Indian Wedding

The Syrian Christians of Kerala, the southernmost state in India, were originally Namboodiri Brahmins whose conversion took place while St. Thomas visited India around AD 46. Their church is known as the Syrian Orthodox Church and its head, Catholicos, resides in Kottayam, a Kerala town. Though embraced Christianity, the Syrian Christians retained many of their Hindu cultures and still follow several old traditions in their weddings. A typical Syrian Christian wedding, an elaborate affair, is arranged by the elders with the bride’s family making the initial proposal to the groom’s people.

Once the proposal is accepted by the groom’s people, ‘Kalyanamurappu’ (arranging the wedding between the boy and the girl) takes place. Male members from the boy’s family go to the girl’s place to fix a wedding date convenient to both. Both families take a decision about the ‘streedhanam’ (dowry in the form of money, clothes, property or jewelry) that the bride will be given at the time of wedding after which she will never make any claims on her father’s wealth.
When this agreement is accepted by the two families, two eldest members from each hold hands in a symbolic clasp and the contract is sealed by covering their hands with an ‘angavastram’ (a white cloth). The respective churches announce the engagement for three consecutive Sundays while the members of the two families and their community are present. The boy and the girl, on the third Sunday, go to their respective churches to take part in the confession and the Holy Communion.
The pre-wedding ceremony, ‘madhuramvekkal’, held a day before the church wedding, is performed separately in the houses of the bride and groom. The ceremonies are similar for both, except one or two. For this, a barber is called to cut the groom’s hair and shave off his beard while the groom sits facing east afterwhich the groom’s eldest sister or female cousin applies oil to his hair, accompanied by a lot of bantering and teasing. Then the groom’s brother-in-law leads him for his bath insisting that he should take it from the westerly direction. After bath the groom comes out from the easterly direction with his brother-in-law holding an umbrella over his head. When he arrives all the women clap their hands and make a noise called ‘korava’, considered very auspicious by all Keralites.
In the meanwhile, in her house the bride sits in an ordinary sari while her brother’s wife anoints her with oil and takes her for the bath exactly in the same manner as performed for the groom. After bath she wears a splendid silk sari, puts on traditional jewelry and a gold chain with a cross on it and decorates her hair with flowers.
After the ‘korava’ is performed, the bride and groom, in their respective houses, sit on a chair with their heads covered. The chairs on which they sit are covered with a white cloth. The priest bless them while a sweet called ‘madhuram’ (pieces of banana fruit soaked in the sweet juice of Palmyra palm) is brought also to be blessed by the priest. The mother or grandmother of the bride and groom feeds this blessed sweet to them.
On the wedding morning in the church, the groom will present a beautiful sari, known as the ‘mantrakodi’ to his bride. In the night before the church ceremony, the groom’s sister draws strands of thread from this sari and twists them to form a cord on which the ‘taali’ known as ‘minnu’, a gold pendant in the shape of a leaf with a cross inscribed on it, is tied.
On the wedding day the priest makes a visit to the houses of the bride and groom separately to bless them. The groom carries the ‘mantrakodi’ sari, the ‘taali/minnu’ and two wedding bands. After receiving blessings from the priest the bride and groom move out of their house with a young girl holding a ‘diya’/lamp in the front.
In the church the wedding rituals are officiated by the priest and after the sermon the bride and groom exchange wedding bands. Throughout the ceremony the bride’s sister stands behind her. Wedding vows are exchanged between the couple and the groom ties the ‘minnu/taali’ around her neck during which the groom’s sister takes the place of the bride’s sister. ‘Taali’ gives the marital status to an Indian lady. The priest places the ‘mantrakodi’ sari on the bride’s head and blesses it. The groom and bride join hands and are declared man and wife.
For the wedding ceremony, the bride wears an off-white silk sari with a wide border embellished with gold embroidery work and glittering stones and a chic blouse in the same material. Her sari ‘pallu’ acts as a veil or she wears a separate veil over her head. She has only very little jewelry on her body, one or two necklaces, five or six bangles on each wrist, a ring on her finger and ear danglers. All these sparkling jewels are made of pure gold. The groom’s outfit consists of a traditional white dhoti and a white shirt.
After the wedding ceremony, the families involved host a grand reception for introducing the newly weds to the guests. Here, the smiling bride is the cynosure of all with her brightly colored gorgeous ‘Mantrakodi’ silk sari and dazzling gold jewelry.

