DOCSLIB.ORG

09 the Contribution of Informal Work to Household Income

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
09 the Contribution of Informal Work to Household Income Table of contents I. Introduction ......................................................................................................................................... 3 II. The attributes of textile weaving in Laos ........................................................................................ 4 2.1 Overview ..................................................................................................................................... 4 2.2 Women and textile weaving ........................................................................................................ 4 III. The role of women in socio economic development in Laos as a breadwinner .............................. 5 3.1 Role of women in national workforce ......................................................................................... 5 3.2 Role of women in family’s income earning ................................................................................ 5 IV. The case study of women’s income earning from textile weaving in Vientiane capital ................ 6 4.1 Methodology .............................................................................................................................. 6 4.2 Findings and discussion .................................................................................................................... 6 4.2.1 Home-based textile weavers ........................................................................................................... 7 a. The characteristics of weavers ......................................................................................................... 7 b. Cost of weaving textiles .................................................................................................................. 8 c. Income and expenditure ................................................................................................................... 9 4.2.2 Textile weaving entrepreneurs .................................................................................................... 12 a. The nature of business ................................................................................................................... 12 b. Business turnover .......................................................................................................................... 12 4.3 The challenges of weaving work ..................................................................................................... 12 a. The external factors ....................................................................................................................... 12 b. Internal factors ............................................................................................................................... 13 4.4 Overview of assistance to weaving work ....................................................................................... 14 V. Policy recommendations ...................................................................................................................... 15 Conclusion ................................................................................................................................................. 16 References ................................................................................................................................................. 17 Annex table ............................................................................................................................................... 18 Abstract The study of weaving textile as an alternative source of income of women in Vientiane capital has tried to illustrate the role of women in family income earning, particularly in the high competitive society at this present. It was found that many skilled weaving textile women are more likely to engage in the weaving led-income generation rather than other causal jobs for supplementary income earning of the family. Weaving textile can help weaver to deal with daily expenditure of her family such as, school fee and food. The contribution of weaving income to the family’s income has made female weavers be recognized as co-breadwinner of the family. The weaving textile activities are not only seen in a form of informal weavers (small scale textile weaving by independent and dependent weavers) but also a formal weavers (weaving textile enterprise). The two forms of weavers have share indifferent views in terms of advantages and problems facing regarding to their work. The paper also includes some policy recommendations before its conclusion which extracted from the research findings in order to introduce some problems solving and raise a concerned of relevant agencies. 2 The contribution of informal work to household income: the case of women’s weaving work in Vientiane capital By Viengsavang THIPPHAVONG* I. Introduction Since the Lao government reformed the economy from a centrally planned to a market economy in 1986, the family income structure also has changed from one highly reliant on government subsidies to one that is more self-reliant. Many households became eager to pursue income earning activities by getting involved in small businesses which are largely of self-employed and informal nature. The families who engaged in this kind of informal work are often motivated by personal skills that some family members possess. For instance, a family may do handicraft work with the skills that the wife or the husband had inherited from her or his ancestors. Textile weaving is one such informal family business activity where the women account for almost the entire workforce in textile weaving in Laos. This is because textile weaving is a self-employed independent work, and it has the advantage of having less time pressures compared to other jobs. Weaving Lao traditional costumes, especially for women’s dresses seems to be the key product that gathers momentum in textile weaving in Laos. In these circumstances, textile weaving has become an important source of income for many families in both rural and urban areas, particularly for the families where husband has a low paid job and the wife does weaving at home to supplement the household income. Weaving Lao traditional costumes has brought about a new feature of financial control in the family as women are now able to help their families or husbands to increase household income and thus improve family well-being. The case study on Sayaboury province (a province in Northern part of Laos) by Kyoko et.al (2000) found that many women in this province engaged in weaving activities