, and class boundaries of the hair salon. [ABSTRACT FROM AUTHOR]

Braiding Borders, a site-specific performance in which women from both Mexico and the US braided their hair together across the US-Mexico border, challenged exclusionary geopolitical demarcations and physical and rhetorical violence against female, immigrant, and Latinx bodies. As a collective, performative mobilization of bodies, it dismantled and reinvented mobilities of belonging and body politics of dissent. [ABSTRACT FROM AUTHOR]

The ostensibly bizarre crime of braid-cutting invited occasional alienist inferences from the late 1850s onwards, until it entered mid-1880s police profiles and forensic-psychiatric taxonomies as a corollary of perversion, specifically sadism and fetishism. Cases were rare, but were reported as late as the mid-1930s and enduringly cited as encompassing a staple variety of fetishism. This note briefly reconstructs entries in German, French and English forensic psychiatry, sexual psychopathology and psychoanalysis. [ABSTRACT FROM AUTHOR]

The article discusses the influence of hairstyles on culture and society and mentions the traditions of hair braiding. Topics include hair-styling as a form of expression, the evolution of hairstyles, and the influence of cultural exchange. Pencil drawings of hairstyles and profiles of contributors for the issue including Ann Lawless, Chric Smith, and Shaunasea Brown is provided.

African hair braiding on Bree Street offers a glimpse into how immigration, black female sexuality and shifts in urban retail economies provide important economic and cultural resources to urban residents and users. As both ontology and epistemology, black hair braiding practices recalibrate local economies, spaces, and aesthetic codes, and thus co-constitute emergent urban identities and a way of knowing the city. The intimate, networked, and fractal nature of black hair braiding spaces disrupts the rigid colonial spatial orders of the city and its architecture. As an epistemology, braiding disrupts the grand narrative of Johannesburg in ‘crisis’, while also disrupting the colonizing and gendered structure of urban studies itself. [ABSTRACT FROM AUTHOR]

This article considers the handicraft of braiding, a variety of textile work in which loops of silk were placed on the fingers and interwoven to make strings containing patterns, motifs or alphabetic characters, usually formed into posies. The practice often involved the collaboration of multiple participants and is documented extensively in thirteen seventeenth-century manuscripts, which present written directions, usually alongside worked examples. Largely overlooked in recent studies of women's handiwork, braiding and braids appear to have been pervasive in early modern culture: they are invoked directly and indirectly in a variety of contemporary texts which emphasize that they possessed social, cultural and political meaning. This article argues that braiding constitutes a complex model of expression and social production, which sets alphabetic content alongside the rich significance of form, pattern, material and collaborative bodily practice. Drawing out connections between braiding and varieties of poetic composition in a range of other writings, I emphasize that braids blur distinctions between textual and textile literacies and indicate a need to rethink the relationship of the needle and the pen. [ABSTRACT FROM AUTHOR]

An introduction is presented in which editor discusses various articles on topics including memories of publishing of article "Máscaras, Trenzas, y Greñas: Un/Masking the Self While Un/ Braiding Latina Stories and Legal Discourse" by Margaret Montoya, racial justice and hair braiding.

In this article, the author comments on the article "Mascaras, Trenzas y Greñas: Un/Masking the Self While Un/Braiding Latina Stories and Legal Discourse" by Margaret Montoya published in the journal in 2014. He mentions that Montoya's work is both personal and collective, narrative and analytical, cultural and legal identity theory. He also mentions that the article clearly articulates the structure of cultural expectation and the critical race theory (CRT).

The flambeau sign - A new dermoscopy finding in a case of marginal traction alopecia Since the first description of traction alopecia in Greenlandic women,[1] this entity has been independently identified and described across most races. A noteworthy point is the preservation of sebaceous glands despite fibrosis of the hair follicle even in later stages of traction alopecia, a feature not seen in other forms of scarring alopecia. [Extracted from the article]