The UP Kayast Bride

The outfits of a UP Kayast bride are an expensive fabulous Banaras silk or any other silk or chiffon sari with beautiful zari embroidery works and a chic matching blouse or a heavily embroidered ‘lehenga-choli and a matching ‘dupatta, the preferred colors being red, magenta and bright pink or yellow. She wears gold jewelry such as necklaces, rings on fingers, ears and nose, lot of bangles on the wrists, anklets and toe-rings known as ‘bichua’. Traditional ‘Kundan jewelry (uncut rubies, emeralds and diamonds set in gold) are also popular among the Kayast brides.

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Dawoodi Bohra, popularly known as Bohri community, an off-shoot of Islam, is found largely in the Indian commercial capital Mumbai and the western state Gujarat. Many of them are well-established businessmen or traders in these regions. The grandeur with which they celebrate their weddings is seen in their elaborate food, lavishly decorated venues and sometimes even in the return gifts for the guests. Though many small customs are not usually incorporated, certain common customs are still followed by all Bohri weddings. Except Nikah, almost all the customs are allowed according to the convenience and means of the respective families.

In the ritual ‘mandvo’, held two days before the wedding, coconut, ‘falool’ (chopped dry fruit) and ‘nazral-maqam (few coins pledged on the name of a specific saint to ward off evil eyes) are placed in a red cloth and its ends are tied in a betel nut. The bride and groom’s paternal and maternal uncles tie this cloth at the entrance of their houses after which the boy and girl must remain in the houses till the wedding day.
‘Manek thamb’ is a ritual where a small thick wooden stick, known as ‘manek thamb, a flower garland and ‘nazral-maqam are kept on a red handkerchief and tied with yellow strings. A young girl, not yet attained her puberty, places it on the right side of the house entrance.

In another ceremony, the beating of the ‘katha’, the ingredients two coconuts, catechu, betel nut, cardamom, turmeric, camphor, chital ‘chini’, red and yellow strings and jasmine oil are brought in a red handkerchief. While the maternal and paternal aunts sit facing each other, the ‘katha ingredients, divided into four equal parts, are kept in a pestle and crushed that is finally thrown away in the mud or a water body. The four relatives are gifted lavishly for participating in this ceremony. This ritual is performed in the two houses separately.
Mosala is a ceremony performed by the maternal uncle (‘mama’) of the bride and groom. The uncle helps the groom to get dressed up, gives him buttons and flower garland and ties the traditional Bohri turban called ‘safa’ on his head. He also helps the groom to wear the shoes. Similarly, the aunt dresses up the bride with ‘lehenga-choli-odhni/dupatta or veil and helps her to put on the sandals. Four relatives, ‘faiji’ or sisters, then symbolically keep ‘mehendi’ sticks on the right palms of the bride and groom. All the family members are gifted by the uncle.
Before the wedding an important function, ‘peralumni’ is held in which the groom’s mother gives gifts including the dress to be worn on the wedding day to the bride. The bride’s people serve sweet drinks to all present.
On a fixed date the bride, groom, her father and two witnesses go to the local ‘maulvi’ to get their marriage registered. Here the bride demands a ‘meher’, an amount that the groom will give to her on the wedding day. This acts as a security for her in case they decide to split in the future.
The ‘Nikah’ is the actual wedding ceremony of the Bohri community. A date is fixed for four male members from the groom’s side to invite the bride’s relatives with gifts. The bride authorizes two of her relatives to act as her witnesses known as ‘wali’. Seeking the willingness of the bride and groom for the wedding is compulsory and so is announcing the ‘meher’, the amount of money, that is to be given to the bride by the groom. While the bride’s father holds the groom’s hand, the officiating priest reads the ‘Nikah’ and recites verses of solemnization. These three are the most important rituals for the solemnization of the ‘Nikah’.
The Bohri bridal outfit is a rich ‘ghaghra-choli or ‘lehenga-choli with a matching veil known as ‘dupatta’. She looks enchanting in the ghaghra suit with its pleasing colors and elaborate designs and embellishments. She has lovely intricate henna/’mehendi’ designs on her palms and feet and she wears dazzling fine gold necklaces around her neck, bangles on her wrists and dangling earrings. She is also adorned with nose-ring, anklets and toe-rings. The richly embroidered ‘rida’, the colorful version of the traditional black Muslim outfit, ‘niqab’, also finds a place in her wedding trousseau.
The groom’s dress consists of the traditional white pyjama-kurta and ‘saya, a long flowing white overcoat. He wears a stitched turban known as ‘Pheta’ with ‘sarpeck (a decorative feather stick) at its top. He also wears a religious locket called ‘takhti’ and a pearl/flower garland. His left hand is covered with an unstitched piece of embroidered zari cloth interwoven with velvet known as ‘dushala’ and a ‘bazzo bandh’ (a round piece of maroon velvet cloth with the names of the five holiest saints of Bohris called ‘Panjatan Pak) is tied on the right arm.
After the wedding/’Nikah, the ‘meher’ amount is given to the ‘wali’, the guardian of the bride. Two members from the groom’ side approach the bride with the ‘toran’ that consists of ‘misri’ (a sweetmeat), coconut, betel leaves, seven full pieces of betel nuts, flower garment, rich clothing and gold jewelry and give it to her. These two persons are gifted in return by the bride’s people.
Another important ritual is the ‘Salaam’ where the couple pays respect to elders by kissing their hands. They perform this to their mothers-in-law symbolizing that they accept them as one’s own mother. The mothers-in-law offer rich return gifts to them. When the bride performs ‘Salaam’ to her mother-in-law she holds a red cloth with one corner wrapped and tied with one silver coin, some amount of money , a coconut and two full pieces of betel nut.
Before the wedding feasts hosted by both sides, a religious meeting of ladies, ‘majlis’, and that of men, ‘darees’ are conducted to invoke the Almighty’s presence in every event. At the venue of the reception, the bride is received by her mother-in-law with ‘pannu’, a decorative basket that contains two coconuts, two flower garlands, little rice, pan-betel nut, one set of expensive dress, a necklace, sweets and a gift for the best bride’s maid even. A pair of sandals is kept beside the basket for the bride to wear to her husband’s house.

