Ghanaian women’s traditional dress: Exploring the symbolic meaning and utilization

This study explored public awareness and donning practices of traditional and religious dresses among Indonesian Muslim. The relevant literature was reviewed first, and in-depth interviews and survey were followed to achieve the purpose of the study. Sarung and Kain Panjang are the most representative unisex traditional clothing of Indonesia. Traditional male dresses include Kemeja Batik, Beskap, Peci(Kopiah) and Blangkon. Traditional female dresses include Kebaya, Baju Kurung, Baju Bodo, Kemben, Rok Batik and Slendang. Baju Koko, Sarung and Peci(Kopiah) are the most well-known Muslim male dress items. Muslim female dresses are more diverse than men`s. For traditional and religious dresses, which were identified from literature study, public awareness and donning practices were examined with survey data. Indonesian people consider Kebaya, Sarung, and Batik as the most important traditional dresses which convey national identity. Peci(Kopiah), Baju koko, and Jilbab(Kerudung) are highly mentioned as the representatives of Muslim dresses. Indonesian Muslims report that they own these representative dresses commonly. Peci and Sarung are included both in religious and traditional dresses, demonstrating that the two items are the representative crossovers of their religion and the tradition of the country. For both traditional and Muslim dresses, Indonesian people think that aesthetics and traditional values are more relevant than practical value. Lastly, it is found that traditional dresses are parts of the daily wear of Indonesian people from the fact that they wear traditional dresses more than once a week.

The purpose of this study was to determine to what degree adherence to traditional dress and adoption of western dress by Ghanaian university students differs from that of their mothers. If there is a difference, is this difference reflected in changing marriage and family values between the two generations?Dress of Ghanaian women was classified as traditional, modified traditional, combined tradi tional with western, and western dress. Data were gathered by questionnaire and camera, Fall 1975, from 177 female students at the University of Ghana and at Winneba Specialist Training College.Students' dress for class and social occasions was most frequently a simply styled western dress and, for funeral and memorial services, the modified traditional dress. Their mothers more fre quently wore traditional dress for all occasions. The differences in use of traditional and western dress between mothers and daughters was highly significant.The students were significantly more accepting of western marriage and family values than their mothers. The traditional values held by mothers had a positive association with their wearing of traditional Ghanaian dress. The daughters' more western attitudes were associated only with their use of modified traditional dress.

Traditional female dress and clothing market sources in Saudi Arabia were explored in relation to demographic variables. Data were gathered by interviews of 60 female nationals in Saudi Arabia. Demographic variables of age, education, marital status, socio-economic status, work, and travel were investigated as independent variables. Dependent variables included traditional clothing worn in public and private situations and the use of clothing market information and acquisition sources. Also descriptive information on traditional dress was obtained. Analyses included correlations and t-tests. Results indicated that traditional female outer dress is strongly prevalent in Saudi Arabia and was reflected in most situations investigated. Women who traveled, worked, and had a higher socio-economic status wore less traditional dress. Travel, work, education, age, and socio-economic status affected market information sought and market acquisition sources utilized regarding clothing.

Traditional Balinese clothing is a typical Balinese clothing that is characterized by Balinese customs used as a form of cultural protection that reflects the nature of politeness, shade, peace, and pride for the wearer. The Governor of Bali in the Regulation of the Governor of Bali Number 79 of 2018, concerning the Day for the Use of Balinese Traditional Clothing states that one of the objectives of using Balinese traditional clothing is to maintain and maintain the preservation of Balinese Traditional Clothing in order to strengthen identity, character and character, to recognize the values the aesthetic, ethical, moral, and spiritual values ??contained in Balinese culture and encourage increased use of local Balinese fashion products and industries. The purpose of this study was to determine the factors that influence academic perceptions of the use of traditional clothing in the school environment. This research was conducted in high schools in Denpasar, using the factor analysis method. The sample in this study were 181 respondents. The sampling technique used was purposive sampling. The results showed that the factors that influenced students' perceptions of the use of traditional clothing in the school environment were comfort in traditional clothing, knowledge of the rules of traditional dress, knowledge of traditional clothing, ethics of Balinese traditional dress and tourists and Balinese traditional clothing. These five factors can explain the diversity of students 'perceptions of 58.742 percent, with the dominant factor affecting students' perceptions of the use of traditional clothing in the school environment is comfort in traditional dress.

