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""A personal account of an African-American professor's mid-life experiences when he decides to grow dreadlocks, with a cultural and political history of dreadlocks"--Provided by publisher"--

In Twisted: My Dreadlock Chronicles, professor Bert Ashe delivers a witty, fascinating, and unprecedented account of black male identity as seen through our culture's perceptions of hair. It is a deeply personal story that weaves together the cultural and political history of dreadlocks with Ashe's own mid-life journey to lock his hair. After leading a far-too-conventional life for forty years, Ashe began a long, arduous, uncertain process of locking his own hair in an attempt to step out of American convention. Black hair, after all, matters. Few Americans are subject to snap judgements like those in the African-American community, and fewer communities face such loaded criticism about their appearances, in particular their hair. Twisted: My Dreadlock Chronicles makes the argument that the story of dreadlocks in America can't be told except in front of the backdrop of black hair in America. Ask most Americans about dreadlocks and they immediately conjure a picture of Bob Marley: on stage, mid-song, dreads splayed. When most Americans see dreadlocks, a range of assumptions quickly follow: he's Jamaican, he's Rasta, he plays reggae; he stinks, he smokes, he deals; he's bohemian, he's creative, he's counter-cultural. Few styles in America have more symbolism and generate more conflicting views than dreadlocks. To "read" dreadlocks is to take the cultural pulse of America. To read Twisted: My Dreadlock Chronicles is to understand a larger story about the truths and biases present in how we perceive ourselves and others. Ashe's riveting and intimate work, a genuine first of its kind, will be a seminal work for years to come. ; https://scholarship.richmond.edu/bookshelf/1188/thumbnail.jpg

Neste ensaio eu analiso as políticas articuladas a duas práticas corporais observadas por grande parte dos homens rastafari jamaicanos: o cultivo de dreadlocks e barbas. Começo pela história política dos dreadlocks e barbas, mostrando como eles foram conectados a noções de africanismo e à vida social dos textos bíblicos no Movimento Rastafari. Eu argumento que estes modos de cuidado com o corpo traduzem políticas anticoloniais rastafari que visam desafiar e criticar estéticas e modos de existência coloniais e pós-coloniais na ilha caribenha, o que dá ensejo a reflexões sobre pertencimento, soberania e africanidade diaspórica. ; In this essay, I unpack the politics intertwined with two bodily practices observed by many Rastafarian men in Jamaica: the sporting of dreadlocks and beards. I begin with the political history of the dreadlocks and beards in Jamaica, showing how they became connected to notions of Africanism and the social life of biblical texts in the Rastafarian Movement. I argue that these techniques of caring for the body translate Rastafarian anti-colonial politics that challenge and criticize colonial and postcolonial aesthetics and modes of existence on the Caribbean island, which gives rise to reflections on belonging, sovereignty, and diasporic Africanity.

AbstractIn anthropology, the body is theorized, manifested, and experienced in multiple ways that impact medical practice, social life, biopolitics, and spirituality. This article considers the role of 'dreadlocks' (matted hair) in the Rastafari spiritual body and, guided by the 'body multiple' concept, explores how the symbolic and performative nature of hair articulates with age and gender. Ethnographic data from the United Kingdom suggest the ways dreadlocks are groomed and/or covered vary widely, revealing diversity and changing meanings attributed to matted hair. By focusing on the spiritual aspects of hair, our work shows that dreadlocks and baldness are outward (visible) and inward (hidden) manifestations of a covenant with Jah (the Creator), rather than contrasting social or psychological statements. The hair symbolism debate in anthropology reveals limitations of universalist and reductionist approaches to understanding the human body. Our Rastafari material suggests the body multiple provides a better framework for interpreting (African‐inspired) spiritual hair.

Growing dreadlocks, a hair practice usually associated with the Rastafarian movement, has become increasingly popular among people of African descent globally. In concert with other "makers," dreadlocks became symbolic accompaniment to oppositional collective identities associated with the African liberation/Black Power movements. Its spread among African liberationists, womanists, radical artists of African descent reflects counterhegemonic politics. From a combined new social movement and African cultural studies perspective, this research traces the sociopolitical and historical phases of "locking." On the microsociological level, the role that dreadlocks are perceived as playing along three main dimensions of collective identity formation: boundary demarcation, consciousness and negotiation, are explored. The study combines data from fifty-two dreadlocked persons' responses in surveys, interviews, and a focus group with historical documents and sources. Dreadlocks, as contemporary hair aesthetics, can be considered an example of culturally contextualized everyday resistance.

Growing dreadlocks, a hair practice usually associated with the Rastafarian movement, has become increasingly popular among people of African descent globally. In concert with other markers, dreadlocks became a symbolic accompaniment to oppositional collective identities associated with the African liberation/Black Power movements. Its spread among African liberationists, womanists, & radical artists of African descent reflects counterhegemonic politics. Here, combining new social movement & African cultural studies perspectives, the sociopolitical & historical phases of "locking" are traced on the microsociological level. Also explored is the role that dreadlocks are perceived as playing along three main dimensions of collective identity formation: boundary demarcation, consciousness, & negotiation. Data are drawn from 52 dreadlocked persons' responses in surveys, interviews, & a focus group in Washington, DC, supplemented with historical documents & sources. Dreadlocks, as contemporary hair aesthetics, can be considered an example of culturally contextualized everyday resistance. 42 References. Adapted from the source document.

Dieng Kulon village is one of the villages which is located in Dieng Plateau Area, Banjarnegara regency. There is a tradition of ruwatan ritual procession that has been done by the residents since hundred years ago. The ruwatan then becomes the cultural tourism. This study aims at exploring the perceived impact of cultural tourism among the residents in Dieng Kulon village. Participant observation and in-depth interview are conducted to local residents in Dieng Kulon village and governmental officials who manage the tourism sector in the regency of Banjarnegara. The data is then comprehensively analyzed using descriptive qualitative method. The result of this study shows that based on the residents` perception, the presence of dreadlocks children bring the "berkah" or prosperity. The dreadlocks children in Dieng have the distinct characteristics, they have to conduct the ritual procession of ruwatan hair cutting. Some residents agree for projecting the public ruwatan into cultural tourism on the reason of cultural preservation while others do not agree because they worry about the decrease of sacredness and cultural value of that tradition. The subsistence of them also gradually change into the tourism activity.

Abstract
This paper aims to present groups, cultures and scenes next to or emerged from the private creations handed by the urban music producers in the city of Santiago de Cuba. This is an ambitious objective, due to the several manifestations entailed to the polyhedral sphere of producers and consumers of urban music, for instance, the rap-reggae scene, the Rastafari culture or the "reggaetonera" music culture. Despite of the protagonists of these expressions are alike in the point that their practices are relatively independent of the state management, their different tastes, objectives and cultural capitals allow them to take distance of each other.