After the royal feast, the bride’s maternal uncles, in a ritual ‘chhera chheri’, ties her red dupatta to the end of the groom’s shawl symbolizing their long-lasting union. Lastly the bride proceeds to her husband’s house with plenty of tears and well-wishes.
Thus, the Bohri community, though largely influenced by the Indian cultures, continues to thrive with its own unique traditions rooted in Islamic values, a true reflection of what India keeps within her heart.

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Gadulia Lohars, a tribe from Rajasthan state in North India, are wandering blacksmiths that live in close-knit communities and travel from village to village and even to the outskirts of big cities to set up camp for short periods. They got the name ‘Gadulia’ from their attractive bullock carts known as ‘gadis’. Their traditional profession is iron smithy or ‘loha’ in Hindi language that is why they are known as ‘Lohars. These lohars or ironsmiths spend their time as mobile markets to meet the requirements of the far-flung villages and also to the well-connected cities and towns.

These ‘Lohars’ are supposed to be the highest among all the nomadic tribes of Rajasthan. Major decisions and suggestions are generally taken in groups by the elder members of the community, especially regarding weddings they take the advice and instructions from the elders. Child marriages are very common among this tribe, like the Rajputs.

For the nomadic tribe Gadulia Lohars, a wedding is one of the most auspicious ceremonies in the family. Normally, matches are decided even at the time of birth. When the boy and girl grow and attain maturity the date for their wedding is fixed with the help of a Brahmin who selects the correct ‘muhurat’ or auspicious time. It is their custom to demand bride price from the groom by the girl’s father. In the usual course, the elders of the community take a decision on this matter too. When both families agree to all terms nine knots are made on a thread and each day a single knot is untied from the ninth day prior to the wedding date. In this community the bridegroom is referred to as ‘lada’ and the bride as ‘ladi’.

Five days before the wedding, the brother and sister-in-law of the bride and groom go to the village potter wearing the wedding dress. They buy a clay idol of Lord Ganesha called ‘Banyatha’ and an earthen pot known as ‘kalas’ from the potter. These two items are placed near their carts. Neem leaves are kept over the earthen pot while grounded turmeric is placed inside it. The turmeric is smeared on the bodies of the lada and the ladi on the fifth day prior to the wedding. From this day, prayers are offered to ‘Banyatha’ or Ganesha in the mornings and evenings at the respective places of the bride and groom.
A wedding procession (baraat) is taken out on the wedding day with a palanquin known as ‘doli’ in the lead and the men and women of Gadulia sing and dance and take part in the grand feast where ‘roti’, mutton and drinks are the main items. In a very simple ceremony the wedding is conducted by the Brahmins with the traditional Hindu rituals.

