"PATTERNED BANDS" IN THE N.T. OF HONG KONG
83
to the edge and the tassels allowed to fall free at each side, swinging at either side of the wearer's face. In Yuen Long, the band is not worn this way but instead a longer band (145 CM) is used to tie the hat under the wearer's chin.
A patterned band approximately 85 CM long, with relatively small tassels, is often used to hold the rectangular headcloth worn by Hakka women both indoors and outdoors when a hat is not worn. The band is doubled over the top of the headcloth and fastened at the back of the neck below the woman's bun, thus serving as an ornament and to hold the headcloth in place.
In addition, a band approximately 75 CM long may be used to fasten the small apron (1) across the back. To attach the band, buttons are sewed to the ends of the bands near the tassels, and these are buttoned through loops in the apron. The bib of the apron is commonly fastened around the neck with a silver chain on which old Hong Kong silver five-cent pieces serve as buttons. These aprons are worn by Hakka women both on special occasions and for everyday use.
In Tsuen Wan, at least, the bands traditionally served other purposes as well. Women said that they had to weave great numbers of them before their marriages, because of the role they played in the ceremonies, and for a week or so beforehand they stopped all other work and stayed indoors to weave. The bride was expected to give them as gifts to all the older women relatives who came to attend the festivities. Patterned bands were also used to tie back the mosquito nets on the marriage bed, and were tied around the foot-washing basin which is an important dowry item and fertility symbol. One was used as the bride's trouser string, and one was even given as a gift to the little boy whose job it was to kick open the sedan chair door upon the bride's arrival. When a son had been born, a very long red patterned band was hung over the lantern which was raised in the ancestral hall at the hoi tang (H) ceremony, symbolizing the birth of a son into the lineage.4
Technique of Manufacture
The weaving of patterned bands was the only textile art form produced, in recent years at least, by Tsuen Wan women. Their only other artistic outlet was the singing of "mountain songs" (山歌*) while working together in groups, and the spontaneous singing
"PATTERNED BANDS" IN THE N.T. OF HONG KONG
83
to the edge and the tassels allowed to fall free at each side, swing- ing at either side of the wearer's face. In Yuen Long, the band is not worn this way but instead a longer band (145 CM) is used to tie the hat under the wearer's chin.
A patterned band approximately 85 CM long, with relatively small tassels, is often used to hold the rectangular headcloth worn by Hakka women both indoors and outdoors when a hat is not worn. The band is doubled over the top of the headcloth and fas- tened at the back of the neck below the woman's bun, thus serving as an ornament and to hold the headcloth in place.
In addition, a band approximately 75 CM long may be used to fasten the small apron (1) across the back. To attach the band, buttons are sewed to the ends of the bands near the tassels, and these are buttoned through loops in the apron. The bib of the apron is commonly fastened around the neck with a silver chain on which old Hong Kong silver five cent pieces serve as buttons. These aprons are worn by Hakka women both on special occasions and for everyday use.
In Tsuen Wan, at least, the bands traditionally served other purposes as well. Women said that they had to weave great numbers of them before their marriages, because of the role they played in the ceremonies, and for a week or so beforehand they stopped all other work and stayed indoors to weave. The bride was expected to give them as gifts to all the older women relatives who came to attend the festivities. Patterned bands were also used to tie back the mosquite nets on the marriage bed, and were tied around the foot-washing basin which is an important dowry item and fertility symbol. One was used as the bride's trouser string, and one was even given as a gift to the little boy whose job it was to kick open the sedan chair door upon the bride's arrival. When a son had been born, a very long red patterned band was hung over the lantern which was raised in the ancestral hall at the hoi tang (H) cere- mony, symbolizing the birth of a son into the lineage.4
Technique of Manufacture
The weaving of patterned bands was the only textile art form produced, in recent years at least, by Tsuen Wan women. Their only other artistic outlet was the singing of "mountain songs” ( al *) while working together in groups, and the spontaneous singing
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