Ngaju Sapuyung Hats: A Brief Note

Anthropos: Jurnal Antropologi Sosial dan Budaya (Journal of Social and Cultural Anthropology), 2019

The use of the cap "Songkok Recca" is believed to have begun in the reign of the 31st Bone King named Andi Mappanyukki. The "Songkok Recca" hat used can show the social strata of the wearer. This study aims to look at public perceptions in the use of these hats associated with the social stratification of the Bugis community in Bone Regency. The study was conducted in Awangpone District, Bone Regency, South Sulawesi Province, using a qualitative approach, with a purposive sampling technique in determining informants. The method of collecting data using observation and interviews, with the number of informant's as many as ten people. Data analysis techniques in this study are qualitative data analysis techniques. The results show that there a shift in the use of "Songkok Recca" hats today. In terms of social stratification, the use of the hat "Songkok Recca" no longer shows the degree of someone, but nowadays it is more described as a form of local wisdom of the Bugis community in Bone Regency.

Sarawak Museum Journal , 2017

The Sarawak Museum Registration Book describes sun-hat No.90/62 as “one old Sa’ban rare sun-hat” acquired by the Sarawak Museum in 1990. It is rare because it is not found at the borderland Sa’ban settlement of Long Banga, but comes from the upper Bahau river in Kalimantan. There, the sun-hat is made by Kenyah Lepo Keh and Kenyah Lepo Maut and is known as a sa’ung seling. An earlier version of this sun-hat, No.1233 in the Sarawak Museum collection from the early twentieth century, states that this example was “looted” from the Madang (Badeng) and then donated to the museum. The key to unravelling the biographical history of each hat lies with analysing the notes on provenance in the Sarawak Museum Ethnology Registration Book in order to track down the circumstances of each acquisition. Further to this, this case-study illustrates that different examples of the same object may have very different biographies, with their trajectories extending beyond the limited field of their assumed provenance to reveal a significance beyond their immediate usage.

Wearing of cap is a significant aspect of African dressing and fashion. In fact, it is a cultural element across most human societies inclusive of African societies that are held in high esteem. This is particularly true in Nigeria. Generally, cap is seen in Nigeria as a special head covering to indicate rank, occupation, fashion, responsibility, etc. Caps are worn in variants designs across cultures in Nigeria and there are variant caps worn for various purposes. For instance, among the Yoruba’s of south western Nigeria, it has been used as a fashion element. In the light of the above, this discourse attempt to present an ethnological study of cap wearing among the three major ethnic groups in Nigeria. To achieve this, the paper presents a comparison of cap wearing in Hausa, Igbo and Yoruba societies. As an archetype, the study looks at the significance as well as the differences in cap wearing among these tribes in a bid to draw a comparative analysis which is the focal point of this discourse. The study also examined the political and social functions of this cultural practice.

https://www.ijrrjournal.com/IJRR_Vol.7_Issue.1_Jan2020/Abstract_IJRR0033.html, 2020

The research, recording, and documenting of traditional regional costume is an attempt to identify the return types of clothes worn by the hereditary society of a nation. On the other hand, traditional clothing is already rarely used traditional clothes, even though the person is a type of clothing that reflects the cultural values of the region, and is part of the national culture. Therefore research custom clothing needs to be done in an attempt to attract back the information clear details regarding the type, variety, meaning, function, and significance that is in the custom clothing. Semiotics is a science which helps to answer it. Semiotics is the study of a sign. In each of the signs or symbols have meaning or message delivered by communicators to communicant. The relation of semiotics with this research is as a method of analysis of the text in the research on traditional clothes Simalungun. The purpose of this research was performed to analyze the image of the symbol value, function and social meanings contained in traditional clothes Simalungun. In this research the researchers using theory of semiotics which was developed by a semiologi named Charles s. Pierce. The theory developed by Charles s. Pierce has a map of interconnected elements of the sign. The element is signifier, signified, conotative signifier, and conotative signified. Then the theory of local wisdom by Robert Sibarani. To get the research data in the form of qualitative and quantitative, observational method applied to techniques of fun and talk, method of recording techniques and interviews with noted, the method of documentation with the techniques noted and methods questionnaire. The research results are presented in narrative form with formal and informal methods. In this research found several components in traditional clothes for either man or women. On man the traditional clothes among other toluk balanga clothes, gotong, rantei gotong, doromani, hiou, hadang hadang(Suri suri), ponding ulu ni begu, pisau suhul gading, hassing, tintin tapak gajah, golang harissungan (golang banggal), rudang hapias, ponding (belt) whilefor woman soja clothes, bulang, hiou, suri suri, bajut hundul, golang, panjetter (bun) and tintin pitta pitta.