The dress and jewelry the Lohars wear are similar to the Rajputs. They dress like the simple rural folk style of Rajasthan. The groom’ costumes include a collarless jacket known as ‘jhavi’ or ‘angarkhi’, ‘potia’, a colorful headgear designed with dots and flower motifs and ‘dhoti’, the lower garment. His shoes are hand-stitched known as ‘nagra jooti’.

For Gadulia women jewels are a symbol of their lifestyle and they wear them fancifully. The bride wears the jewels on her hair, nose, ear, neck, upper arms and feet. From the shoulder joint up to the elbow the upper arms are decorated with big bangles, usually of ivory or silver. She wears glass bangles known as ‘churis’ on the wrists. On the hair she has a finely designed silver pendant called ‘tickli’ that is stringed on the head.
Thus simplicity prevails over the life of the nomadic tribe of Gadulia Lohars of Rajasthan with a simple lifestyle, simple costumes and jewelry and above all, very simple weddings and wedding rituals.

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The Vokaliga community of Karnataka, a southern state in India, consists of mainly agriculturists and landowners. Therefore many of their wedding rituals follow the rural traditions strictly. But like several other communities, the Vokaligas have adapted these rural traditions to the urban ones and mostly their weddings are now conducted in wedding halls.

On the ‘Nischitartha’ or engagement day elders from the groom’s family go to the bride’s house with auspicious items like jaggery, rice, betel leaves, nuts and an old jewelry on a copper platter for the bride. After consulting an astrologer an auspicious date is fixed for the wedding upon mutual agreement. This function is performed in the absence of the boy and girl. When the groom’s people depart the bride is seated on ‘hasemane’ (wooden stool) to receive the gift items just brought by the groom’s party in her sari ‘pallu’.
In the ritual ‘Chapparashastra/achandi’ held one day prior to the wedding, a ‘mandap’ or canopy also known as ‘chappara’ is erected in the courtyard or in front of the bride’s house with great pomp and care. Traditional musical instruments like drum, trumpet-like instrument ‘halege’ and ‘shruti’-a type of harmonium –are placed in a row at the central point of the canopy. All females of the bride’s group place a banana leaf, betel leaf, jaggery and a sweetmeat called ‘thanbitu’ next to each instrument and bless them after which they conduct a ‘puja’/prayer by applying milk, vermilion and flowers to these instruments and also an ‘aarti’. This ritual called the ‘chapparashastra’ is performed on all days except Tuesdays and Saturdays. The officiating priest sprinkles sacred water on the house and the ‘chappara’/canopy’ to bless the entire proceedings. The same ceremony is held in the groom’s house as well. Then the bride and the groom are taken to their family temples respectively to offer prayers. On return the bride sits on the ‘hasemane’/wooden stool while the elders make small white bundles that contain coins in various denominations. Each bundle is assigned a purpose and hung up in front of the house. This ritual is performed to invoke the blessings of all the deities to ensure the smooth going of all the wedding ceremonies.
‘Kelneeru’ is a unique ritual in which the bride sits on a small stool wearing an old sari and all the ladies anoint her body with a paste of turmeric and coconut oil. After bath three or five ladies take her to a well or pond closely where the bride conducts the ‘Ganga Puja’, a prayer’ to purify the water. The ladies then fill tiny earthen pots with this purified water and take them to the house. There they offer ‘Gau puja’, a prayer for the cow that are fed with rice and jaggery and later perform ‘Tulsi Puja’ too. These ladies also plant a jackfruit sapling along with ‘navratna’ stones (9 semi-precious stones).
Other womenfolk in the house wash the feet of these ladies, bless the earthen pots containing holy water and place them in ‘puja’/prayer rooms with reverence. A similar ritual with a difference is held in the groom’s house also. They prepare two baskets known as ‘kuke shastra’-one contains silver items, gold jewelry and saris and the other rice, jaggery, nuts and coconuts, ready for the next day. The bride and the groom receive blessings and gifts from the elders on this occasion.
‘Varapuja’ marks the welcome accorded to the groom when he arrives at the bride’s residence in all his splendor with the ‘kuke shastra’ and the ‘mangalsutra’ (a yellow thread or a gold chain with a small gold pendant strung to it). The bride’s father receives him with a diamond ring and a gold chain and feeds him with honey and ‘ghee’ (clarified butter).After performing the traditional ‘aarti’ on him, the groom is escorted to the wedding ‘mandap’/canopy.