generating substantial incomes for their families, while the husbands engaged in work such as raising livestock, feeding chicken and pigs, which earlier used to be women’s work, and now as result has provided more time for their wives for weaving. This has also given women a strong position in controlling family income and expenditure which implies that women have more power in the family. Therefore, weaving work contributes significantly to not only empower women but also to reshape gender equality in the household. A research study on weaving as an alternative income source will help to illustrate the role of women and income earning of the family in Laos in the contemporary era of highly competitive society, where formal employment alone has become insufficient to meet the ever increasing costs of living of an average household. The study will examine the textile weaving activity of women in the Vientiane capital to illustrate how this activity has become an alternative source of family income for women. The case study will focus on two groups of people namely, the home-based textile weaver and the female entrepreneurs who run small and medium sized textile weaving businesses, and analyze the similarities and differences of problems faced by the two groups toward income earning of family. The former group is likely to be an informal activity – not register as a business entity, not pay taxes and not benefit from the legal contracts or effective coverage under the labor and social protection laws of the government. On the other hand, the latter group consists largely of formal enterprises that subject to business registration, tax payment, and be recognized as one of contributing factors to GDP of the country. Therefore, by demonstrating women’s role in family income earning through textile weaving, this case study will provide better understanding of how the benefits from textile weaving can empower women in the family and contribute to family expenditures, what difficulties and challenges textile weavers face, and finally what policy recommendations could be made to the government in order to help weavers to cope with any impediments they face. * A senior economic researcher at the Economic Research Institute for Trade, Ministry of Industry and Commerce, Lao PDR. 3 II. The attributes of textile weaving in Laos 2.1 Overview Textile weaving has been one of Laos’s ancient handicrafts. It has passed through three different eras of socio-economic changes - colonial period, Indochina war, and the New Economic Mechanism - that caused significant impacts on the cultural and economic landscape of the country. Textile weaving sector not only continues to exist but also has come to be recognized as one of the prominent sectors in Lao handicraft. These changes also mark the shift of weaving output distribution that used to be focusing on domestic markets to overseas ones. Shiraishi et.al (2002) demonstrated
Load more

Recommended publications
  • Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
    Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern
    [Show full text]
  • Costume Design ©2019 Educational Theatre Association
    For internal use only Costume Design ©2019 Educational Theatre Association. All rights reserved. Student(s): School: Selection: Troupe: 4 | Superior 3 | Excellent 2 | Good 1 | Fair SKILLS Above standard At standard Near standard Aspiring to standard SCORE Job Understanding Articulates a broad Articulates an Articulates a partial Articulates little and Interview understanding of the understanding of the understanding of the understanding of the Articulation of the costume costume designer’s role costume designer’s role costume designer’s role costume designer’s role designer’s role and specific and job responsibilities; and job responsibilities; and job responsibilities; and job responsibilities; job responsibilities; thoroughly presents adequately presents and inconsistently presents does not explain an presentation and and explains the explains the executed and explains the executed executed design, creative explanation of the executed executed design, creative design, creative decisions, design, creative decisions decisions or collaborative design, creative decisions, decisions, and and collaborative process. and/or collaborative process. and collaborative process. collaborative process. process. Comment: Design, Research, A well-conceived set of Costume designs, Incomplete costume The costume designs, and Analysis costume designs, research, and script designs, research, and research, and analysis Design, research and detailed research, and analysis address the script analysis of the script do not analysis addresses the thorough script artistic and practical somewhat address the address the artistic and artistic and practical needs analysis clearly address needs of the production artistic and practical practical needs of the (given circumstances) of the artistic and practical and support the unifying needs of the production production or support the the script to support the needs of production and concept.
    [Show full text]
  • Clothing in France
    CLOTHING IN FRANCE For their day-to-day activities, the French, both in the countryside and the cities, wear modern Western-style clothing. Perhaps the most typical item of clothing associated with the French is the black beret. It is still worn by some men, particularly in rural areas. The French are renowned for fashion design. Coco Chanel, Yves Saint-Laurent, Christian Dior, and Jean-Paul Gautier are all French fashion design houses whose creations are worn by people around the world. Traditional regional costumes are still worn at festivals and celebrations. In Alsace, women may be seen in white, lace-trimmed blouses and aprons decorated with colorful flowers. Women's costumes in Normandy include white, flared bonnets and dresses with wide, elbow-length sleeves. A traditional symbol of the region, the famous Alsatian headdress was abandoned after 1945. Today, this can only be admired during certain cultural and tourist events. Varying widely from one part of Alsace to another, the traditional costumes reflected the social standing and faith of their wearers. Consequently, Protestant women in the North would wear the colors of their choosing; where as Catholics from Kochersberg (to the northwest of Strasbourg) wore only ruby red. Some women would decorate the hems of their skirts with velvet ribbons. Others, particularly in the south, would wear printed cotton clothing, often made of silk for special occasions with paisley patterned designs. The aprons, worn everywhere throughout Alsace, were plain white. However, on Sundays it was not uncommon to see silk or satin aprons decorated with embroidery, and worn over skirts or dresses.