Saudi Women's traditional dress had been worn for centuries but has been discarded in favor of Western fashion and regarded as stigmatized since the 2010s. However, various events have occurred over the last four years that have contributed to the possible destigmatization of Saudi women's traditional dress. We explore the shifting meaning of Saudi women's traditional dress in the contemporary Saudi context. We interviewed 14 Saudi women; data were analyzed using constant comparison processes, and four themes emerged: (a) traditional dress as a multifaceted and dynamic symbol in contemporary Saudi culture, (b) motives for wearing Saudi traditional dress in the shifting cultural context, (c) perceptions about the role of micro- and macro-level factors in altering the meanings of and behaviors toward Saudi traditional dress, and (d) asserting agency in constructing and enacting meanings and practices related to traditional dress. Participants’ choices about traditional dress reflected both macro and micro forces.

Traditional dress is a common phenomenon across much of Western Europe, often originating in elaborate practices for rural religious events. Yet despite its fundamentally local nature, traditional dress in various European regions developed along a similar trajectory, sometimes being transformed into political symbols and regional promotion for tourism, and always revealing the complexity of rural society in terms of religious divisions, class inequality and tension between the desires to protect tradition and embrace modernity. To better understand how traditional dress evolved in France and Germany from the 19th to 21st centuries, this book takes Alsace as its case study and in doing so illuminates broad experiences of modernity across rural Europe and answers overarching questions about regionalism and nationalism. Specifically, Sara Hume unpacks why Alsatian dress was adopted as a symbol of loyalty to France despite being closer in style to German dress practices. She explores the impact of political and geographical tensions on the appearance and function of traditional clothing, for example in Alsace’s situation at the border between France and Germany and in its transformation from disputed territory into capital of a united Europe. Logically progressing chapters reveal how modernity did not drive out tradition in rural communities but rather led to processes of adaption, preservation and re-evaluation. Through a rich variety of primary sources including costumes, illustrations, political cartoons, legal documents and oral histories, Regional Dress sheds light on the little known and rarely documented experiences of rural Europeans. Its material culture approach to the study of regionalism is essential to students of traditional and folk dress history, European history and design history.

This study aims to classify any lexicon, describe the form of the lexicon, and produce a form of supplementary Indonesian language learning text based on the lexicon of Pontianak Malay traditional wedding dress. The theory used is ecolinguistic theory. The method used in this study is a descriptive method with a qualitative form. The source of data in this study is the Pontianak Malay community, whose address is in the city of Pontianak. Data collection techniques are interview techniques, notes, records and documentation. This study resulted in 18 lexicon of Pontianak Malay traditional wedding dress. There are 4 types of lexicon groups, namely 7 lexicon in the form of traditional bridal attire, 11 lexicon in the form of traditional bridal clothing accessories, 7 lexicon in the form of traditional bridal clothing materials and 18 lexicon in the form of bridal traditional clothing how to use it. The forms of the lexicon are categorized based on the type, namely traditional bridal clothing, the material of which has 7 lexicon and traditional bridal clothing, how to use it, which has 18 lexicon. Each lexicon group is divided into 2 levels, namely the noun level there are 10 lexicon and the verb level 18 lexicon. In describing the traditional dress lexicon of the Pontianak Malay bride, using ecolinguistic parameters and the three dimensions of social praxis. The form of Indonesian language learning text based on the lexicon of Pontianak Malay traditional wedding dress produces descriptive text.Keywords: Ecolingistics, Lexion, Traditional Bridal Clothin

This study aims to uncover the form of power relations and the implications of the discourse on the use of traditional Balinese clothing for the State Civil Apparatus (ASN) in the Provincial Government of Bali. The rules on the use of traditional Balinese clothes for the ASN Bali Provincial Government are the implementation of the policy of the Governor of Bali Wayan Koster at the beginning of his leadership period and has been set forth in the Governor Regulation No. 79 of 2018 concerning the Day of the Use of Customary Bali Clothing. The study uses the scientific foundation of Cultural Studies with a qualitative approach. Two theories used in this research are the theory of power and knowledge relations and social practice theory. These two theories are collaboratively used to uncover the power relation forms and the implications of the discourse on the use of traditional Balinese clothes for ASN within the Provincial Government of Bali. The study revealed the form of power relations in the day-to-day discourse on the use of traditional Balinese clothes for ASN in the Provincial Government of Bali, namely governmentality in the form of regulations aimed at making the application of Balinese customary dress rules effective. Another form of power relation is the hegemonic ideology that is by utilizing the myths of Balinese traditional clothing and symbolic power relations using meaningful symbols. The results also revealed that the discourse on the use of Balinese traditional clothing for ASN in the Environment of the Provincial Government of Bali has implications for the representation of social classes marked by the desire of a group of ASN to differentiate themselves by adding accessories to the traditional clothes they wear. Another implication is consumerism among ASNs, where their desire engine is motivated to add custom clothing collections to the office beyond what they actually need. The application of traditional Balinese dress rules for the Bali Provincial Government ASN also gives rise to what is called cultural hybridization. 
 Keywords: discourse, Balinese traditional clothing, State Civil Apparatus