Now the wedding ceremony known as ‘Lagna’ begins and the bride enters the ‘mandap’/canopy accompanied by her maternal uncle. The bride and the groom stand opposite each other and are separated by a screen known as ‘antrapate’, a white silk sheet. They sprinkle ‘jeera’ (cumin seeds) and jaggery on each other while the ‘pujaris’ chant Vedic mantras.

The bride usually wears a traditional off-white ‘navari’ sari, (a nine yard sari) with a red border and zari works on it. This gorgeous sari is highlighted by a chic matching ‘choli/blouse’ and fine traditional gold jewelry in varied designs. The head is adorned with the trinkets like ‘mang-tika’ along the hair parting, ‘surya’ and ‘chandra’ on the sides of it and ‘moggu jade’ along the plaited hair. She wears ‘jimki’ (a circular piece embellished with pearls and stones) on her ears and necklaces, such as ‘kasinsara’ made of small gold coins with figure of Goddess ‘Laxmi’ on them and ‘addige’, a 2-3 layered thick chain with ruby-studded pendants around the neck. ‘Mangalasutra’ known as ‘karimani’ consists of alternate black and gold beads with two ‘mangalya’ pendants. She has gold and green glass bangles on her hands, ‘oddiyana’-waist band, a gold band worn on the ‘choli’ sleeves known as ‘baji/ bandh and ‘kaladdige’, thick rounded gold or silver anklets.
The groom’s outfit consists of silk ‘veshti’/dhoti, edged with ‘zari’ border, worn in the traditional style and white ‘maguta’, a shirt-like silk top. He also wears ‘valli/pitambar’, a long cloth of the same material as the dhoti, draped over his shoulders and an ornamental turban of gold embellishment called ‘pheta’. He holds a stick, sanctified in a holy place, in his right hand.

When the curtain is removed the bride and groom exchange garlands. The bride’s parents keep the auspicious ‘mangalsutra’ on a coconut which is taken to all family members and guests for their blessings. This coconut is kept on the bride’s hands and then in the groom’s. This moment is considered as the actual ‘muhurtham’, the moment of union as suggested by the heavenly stars. Now the groom ties the ‘mangalsutra’ around her neck. Tying her sari ‘pallu’ to his ‘shalya’ in the marital knot, the couple makes three circles around the ‘mandap’/canopy. After this they go out to look at the sun that acts as a witness to the wedding.

Some Vokaliga families follow the rituals ‘homa’ (lighting the sacred fire) and ‘Saptapathi’ (taking the seven steps around the fire) as found in any other Hindu wedding. The couple receives blessings from all the elders by touching their feet.

Now the time has arrived for the bride to bid farewell to her family members and friends. When she reaches her husband’s house, she tips over a small measure of rice and enters the house with her right foot first.

All the wedding ceremonies come to an end with an elaborate dinner followed by cocktails hosted by the families to introduce the couple to other members of the community, friends and colleagues.

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Bunts or Nadavas, a forward Hindu community, originated from the west coast of India, are mostly found in the south Kannada and Uduli districts of Karnataka state and Kasargod district of Kerala state. Bunta in the Kannada language means a strong or powerful man or soldier. With a deep-rooted culture they play an integral and important part of the social and economic fronts of this area.

For the “Nischitartham or the Engagement ceremony, the male members from the bride’s family visit the groom’s house with a silver platter containing betel leaves, betel nuts and flowers. An elder member from the family introduces the two families to each other and the date and the time of the forthcoming wedding is finalized. The two families exchange betel leaves and betel nuts to confirm the alliance with the elders as a witness to it. These days ‘Nischitartham’ has become a more elaborate affair with the bride and groom exchanging diamond engagement rings followed by a lavish party.

The modern day ceremony, Mehendi or the henna ceremony is performed in both houses separately. This traditionally simple ritual has now evolved into a full-fledge celebration with “mehendiwallis” or professional henna artists create intricate patterns on the hands and feet of the bride, by applying henna paste on them. The groom also gets “mehendi” on his palm, only as a symbolic dot.