    [Show full text]
  • Costume Blueprint
    The Guerilla Filmmakers Movie Blueprint Costume Blueprint 229 Chapter 12 - Costume Blueprint The role of the costume designer cannot be underestimated. Filmmakingilmmaking isis aa ‘gr‘grande illusion’ and inappropriate costumes, or simply badly realised wardrobe, will serve to fundamentally undermine the whole film. A sharp dressed lawyer who isn’t quite sharp enough, a priest whose dog collar is clearly made of cardboard, a tramp whose clothes aren’t quite broken down enough… all will flag your movie as being at best low budget,, atat wworst,, amateuramateur... Everyday Contemporary Special Contemporary Everyday ‘make’ Clothes that are freely and cheaply available Usually things like uniforms for police, nurses, Clothes that for one reason or another, need now, often in the high street or even in the traffic wardens, but also think about wedding to be manufactured for an actor. Possible actors’ own wardrobe. gowns, ball gowns etc.. All can be hired because they are very large or very small. relatively cheaply but it all mounts up. Football teams and school uniforms will need to be fictional and therefore created or hired. Fantasy and Period Stunts, effects and doubles Mixed bag Clothes that aren’t available in shops and Used when you need to double an actor or All the other stuff such as jewellery, must either be hired or made. Think medieval when the action requires duplicate costumes watches, boots, etc. All need to be planned knights, science fiction etc. for possible multiple takes. and acquired. 230 The Guerilla Filmmakers Movie Blueprint Costume Blueprint For low budget films, costume is mostly about dressing the actors appropri- When you meet someone, an ately and not trying too hard to impress the audience (as you simply don’t have the budget to impress).
    [Show full text]
  • First Class – Tuyên Hứa
    Đẳng Thứ I – Tráng Sinh First Class – Tuyên Hứa Rev: 04242016 1. Hiểu về lịch sử Hướng đạo Việt Nam. 1. Undestanding Vietnam Scouting history Do tình cờ của hoàn cảnh, Phong trào HÐ thành lập ở By coincidence, the Vietnamese Scouting Movement was Việt Nam cùng thời điểm với Ðảng Cộng sản. Trong thời formed at the same time as the Vietnamese communism gian nầy, nhiều Trưởng và Ðoàn sinh HÐ đã đóng góp party. During that early period, many HĐ leaders and tích cực vào trào lưu tranh đấu dành độc lập tự chủ khỏi members contributed to gain Vietnamese Independence ách đô hộ của nước Pháp. Lịch sử HÐVN vì thế, đã gắn from the French Colonial Rule. Therefore, HĐVN history liền với lịch sử của nước Việt-Nam trong từng bước was unlike any other Scout Movements in the world. She thăng trầm từ trên 80 năm qua... intertwined, rised and fell in the same way as the history of Viet Nam for the past over 80 years... 1929 Hướng Đạo đã có tại Việt-Nam từ trước nhưng tất cả chỉ dành cho người Pháp vì Việt Nam đang bị Pháp đô 1929 Scouts have been seen in Việt-Nam before this time hộ. Thiếu sinh Việt Nam đầu tiên được nhận vào HÐ tại but mostly reserved for the French since France was the Hà Nội, Tr. Vũ Ngọc Tân, nhưng với tư cách là người colonial power in Việt-Nam at that time in Hà-Nội. The first HĐ Pháp. Vietnamese scout, Tr.
