• Cross-Cultural Studies
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• v.45
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• pp.269-293
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• 2016

This research studies the characteristics of the family systems of traditional societies in Black Africa. For this purpose, this study has chosen three subtopics: the distinctive features of traditional societies, marriage customs (polygamy and polyandry), and the societal features of patriarchal and matriarchal societies. First, we analyze men's and women's roles, ownership and management of the land, dowry, and social values of livestock as the distinctive features that support the family system in traditional Black African societies. These elements play an important role in increasing the number of family members. Next we analyze marriage customs-polygamy and polyandry-which increase the number of family members, on the one hand, and secure the labor force, on the other hand. Most traditional societies in Black Africa prectice polygamy. However, the $Bashil{\acute{e}}l{\acute{e}}$ and Bahima prectice polyandry. Polygamy in traditional societies in Black Africa is based on the traditional social customs that display the authority and dignity of the family head, who has control over all family members in both patrilineal and matrilineal societies. The authority and dignity of the family head are used to keep and increase the number of family members, that is, to secure the community firmly. Finally, most traditional societies are patrilineal. However, matrilineal societies are prevalent in the so-called Matrilineal Belt, which term refers to the savanna regions where Bantu peoples reside, that is, the coastal regions from the Angolan coast, bordering the Atlantic, to the Tanzanian and Mozambique coasts that border the Indian Ocean. These societies trace descent through the maternal bloodline. The traditional family system in Black Africa is based on economic social, and political factors, as well as on the community spirit of the members, which has resulted from the choices made to increase the prosperity and well-being of the people.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.939-951
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• 2007

This paper is about bridegroom's wedding robe, danryung(團領, a kind of official uniform) which can be found in the scenes of wedding ceremonies such as Chohaeng(初行, a ceremony that the bridegroom goes to the bride's house for wedding) and Hoehonrye(回婚禮, a ceremony that celebrates the $60^{th}$ wedding anniversary) in the genre paintings from the $18^{th}$ century to the $19^{th}$ century. In the documents of the $18^{th}$ and the $19^{th}$ centuries containing the wedding information of that period, danryung was described in various red tones ranging from Ja(紫, purple), Gang(絳 crimson), to Yeonhong(軟紅, pale pink). Similarly, red danryung(紅團領) was seen most frequently at the Chohaeng sights of the genre paintings. On the other hand, it was often depicted that the bridegrooms put on various colored danryungs at Hoehonrye. This was because bridegrooms at Hoehonrye wore their full dress according to their official ranks. In the genre paintings of the 18th century, all bridegrooms wore simple danryungs without hungbae(胸背, official insignia panel) except those in Hoehonrye painting where officials used hungbae. On the contrary, hungbae was discovered in the $19^{th}$ century Chohaeng paintings even though it was not precisely painted. This change of the bridegroom's danryung with hungbae attached was related to that of the official uniform system itself, in which black danryung with hungbae was exclusively used for officials. Afterwards it became the basis of the blue danryung of the present day.

• Cross-Cultural Studies
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• v.52
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• pp.195-222
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• 2018

Bernard $Dadi{\acute{e}}$ expresses virtue, justice, and goodness by mixing reality and fiction through the life of the spider Kacou $Ananz{\grave{e}}$ in The Black Cloth (le Pagne noir). In Black Africa folktale, especially $Co{\hat{o}}te$ d'Ivoire, virtue, justice, and goodness are important factors. The spider's life is full of imagination and tricks that reveal a variety of lessons: i) material abundance and frustration in the 'Spider and the Tortoise', ii) an autistic life that refuses to separate from the mother in the 'Spider's Hump', iii) leaving a trace of violating the taboo on the sheep in the 'Spider's Ox', iv) the failure of a ploy by hurting others to satisfy individual desire in 'The Dowry'. These diverse stories enable us to understand human characteristics and imperfections by questioning customs of society and value of customs, reinterpreting folktale, and clarifying instructional intentions.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.