Why I Call Australia ‘Home’?

The government of Botswana through its National Policy on Culture (2001) and the National Ecotourism Strategy (2002) is committed to preserving national culture and historical heritage. The policy stipulates that valuable heritage must be preserved and developed in order to foster a sense of national identity, pride and unity. It is necessary to reformulate cultural values and valuing processes, in order to better understand the Setswana culture and its meaning in material objects. To this end, dress as one of the valuable material culture objects is essential for signifying and expressing subtle cultural value and social relationships. The intimate link between people and their traditional dress lies at the core of ethnic identity, and has assumed a higher level of significance among consumers and tourists who collect symbolic items. A specific emphasis on a national traditional dress seems to be lacking in Botswana. This paper argues that there is need to restore traditional dress in Botswana, which would serve as a symbol of national identity and cultural heritage. The paper is based on the findings of a study that explored the historical underpinnings of national dress in Botswana, and how national dress could be used to sustain culture.Keywords: Traditional dress, culture, conserving, sustaining, symbolic, national identity, Setswana.

This study examines traditional dress as a tool of soft power in global diplomatic spaces through an in-depth examination of dress diplomacy practices worldwide. Drawing on soft power theories, symbolic interactionism, cultural diplomacy, and the notion of cultural capital, the study develops a holistic analytical model working at macro, meso, and micro levels to understand the use of traditional dress in diplomatic contexts. Through a set of comparative case studies covering practices in Asian, African, Western, and other regional settings, the study identifies three models of traditional dress diplomacy: assertive (marked by frequent and state-sponsored use), reactive (linked to the articulation of post-colonial identity), and selective (marked by its strategic and context-specific use). The findings show that Asian nations have been particularly successful in leveraging traditional dress as diplomatic tools, as seen in India's kurta diplomacy and Indonesia's batik diplomacy, to challenge Western sartorial hegemony. The use of traditional clothing by African nations helps to counter vestiges of colonial influence and promote cultural autonomy, while Western formal wear remains the global standard, albeit with alternatives arising more frequently. The success of traditional dress diplomacy depends on the diplomatic situation, where negotiations based on environmental and cultural issues are likely to be more promising than those involving economic or security concerns. This study holds that traditional dress diplomacy is a multifaceted expression of cultural soft power, which not only expresses but also shapes the shifting power relations in an ever-widening multipolar international system.

Traditional dress for women in Ghana, known as “slit and kaba”, previously required no standardised sizing and fit, but as this dress has undergone an evolution and taken on more western features, the fit and manufacturing quality have become increasingly important. This paper evaluates the effect of the evolution of the slit and kaba on the current manufacturing processes adopted by the micro and small scale enterprises in Ghana. A qualitative approach was adopted to collect data in three metropolitan centres in Ghana from dressmakers of the traditional dress. An inductive approach through the grounded theory technique was utilised to analyse the data and the findings revealed that the traditional dress has undergone a considerable change in fit and form. The over reliance on trainee apprentices as workers has affected the quality of garments produced in relation to standardisation. It is also evident that most of the dressmakers rely on domestic equipment which is rudimentary in terms of technological development. This paper highlights the importance of skills and adequate equipment in the achievement of fit and quality in the area of garment manufacture in Ghana.
 Keywords: Garmentmanufacture;Qualitystandards;Fit;Traditionaldress;Evolution.