“Mangalasnana” is a ritual bath held separately in both houses prior to the wedding day. The groom’s face, body and arms are smeared with turmeric and coconut milk by his cousins and close relatives. The barber is invited to give him a haircut and his sister’s husband or maternal cousin takes him for a bath. In the bride’s house her cousins apply the paste on her body and face. Her brother’s wife or an older lady from her family takes her for her bath after which she wears a new sari, gold jewelry and black bangles.

The groom does the shaving, pedicure and manicure and the bride pedicure and manicure with the help of a barber. The ‘Kajidaaye’/’balegaara’, the bangle seller puts bangles on the bride’s hands and the hands of other ladies present. The goldsmith slips ‘kalungura’/toe rings on to the groom’s and bride’s toes.

After a brief prayer in the ‘puja rooms the bride and the groom proceed to the “tulsi katta”(sacred tulsi plant) to participate in the ‘tulsi puja’ conducted by the ‘pujari/priest
In the ritual “Murthasaese”, held separately in both houses, the bride and the groom receive blessings from their families and friends in a decorated ‘pandal’ or canopy specially erected for this elaborate function. The bride’s aunt puts a silver toe-ring on the second toe of the bride’s leg and also a V-shaped finger ring called ‘vadungeela’ after which five ‘sumangalis’ (married female relatives) slipping red and green bangles in a sequence and a black one on her hand while the women invitees are given red and green bangles by the eldest “sumangali’, a lady whose husband is alive. All the ‘sumangalis’ together decorate her hair with Mangalore jasmine flowers (hair plait).
For the groom, in a simple function ‘Murtha’, his maternal uncle’s wife or his paternal aunt slips silver or gold ring onto his toes to be worn till the wedding.

“Muhurtham” or “Lagnam”—the wedding rituals:
Traditionally the elders in the Bunt community used to officiate all the wedding rituals. But these days ‘pujaris’/priests perform the needful. The groom’s sister’s husband or maternal uncle leads him to the wedding venue where the bride’s brother receives him by washing his feet. The bride’s aunt conducts the traditional “aarti” followed by her mother performing the ‘deepa aarti’ (‘aarti with a lighted lamp) for him.
Now the bride in all her fabulous bridal costumes and jewelry appears and is escorted to wedding ‘mantap’/platform by her brother’s wife, a cousin or an aunt. A similar type of welcome is accorded to her by the groom’s sister as well. The bride wears a very costly Kancheepuram silk sari decorated with heavy ‘zari work along with a matching tight-fitting blouse. She is adorned with a gold ‘mundale’, a pendant like jewel on her forehead, ‘mallige’(Mangalore jasmine studded) hair plait, gold necklace embedded with pearl and precious stones, a gold ‘vanki’ on her arm and ‘sontpatti’ a waist band, usually made of gold or silver.

The groom comes in a dhoti worn in the traditional way known as ‘kacche’ or ‘shetty-kacche’, a full-sleeved shirt, a headgear known as ‘peta’ or ‘mundasu’ and a shawl. He also wears rings, necklace and earrings with precious stones.

At the request of the’ pujari’, holding the hands of the couple the groom’s sister and her husband or a cousin lead them around the ‘diyas’/lamps and the ‘mantap’/platform. The couple enters the ‘mantap’ and after a ‘puja’/prayer the bride and the groom exchange garlands.

‘Dharemaipuna’/’hareyeruna” The wedding ritual begins with the bride’s parents holding a silver or brass vessel with spout known as ‘chembu’ filled with holy water. They take this vessel to the elders of the two families to get their blessings followed by the ritual ‘dhare’ in which a gold coin or ‘nanya’ is kept on the bride’s palm and the groom places his hands below it. Now the bride’s parents pour the holy water from the vessel on to their hands.

The groom ties the ‘Mangalsutra’, a gold chain with black beads around the bride’s neck and the bride, in turn, slips a plain gold ring on his finger. The bride and the groom, holding the ‘chembu’/vessel sit down and rise three times quickly. This ritual, known as ‘dhareyeruna’ is performed in some families without a priest.

’Homam’ or sacred fire sacrifice is now practiced by many Bunt families. The priest lights the holy fire and the couple go around it three times. Each time they go, the bride’s brother puts fistful of puffed rice into the hand of the couple which they offer into the fire. The bride and the groom take seven steps around the fire seven times holding their hands together. The bride tips over tiny heaps of rice with her right foot with every step and they repeat the seven marriage vows.