2012

Most of the garments and caps worn in Northern Nigeria, particularly among the Kanuri people, have their origin in the culture and traditions of the people. In very significant ways, these garments and caps depict the belief systems, political metaphysics, and the general consciousness of the people, including their creative impulses. But as more and more people move from rural areas to cities and travel abroad, and as more and more cultures intermingle, inevitable changes occur in the culture and traditions of the people. The cultural tradition of the Kanuri people wearing longer, voluminous, roomy garments, preferably with caps, has witnessed changes due to contact with foreign cultures. One purpose in this research is to show that in spite of the Kanuri people's strong adherence to their beliefs and culture, which hardly encourages any changes, their use of traditional garments and caps have exhibited the flexibility of their beliefs, culture and traditions. The use of the ga...

Mediterranean Journal of Social Sciences, 2014

The authenticity of crafts/artifacts has been at the center of tourism debates for some time. There is disagreement among researchers on the conceptualization of the term. This paper contributes to clarifying the understanding of the concept by examining the authenticity of the Basotho hat (Mokorotlo) from the perspectives of weavers, corporative members, traditional leaders and street vendors at the Maseru and Maputsoe border posts, the main entry and exit points of Lesotho. The Basotho hat is an authentic product, and a popular artifact and memorabilia that is directly identified with Lesotho. It serves as both a cultural icon of Lesotho and part of the everyday attire of the Basotho people. The Basotho hat has gone through minor changes in response to local and tourist demands for new enhanced products. Lesotho is rich in cultural attractions that can be capitalized on to develop cultural tourism. The Lesotho Tourism Development Corporation, a destination management and marketing organization, can capitalize on products that are already popular with tourists to market it as part of cultural tourism. This has an added advantage to improve the livelihoods of impoverished Basotho. However, the government should implement mechanisms to certify the authenticity of hats for added appeal to tourists.

Archipel, 2019

Asian Textiles No 89, 2024

This article sets out the history of tall hats in Central Asia, beginning with the 'golden hat's found in Europe and dating from 4,000 years ago, through the hats of the Tarim mummies and then on to the history of the saukele, the tall hat worn by several different groups in Central Asia, including Kazakhs, Kyrgyz, Qaraqalpaqs and others.

2021

The cover and headband is a testament to the intelligence, perseverance, and skills of the people of South Sumatra. Cultural elements of covering and headbands in real life have various functions that are in accordance with the messages of cultural values. The purpose of this research is to carry out research or study of museum collections in an effort to provide information about the preservation and preservation of objects of historical and cultural value. The literature study method is a technique of collecting data through various literature, such as books, magazines, journals, articles, papers related to the cover and headband of South Sumatran men as well as other supporting data, such as photo and historical documentation related to the field of study. The results of the research based on the function of the museum then the preservation of the museum collection becomes the duty and responsibility of the museum manager. Preservation of the Covering and Headband of men's He...

International Journal of Service Management and Sustainability

The traditionally Sarawak Malay woman headscarf is known as Tudong Selayah Keringkam. It is a hand-made identical embroidery headscarf, produced with articulate skills, creativity, and imagination and worn as a social identity among the Malay women in Sarawak. This paper argues that the Selayah and the Keringkam are two different pieces of headscarves artwork. This paper also foresees the reasons behind the depletion of interest and skills of producing this artifact among theyounger generation, to a large extent, making the cultural sustainability of the traditional headscarves in Sarawak to become less significant. Hence, the objectives of this paper are to explore the distinction between Selayahand Keringkam. In this transcendental phenomenological paper, the ‘framing approach’ is used in the in-depth interviews conducted with Selayah Keringkam weavers and Malay elders. This paper apparently has found the little provision to the distinction between Selayah and Keringkam. However, ...