    [Show full text]
  • Jacobean Costume
    ROOM 5 & The Long Gallery Jacobean Costume The constricting and exaggerated fashions of the Elizabethan era continued into the early part of the seventeenth century. Women still wore tightly boned bodices with elongated ‘stomachers’ (an inverted triangle of stiffened material worn down over the stomach) and enormous skirts that encased the lower part of their bodies like cages. However, by 1620 the excessive padding around the hips of both sexes had disappeared, and fashion began to slim down and adopt a longer, more elegant line. The doublet became more triangular in shape and the huge cartwheel ruff gave way to a falling collar, edged with lace. The Long Gallery From the 1580s the Spanish farthingale, or portrait of James Hay, 1st Earl of Carlisle, hooped petticoat, was superseded by the who wears an elegant black and gold costume, French farthingale, a wheel-like structure that heavily embroidered with gold and silver held the skirt out like a drum. It can be seen thread, with a standing linen collar of cutwork to great effect in the portrait of Lucy Russell, and matching cuffs. Countess of Bedford. This was a style of dress expected at the court as Anne of Denmark, King James’ Queen, admired its formality. The Countess is dressed for the coronation of James I and Anne of Denmark, in a costume of rich red velvet, lavishly lined and trimmed with ermine. Lucy Russell, Countess of Bedford Robert Carey and Elizabeth Trevannion, (NPG 5688) 1st Earl and Countess of Monmouth and – Long Gallery their family (NPG 5246) – Long Gallery This rare family group shows a variety of ruffs The portrait of Sir Walter Ralegh and his son worn at this date.
    [Show full text]
  • Weaving Lao Silk Into Indigo Nights ラオスの絹を織って藍色の 夜へ
    Volume 7 | Issue 0 | Article ID 3456 | Mar 16, 2009 The Asia-Pacific Journal | Japan Focus Weaving Lao Silk Into Indigo Nights ラオスの絹を織って藍色の 夜へ Melody Kemp Weaving Lao Silk Into Indigo Nights Melody Kemp The air turned chilly as the sun sighed into the nearby hills. It picked up the smells of dust mixed with metallic and dung flavours. Miss Phaeng watched, holding her breath as the last sliver of red fell out of sight. Casting a quick mantra to the spirits of nature, she swallowed a glass of lao lao to start the evening. A woman in Xieng Khouang twists silk filament together to make warp thread. She wears a 'plain' woven silk sinh with sewn on woven edge (tin sinh). Her daughter wears a mutt mee (ikat) sinh with a less ornate tin sinh befitting younger girls. She felt the fizz of anticipation low in her belly as she gathered all the many shuttles holding the weft silk and dumped them into an old blackened basket. Inhaling its heady stink of ash, grass and smoke, she placed the basket next to where she would sit. Leaning mindfully over her loom, Miss Phaeng raked her nails across the piano strings of silk Her mother had warned her of the importance warp, plucking each to test its tension. A black of finishing the warp before sunset, as the sheet of pin-straight hair fell over her face, spirits would tangle the threads on an hiding the claret birthmark shaped just like a unfinished loom. She had a broom ready to spider, that crept over her right cheek, one leg scare them away, and the lao lao was supposed disappearing into the fine hairs of her temple.
    [Show full text]
  • Month SHA to Hold a Lottery to Create a New Section 8 Waiting List
    FREE EACH VOLUME 27 MONTH ISSUE 3 A community-based newspaper serving the Puget Sound area since 1981 March 2008 Articles translated into six languages TheTheThe newspaper VoiceVoice of Neighborhood House SHA to hold a You may qualify lottery to create for the Earned a new Section 8 Income Tax Credit waiting list BY VOICE STAFF Low-income working individuals and their families may be eligible to BY SHA STAFF receive a tax refund between $428 and $4,716 if they apply for the federal This month, as it did in 2006, Seattle Earned Income Tax Credit. Housing Authority will create a new Congress originally approved the waiting list for its Housing Choice tax credit in 1975 as a way to offset Voucher Program (Section 8) by means the burden of social security taxes on of a mail-only lottery. low-income people and to provide an The 2006 lottery produced a wait- incentive to work. ing list of 4,000 households chosen at When the EITC exceeds the amount random by a computer program. of taxes a person owes, it results in a tax All households on that list have been refund to those who claim and qualify contacted, and so a new list is needed. PHOTO BY TYLER ROUSH for the credit. Asked why the agency is again con- To qualify, taxpayers must meet cer- ducting a lottery to create a waiting Candidates vie for support in Washington tain requirements and file a tax return, list for the popular program, Barbara even if they did not earn enough money Strayer, Section 8 program manager, Illinois senator and Democratic presidential candidate Barack Obama speaks to a to be obligated to file a tax return.