In the ritual ‘ponnu occhune’ or ‘ponnu oppisune’ the eldest woman from the bride’s family raises the right hand of the bride and keeps it on the hands of the eldest woman from the groom’s family and requests her to take of the bride as their own daughter. Then she tells the new bride to be a dutiful daughter-in-law of the new house.

The groom drinks part of a ‘bonda’, tender coconut water and asks his wife to drink the remaining which she refuses to drink the’ left over’ of her husband. At this the groom ties money or gold on her sari ‘pallu’ and she drinks the coconut water.

Now the bride proceeds to her new house along with her husband and someone from her family, usually a young girl. The elders in the house prepare the ‘kurdi neer’ to remove evil eyes on the couple. The bride enters into her in-laws’ house with her right foot first after offering prayers at the ‘Tulasi katte’/Tulsi plant. The newly weds are given milk or ‘bonda’/coconut water to drink.

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Maharashtra/Marathi Konganastha Brahmins are a Brahmin community of Kongan region, the coastal belt of western Maharashtra state in India. They are also known as Chitpavan Brahmin and sometimes affectionately referred to as Kobra, a short version for KO-nkanastha BRA-min. This community is now distributed far and wide even up to Australia, UK, USA and other Asian, African and European countries. Their weddings, as in any other Indian or Brahmin community, are conducted in a spectacular manner.

With the matching of the horoscopes of the boy and the girl and mutual consent from the two families, the “pujari”/priest fixes an auspicious date for the formal engagement to be held in the bride’s house. The groom’s parents bring a sari, jewelry and flowers for the bride and she leaves to wear those articles. The bride’s parents, on their part, give the groom dresses, a watch and other gifts. The bride now appears in all her finery and the couple exchanges rings.

“Vyahi Bhojan” is a ritual, conducted on an auspicious day before the wedding, in which the groom’s parents host a feast for the bride’s parents and other family members. A “puja”/prayer, known as “Grahamak” or “Nav Graha Shanti Puja” is held separately in both houses to invoke harmony among the nine planets.

“Bangdi Bharan”/the bangle ceremony is performed two days before the wedding in the bride’s house. The “Bangadiwalla or the bangle seller first slips green glass bangles on the bride’s wrist. He also slips gold bangles presented by the groom’s parents on to her wrists. The bride’s mother honors him by giving edible leaves, a coconut and a coin. He adorns the wrists of other ladies present at this occasion with green glass bangles.

Though mehendi/henna ceremony is not a traditional ritual it is followed by many families in Maharashtra with fun and gaiety. A professional mehendiwali/henna artist applies henna paste on the palms and feet of the bride giving beautiful intricate patterns on them.

“Kelvan” is a ritual wherein the bride is seated at a table decorated with “rangoli” patterns made using colored powder lentils. A silver “thaali or platter is placed in the midst of the table and she is fed with her favorite dishes specially prepared by her mother. It is supposed to be her last meal as a maiden in her parental house. “Seemanth Pujan” and “Vaang Nischayam” are held the day prior to the marriage to honor the groom by washing his feet in a silver platter. His mother’s feet are also washed and they are given gifts while the fathers of the bride and groom formally accept the wedding of their children.

In the ceremony “Ghana bharan” performed on the wedding day morning, the bride and her parents sit on a wooden plank while ‘sumangalis” (not widows) pound wheat with a wooden rod called “musal” followed by prayers to the deities to ensure a smooth going of the wedding rituals. To beautify the bride and groom, a mixture of haldi/turmeric and oil is applied on their hands, feet and faces separately in their houses, using mango leaves dipped in the paste. Then they bathe and dress up for the “Dev Devak Puja”/prayer to seek blessings from their family deities. Next the bride, at the venue of the wedding, performs a “puja”/prayer to Goddess Gauri/”Parvati”, the wife of Lord “Shiva” to bless her with a long-lasting prosperous married life.