ulu society has always been largely patriarchal. Its women have been given minimal or marginal opportunity to air their views. Women have used visual and oral forms to express their feelings. Amongst other avenues of expression, dress is one means to communicate dissatisfaction with the social state of affairs. Within accepted cultural practice, it provides information about how women perceive themselves, each other, other people, as well as their role in society. The aim of this article is to explore how traditional dress in its cultural context is a means of expression and communication'. It draws on four years research and field work in the area I refer to as Camper-Ndwedwe, in KwaZulu-Natal, ie some areas of Ndwedwe and the Camperdown region. To a certain degree the discussion would be equally true of other areas in the region. The study was mostly qualitative and used questionnaires, semi-structured interviews and observations. The questionnaire was administered non-formally and verbally to most participants, whilst with less than 10 women it was collected in the written form. There was a lot of discussion when questions were posed to informants as some could not read or write. Questions explored the informants' marital status, age and the perceived purpose of traditional dress and its use as a means of 'social protest'. The study had a total 58 informants. Ethnic dress and ethnicity are intertwined. Although ethnicity and ethnic groups seem to have clear reference, they are also complex and emotionally loaded terms (Barnes and Eicher, 1995). I use the term ethnic as denoting the cultural traditions of a group of people. Ethnicity is a cultural category that is recognisable in lifestyle, race, language and clothing choices. As a description of physical attributes ethnicity is often used as a means to categorise people. Like gender, ethnicity is socially constructed. One of the tasks of feminist theories is to challenge such social constructions as they relate to gender relations. The meanings of 'feminism', a term that is used to describe women's attempts to challenge patriarchy and gender inequality, also require clarification in the context of this discussion as it is considered taboo by many African women. It is alleged that feminism has no relevance to African culture and that it leads women away from their families and responsibilities. Women's forums conscientising women about their rp-

The continuity of the cultural heritage left by the previous generation is highly dependent on the new generation, especially the youth. Youth is a link to the legacy left behind. Therefore, this study aims to examine the extent of youths’ knowledge, attitudes, and practices on the elements of the intangible cultural heritage of the Dusun ethnic group in Sabah, Malaysia. The research method used is quantitative with a survey research approach using a questionnaire instrument. The respondents consisted of 3 84 youths from the Dusun ethnic group aged 15 to 40 years. The data analysis methods used are descriptive and inferential analysis. The findings of the study showed that the level of knowledge of the intangible cultural heritage of the Dusun race among youths in Sabah for oral tradition (Moderate), lifestyle (High) and traditional dress (Moderate). Stages of oral tradition attitudes (High), lifestyle (High) and traditional clothing (High). Meanwhile, the level of practice of oral tradition (Moderate), lifestyle (Moderate) and traditional dress (Moderate). As for the analysis of differences, there is no significant difference for the variables of knowledge and practices of the intangible cultural heritage of the Dusun race between male and female youths. However, the attitude variables showed that there were significant differences between male and female youth. Pearson correlation analysis found a relationship between knowledge and attitude (Strong); knowledge with practice (Strong), and attitude with practice (Moderate). Implications from the study indicate that there are still variables that need improvement, especially in terms of knowledge. High knowledge is very important because it will affect the attitudes and practices of the youth.

This study is an attempt to analyze the daily life of the Western-yearning Seoul citizens and the inflow of the Western culture into certain social classes. The customs of the characters in the film <Madame Freedom> are studied to illustrate the process of deconstruction of Korean traditional clothes due to the Western influence. The combined application of the Western and Korean styles is also observed. All this study leads to the sense of homogeneity of the times and the conformity to the culture the Korean women shared, which boils down to the social identity of the Korean women who sought an escape from the men-centered social structure by displaying their competence in the field of global modern fashion. As Seonyeong Oh, the main character of the film, <Madame Freedom>, was wearing in the movie the Korean traditional dress, socks, rubber shoes, and then a western-style coat, it well shows that in 1950's, the traditional dress and ornaments were mixed with Western styles. In time, men's wear were completely changed from the traditional Korean clothes to suits, while women's could not break off from the traditional clothes and become westernized, which indicates that the men-centered conservative ideas to keep women within the feudal regime of the society remained. The military look of Seonyeong Oh while she was acting in the society was a symbol of anti-bias against women and anti-convention as well as the will of freedom as an independent woman. Besides, the modern girls would wear clothes of military fashion, Dior's trapeze line, and knit styles flattering the figures. All these well show their desires to embrace Western cultures, especially their dress fashions as well as manners as so-called enlightened ladies. All these elements show that the director was trying to represent the progress of the drama, characters, and psychological states by means of the dress and ornaments.