    [Show full text]
  • Costume Care Sheet
    COSTUME CARE SHEET Dear Parents & Dancers, Here is some information about your costumes. Between now and the show, you will want to keep your costume in the garment bag that it is sent home in. • Most of the costumes are made with a delicate fabric or have sequins on it that can usually catch on other materials and snag. By keeping your costume in the garment bag, it will help protect the costume. • Hanging your costumes will also lessen the chance of wrinkles and damage • Remember that dance costumes are NOT EVERY DAY WEAR. Dance costumes should not be worn before recital. This prevents them from getting dirty or ruined. Once recital is over, you can wear the costumes as much as you like. PREPARE YOUR COSTUMES, DANCE BAG & MAKE UP/HAIR ACCESSORIES BAG 2 DAYS PRIOR TO THE RECITAL DATES-- (THAT'S APRIL 30TH OR MAY 1ST as RECITAL DATES ARE MAY 2ND AND 3RD) Preparing 2 days in advance will allow you to see if you are missing anything for the show, which in turn allows you time to go and pick up those items. Plus it is a great skill to teach your dancer-- Be prepared in advance!! BEST RECOMMENDATION FOR PREPARING COSTUMES: Use a steamer, if you have one or hang your costume near the shower (not where it will get wet) and the steam will naturally flatten out any wrinkles it may have. This is important with very delicate fabrics, costumes with sequins or rhinestones and especially ballet costumes. You can check the label to see if ironing your dance costume is safe.
    [Show full text]
  • Table of Contents Costume Info for Ballet, Contemporary, Jazz, Tap and Combo Classes + Finale *Hip Hop Costume Guide Is a Separate PDF and Includes Funky Freedom
    Table of Contents Costume Info for Ballet, Contemporary, Jazz, Tap and Combo Classes + Finale *Hip Hop Costume Guide is a separate PDF and includes Funky Freedom. ​ ​ ​ *Current as of 2/1/17 Monday 2:45 / Wednesday 2:45 Joy in Ballet & Tap - Ms. Linda “Fast & Slow” & “Turtle Rock” Spandex leotard has all-over sequin mesh overlay at front and attached, adjustable straps. Capri pants with sequin mesh stripes down the outer sides and separate, fully-lined bolero jacket. Separate tutu on spandex waistband has layers of tulle with top layer edged in satin ribbon. *Includes headpieces. TAP: “Turtle Rock” BALLET: “Fast & Slow” Shoes: Black Tap Shoes Any Style Shoes: Pink Ballet Flats ​ ​ ​ Costume: Leotard, Pants & Shrug Jacket Costume: Leotard & Skirts ​ ​ Accessory: Hair Poof at RIGHT Accessory: Ribbon at Neck, Headband ​ ​ BOTH DANCES Tights: Pink from JiM ​ Hair: Same Hair for entire Show! Dancer’s choice, pulled back out of face and sprayed ​ neatly. Ponytail, bun, ½ up ½ down, french braid, etc. Monday 3:45 - Break into Tap & Jazz “Razzle Dazzle” & “Magic” - Ms. Linda This menswear-inspired biketard shines in the spotlight. Featuring a sequin spandex bodice and bow tie with stretch satin cummerbund and attached matte nylon/spandex shorts. *Includes sequin fedora, crystal bun wrap, long satin point gloves. JAZZ: “Magic” TAP: “Razzle-Dazzle” Shoes: Tan Jazz Any Style Shoes: Black Tap Any Style ​ ​ Costume: Unitard, Gloves & Crystal Costume: All Pieces - inc. ​ ​ Hair Piece only Skirt/Gloves/Hat BOTH DANCES Tights: Tan from JiM ​ Hair: Same Hair for entire Show! Dancer’s choice, pulled back out of face and sprayed ​ neatly.
