Aesthetically Pleasing
IT’S MY 19TH BIRTHDAY! I’M FEELING SO BLESSED!
X GENESIS X
Kerry Washington’s speech at George Washington University’s commencement. it is so beautiful.
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Frizzy Hair
Still obsessing over that perfect curl pattern? Perfect frizz-free shine? We show you why it doesn’t matter! Let it rock as is! Frizz it out!
By Shameless Maya and Featuring Taren Guy, It’s My Raye Raye and myself <3
Shanina Shaik photographed by Casey Brooks for Fashion Gone Rogue
yooooooooooooooooo
why is she perfect?
cause she has pakistani heritage
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![afrodiaspores:
Maria Esteba[ñ]ez:
Parasols and umbrellas have been a staple of burlesque since the advent of the genre, conjuring femininity of a particularly coy and flirtatious variety, especially for white and light-skinned dancers eager able to trade on the popular image of the Southern belle in their stage routines. But for Latina, Black, and dark-complected artists advertised as “Harlem cuties, ebony sexologists, and Afro-Cuban specialists” in the United States and Canada, this accessory came loaded with regionally specific cultural associations:
Umbrellas, both furled and unfurled, are seen in the Mardi Gras and jazz funeral marches of New Orleans, in Brazil, in the brushback dance of Trinidad, and again among the cakewalk dancers in the United States in the nineteenth and early twentieth centuries. Ribbons are attached to the top of the open umbrellas, and feathered birds are used as finials, much as among the Asante people of Southern Ghana and elsewhere in Africa. The umbrella’s use in New Orleans parades is symbolic, rhythmic, and practical in serving as parasols against the blistering sun. These highly decorated umbrellas are not used in the rain, however…
Among Afro-Caribbean dancers, parasols may have also connoted the historical displays of sacred power documented in Santería Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion, passed down through oral tradition and obliquely referenced in the secular revelry of contemporary carnival:
The finery of cabildo queens [at the head of Afro-Cuban religious and mutual-aid societies during the colonial period] included puff-shouldered, flowing gowns with petticoats, jewelry, and large umbrellas, as documented by the Spanish costumbrista painter, Víctor Patricio de Landaluze (1828-89)…
Not only the Kongo-Angola groups, but many West African groups as well, who had also built much of their royal and martial iconography upon European imports—for example, thrones, banners, prestige cloth, and umbrellas—must have arrived in Cuba already familiar with iconographically hybridized royal displays.](http://24.media.tumblr.com/48dbbb985b4311d327d83be6a156f9b7/tumblr_mkx04qE0O81rtgszoo1_500.jpg)
Maria Esteba[ñ]ez:
Parasols and umbrellas have been a staple of burlesque since the advent of the genre, conjuring femininity of a particularly coy and flirtatious variety, especially for white and light-skinned dancers eager able to trade on the popular image of the Southern belle in their stage routines. But for Latina, Black, and dark-complected artists advertised as “Harlem cuties, ebony sexologists, and Afro-Cuban specialists” in the United States and Canada, this accessory came loaded with regionally specific cultural associations:
Umbrellas, both furled and unfurled, are seen in the Mardi Gras and jazz funeral marches of New Orleans, in Brazil, in the brushback dance of Trinidad, and again among the cakewalk dancers in the United States in the nineteenth and early twentieth centuries. Ribbons are attached to the top of the open umbrellas, and feathered birds are used as finials, much as among the Asante people of Southern Ghana and elsewhere in Africa. The umbrella’s use in New Orleans parades is symbolic, rhythmic, and practical in serving as parasols against the blistering sun. These highly decorated umbrellas are not used in the rain, however…
Among Afro-Caribbean dancers, parasols may have also connoted the historical displays of sacred power documented in Santería Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion, passed down through oral tradition and obliquely referenced in the secular revelry of contemporary carnival:
The finery of cabildo queens [at the head of Afro-Cuban religious and mutual-aid societies during the colonial period] included puff-shouldered, flowing gowns with petticoats, jewelry, and large umbrellas, as documented by the Spanish costumbrista painter, Víctor Patricio de Landaluze (1828-89)…
Not only the Kongo-Angola groups, but many West African groups as well, who had also built much of their royal and martial iconography upon European imports—for example, thrones, banners, prestige cloth, and umbrellas—must have arrived in Cuba already familiar with iconographically hybridized royal displays.
(via lati-negros)
Noemí from Puerto Rico
Photos by: Kali Blocker
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An Indian woman, a Japanese woman, and a Syrian woman, all training to be doctors at Women’s Medical College of Philadelphia, 1880s. (Image courtesy Legacy Center, Drexel University College of Medicine Archives, Philadelphia, PA. Image #p0103) (x)
(via eyeofruru)
(via eyeofruru)
