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It tells a story of history of haircare, survival in dire conditions, cultural identity, mechanisms of escaping suppression and captivity, and cultural acceptance,

And High Fashion!

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Cornrows and math. Cornrows use repeated patterns which could be tied to repetitions in math subjects like sequences.
Sequencing could also be illustrated in amino acids//protein coding for DNA sequencing
We could tie it to the geometrical patterns used in the designs and we could design patterns using codes

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The geometric patterns can relate to shapes and lengths.

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The geometric patterns can relate to shapes and lengths.

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Cornrows correlate with patterns and symmetry. The neatness of the roses are determined by precise measurement. You can’t have crooked parts or rows so you must understand measurement, symmetry and patterns. 

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Cornrows correlate with patterns and symmetry. The neatness of the roses are determined by precise measurement. You can’t have crooked parts or rows so you must understand measurement, symmetry and patterns. 

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Geometric patterns, angles. And the number of braids accuracy,

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Corn rows take on these topics: Geometric patterns. Patterns. Lines. Length. Angles.

Beading: counters
Used as a map: maps are done to scale

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Determine mathematically how many rows are required

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Group 6–it’s connected to math because it’s like a code/geometric shapes.

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Braids close to the scalp.

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Braids
Convenient hairstyles
Fields

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History
Fashion
Protection

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Cornrows are what we called braids growing up. Braids close to the scalp. 

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Cornrows are what we called braids growing up. Braids close to the scalp. 

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Please write your first three thoughts when you think about cornrow braiding

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Please write your first three thoughts when you think about cornrow braiding

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What story does the cornrow tell?

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What story does the cornrow tell?

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What story does the cornrow tell?

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What story does the cornrow tell?

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What story does the cornrow tell?

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The fusion of Black tradition and futurist innovation has its roots in Black science fiction writers. In 1902 Pauline Hopkins wrote One Blood, a story about an African city, Telassar, who kept advanced technology secret while sending spies to the outside world. It's no stretch to imagine that Stan Lee and Jack Kirby might have been inspired by Telassar when they created comic book hero Black Panther's secret city of Wakanda in the 1960s. At the same time, musical groups like Sun Ra and Parliament Funkadelic presaged the explosion of what would become technology/culture hybrids in hip hop: styles like electro-rap; band names like Digital Underground and Digable Planets; and music videos featuring robots and spaceships from Missy Eliot, Janet Jackson, and Janelle Monáe. Even in fictional futures, Black braiding traditions continue to thrive.

Another vision for AfroFuturist braiding systems is from Nnedi Okorafor's trilogy Binti. Drawing from real-life ethnocomputing research, she created a story in which a young African girl finds a fractal alien artifact, and leaves home with both that and her spectacular braids:

Once Heru was standing behind me in the dinner line with one of his friends.... "You have exactly twenty-one," he said. "And they're braided in tessellating triangles. Is it some sort of code?" I wanted to tell him that there was a code, that the pattern spoke my family's bloodline, culture, and history. That my father had designed the code and my mother and aunties had shown me how to braid it into my hair. However, looking at Heru made my heart beat too fast and my words escaped me....

How would you create a code in braiding? The idea is not so far-fetched. The Inca used knots in string to keep accounting records. Phyllis Latour Doyle, secret agent for Britain during World War II, used knitting to encode messages in Morse code. In the app below, you can enter your name in the box labeled "letters". Can you figure out how it encodes?

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The fusion of Black tradition and futurist innovation has its roots in Black science fiction writers. In 1902 Pauline Hopkins wrote One Blood, a story about an African city, Telassar, who kept advanced technology secret while sending spies to the outside world.

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As the Afro began to wane in the 1970s, cornrows were on the rise. West African immigrants brought braiding-style techniques to the U.S. Hip-hop emerged as a predominant Black cultural movement in the 1980s. In the 1990s, hip-hop artists from Ludacris to Lil' Bow Wow could be seen with cornrows, and stylists continued to develop new innovations in cornrow braiding, the best known from celebrity styles like those of basketball star Allen Iverson.