    [Show full text]
  • Auggie) Pullman Sinh Ra Với Một Sự Biến Dạng Trên Khuôn Mặt Ngăn Cản Anh Ta Đi Đến Một Ngôi Trường Chính Thống - Cho Đến Bây Giờ
    Trang 1 Ngạc nhiên RJ Palacio Tháng 8 (Auggie) Pullman sinh ra với một sự biến dạng trên khuôn mặt ngăn cản anh ta đi đến một ngôi trường chính thống - cho đến bây giờ. Anh ấy sắp bước vào lớp 5 tại Beecher Chuẩn bị, và nếu bạn đã từng là một đứa trẻ mới, họ sẽ biết khó khăn như thế nào. Các điều là Auggie chỉ là một đứa trẻ bình thường, với khuôn mặt phi thường. Nhưng ông có thể thuyết phục được bạn cùng lớp mới của anh ấy là anh ấy giống như họ, mặc dù có ngoại hình? Trang 2 RJ Palacio ALFRED A. KNOPF Đây là sách BORZOI được xuất bản bởi ALFRED A. KNOPF Đây là một công việc viễn tưởng. Tên, ký tự, địa điểm, và sự cố hoặc là sản phẩm của trí tưởng tượng của tác giả hoặc được sử dụng hư cấu. Bất kỳ giống với thực tế người, sống hoặc chết, các sự kiện hoặc địa phương hoàn toàn trùng hợp. Trang 3 Văn bản bản quyền © 2012 bởi RJ Palacio Jacket nghệ thuật bản quyền © 2012 bởi Tad Carpenter Tất cả các quyền được bảo lưu. Được xuất bản ở Hoa Kỳ bởi Alfred A. Knopf, một dấu ấn của cuốn Sách dành cho Trẻ em Nhà Random, một bộ phận của Ngôi Nhà Ngẫu Nhiên, Inc, New York. Knopf, Borzoi Books và colophon là nhãn hiệu đã đăng ký của Random House, Inc. Quyền có thể được tìm thấy ở trang 316 Hãy ghé thăm trang web của chúng tôi! randomhouse.com/kids Các nhà giáo dục và thư viện, cho một loạt các công cụ giảng dạy, hãy ghé thăm chúng tôi tại randomhouse.com/teachers Thư viện Quốc hội Cataloging-in-Publication liệu Palacio, RJ Wonder / bởi RJ Palacio.
    [Show full text]
  • Hats Ms Pure
    1 2 IF THE CAP FITS: of the steppe warriors’ appearance.5 The absence of beards was also noted elsewhere: John of Plano Carpini gives a long and complicated account of the Mongol hairstyle. The point the Going Mongol in Thirteenth Century Syria 6 Franciscan stresses is that ‘in appearance the Tartars are quite different from all other men’. Abstract The complex hairstyle described by John of Plano Carpini indicates that the appearance of the Mongols was in fact carefully crafted, and was seen by them as a marker of identity. These Various Near Eastern and European writers of the thirteenth century remarked on the outlandish accounts do, however, suggest that some aspects of their appearance were mutable, and affected by appearance of the Mongol warriors then rampaging across Eurasia. One aspect of this was their their encounters with other peoples – for example, they could acquire their armour from conquered distinctive headgear. From our sources it is clear that Mongol costume could be exploited by non- peoples.7 Nevertheless, it is clear that clothing, and especially headgear, formed another marker of Mongols in the Near East for a variety of purposes; how these distinctive hats were described, and Mongol ‘identity’. The Mongols were far from unique in this, of course. In mediaeval Europe how contemporary artists depicted them, will also be discussed. hairstyle could differentiate Anglo-Saxon or Irishman from Norman, or Saxon from Wend; headgear could differentiate Jew from Christian.8 In the Islamic world, of course, non-Muslims were in theory expected to distinguish themselves from Muslims in their dress, often their headgear, Introduction either through form or colour.9 On the steppe such markers – and especially headgear – seem to have been significant from an early age.10 In this paper I would like to consider one of these key ‘…dans le langage du Levant on compte par chapeaux et par turbans.’ markers of Mongol identity, the hat, and how it was described and represented in the Near East.
    [Show full text]