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As the Afro began to wane in the 1970s, cornrows were on the rise. West African immigrants brought braiding-style techniques to the U.S. Hip-hop emerged as a predominant Black cultural movement in the 1980s.

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Cornrows were not the only style that African Americans had "rediscovered" in Africa. But while adults' hair was often straightened, children's hair continued to be a place where the cornrow tradition could be carried on: "Little girls received their first simple pigtails or cornrows at Mother's or Grandmother's knee. Brushing, oiling, and braiding the hair encouraged it to grow." (Peters pp. 9) In the 1950s, the revolts against colonialism in Africa and the stirrings of a new cultural politics in America inspired alternatives to straightening techniques. Black artists, scholars, and activists began to look toward African styles. One of the first to make a trip to Africa was artist John Biggers. He realized that the cornrow styles he had seen growing up in North Carolina were actually survivals of African tradition. South African women in the 1950s were wearing a natural or "bush" style. Jackson (2000) notes that this style begins to appear among Black artists, intellectuals and activists in the mid-1950s. To stress its cultural origins, they called it an "Afro." Byrd and Tharps describe how Odetta, Nina Simone, Abby Lincoln and others "embraced natural hair and traditional African cornrowed styles" in this era (p. 54). The Afro makes an appearance in Lorraine Hansberry's 1959 play "A Raisin in the Sun." Singer Miriam Makeba also gave many Americans their first look at the beauty of African hairstyles.

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Cornrows were not the only style that African Americans had "rediscovered" in Africa. But while adults' hair was often straightened, children's hair continued to be a place where the cornrow tradition could be carried on: "Little girls received their first simple pigtails or cornrows at Mother's or Grandmother's knee.

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Like many other "Africanisms" in the new world, knowledge of African hairstyles survived the Middle Passage. Heads were often shaved upon capture, ostensibly for sanitary reasons, but with the psychological impact of being stripped of one's culture. Re-establishing traditional hair styles in the new world was thus an act of resistance, and one that could be carried out covertly. "The enslaved that worked inside the plantation houses were required to present a neat and tidy appearance... so men and women often wore tight braids, plaits, and cornrows (made by sectioning the hair and braiding it flat to the scalp). The braid patterns were commonly based on African tradition and styles. Other styles Blacks wore proved to be an amalgam of traditional African styles, European trends, and even Native American practices" (Byrd and Tharps 2001 pp. 13-14). Historians note the variety of hairstyles described in enslaved runaway notices posted in the 1700s, and suggest that some of the more flamboyant styles were worn as outright acts of defiance. In the North, free African Americans also wore a variety of styles.

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Like many other "Africanisms" in the new world, knowledge of African hairstyles survived the Middle Passage. Heads were often shaved upon capture, ostensibly for sanitary reasons, but with the psychological impact of being stripped of one's culture. Re-establishing traditional hair styles in the new world was thus an act of resistance, and one that could be carried out covertly.

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Cornrow braids are not only widespread in Africa, but they are also quite ancient. Cornrow hairstyles in Africa cover a wide social terrain: religion, kinship, status, age, ethnicity, and other attributes of identity can all be expressed in hairstyle. Just as important is the act of braiding; it transmits cultural values between generations, expresses bonds between friends, and establishes the role of professional practitioner. It might seem tempting to look at the original African styles as more "natural," and our computer geometry models as more artificial, but stylized geometric models of cornrows are quite traditional to Africa.

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Cornrow braids are not only widespread in Africa, but they are also quite ancient. Cornrow hairstyles in Africa cover a wide social terrain: religion, kinship, status, age, ethnicity, and other attributes of identity can all be expressed in hairstyle.

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MANE - The History of Braids & Bans on Black Hair | MANE (Episode 5) | NowThis