The groom, now, prepares for the “Varaat”/wedding procession, wearing a silk dhoti, a long shirt/”kurta” and an “angavastram’/stole wrapped across his shoulders along with a Maharastrian cap/turban on his head. At the wedding venue, he and his relatives are given a traditional “Aarti” welcome. After that “rukavat”- Maharashtrian breakfast- is served to the groom and his close friends “lagna mahurat” (wedding ceremony) begins. The bride’s mother places some ghee in the palms of the groom to eat, after which he is given a decorated coconut and escorted to the wedding altar. Then the bride’s parents and other family members wash the feet of the groom, his parents and very close relatives. At this time, the bride makes a spectacular appearance and she and the groom are separated by a silk curtain while her mother remains in the shrine continuing the worship of the Goddess Gauri/Parvati. She is banned to see the “Varmala”, the couple exchanging garlands. The bride stands on a wooden plank, facing east while the priests chant “Mangal ashtaka, eight wedding verses. At the end of the Vedic chants, the priest pulls away the silk cloth separating the couple towards the north and the bride and the groom garlands each other. The friends and relatives drop rice mixed with “kumkum”/vermilion on them.

In the “kanyadaan” ritual, the bride’s father places the groom’s hand over his daughter’s right hand while the priest sprinkles water on the joined hands, symbolic of the changing over the responsibility of the bride. At the exact auspicious moment, the groom ties the “mangalsutra”, the gold necklace with black beads strung on it, around the bride’s neck.

Though Paithani type of sari in green color is the traditional wear of Marathi brides deep colors like red, decorated with zari works and embroidery, are very much preferred by them. She wears a matching blouse clinging to the body making her look ravishing. /She wears green glass bangles along with other sparkling gold ones, ‘Patlya’ (broad bangles), ‘Bangdya’ (simple bangles), and ‘Tode’ (finely carved thick bangles). Her toe-rings are made of silver while her earrings are seven-pearl studs known as ‘jhumka’. The gold ‘nath’/nose ring, worn on the left nostrils, is inlaid with pearls and beads. The chokers and short and long necklaces are a combination of pearls and red and white stones. Armlet is also a favorite piece.

In “Paani grahan” the groom places his palm on hers and vows to take care of her till the end. “Lajja Hom” is a ritual in which the bride’s brother gives two fistful of “lahaya”/puffed rice which she offers to the sacred fire with the help of her husband, signifying the groom telling his wife to merge completely with his family. The couple, then, steps around the holy fire seven times. Seven handfuls of rice are kept in the northern periphery of the altar and while the groom leads the bride to each pile, she touches it with her right toe.

While the priests chant the Vedic hymns, repeated by the groom, the couple is showered with colored rice. The couple touches the feet of all the elders who give them “ashirvad” or blessings for a long and happy married life.

The grand Maharashtrian wedding feast is served on banana leaves with delicious mouth-watering dishes. The newly weds go around, greet all the invitees, serve them sweets and finally take part in the feast.

Now arrives the time for the bride to leave her parental house. The groom, taking the deity of the Goddess Gauri worshipped by his wife from the shrine, escorts her to his house in a decorated car, accompanied by a few members from his family. The bridal couple is received at the doorstep by the groom’s mother and sister. The elder sister conducts a brief “Aarti” with a lighted oil lamp. The bride kicks a grain measure, filled with rice, symbolizing that she will bring prosperity to her new house and lastly she is fed with a bit of sugar as a good omen.

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Though Buddhism originated in India the pomp and gaiety usually found in Indian weddings are missing in Buddhist weddings. The weddings are very simple, devoid of any complex rites or rituals. The most welcome part about these weddings is that they are less inclined on religion, but more on faith. Even though the wedding is short, lacks colorful and interesting rituals, it will surely be a wonderful, memorable experience for the participant.

There are two parts in a typical Buddhist wedding, one is Buddhist component, offering prayers and gifts to the monks and the Buddha image and the other is non-Buddhist component, having traditional practices observed by the families of the couple.

In the Buddhist religion either the parents or the boy himself will select the prospective bride. After selecting a particular girl, a family friend is sent to the girl’s house with a bottle of whisky and a “Khada”, a white silk scarf, to offer. This type of visit called “Khachang” is to know whether the girl’s people show any inclination to the alliance. If they agree both the family members meet and compare “kikas”/horoscopes to set a good date for the formal engagement known as “Nangchang”. Tradition insists that the boy gives a gift to his would-be wife; the gift might be even as big as a land. The colors of the wedding costume of the bride and the groom is also decided by comparing the horoscopes, the preferred colors being red and gold.

In the ‘Nangchang’, presided over by a ‘Lama’ or “rimpoche”, the maternal uncles of both families play significant roles in the marriage negotiations. The bride’s maternal uncle is made to sit on an elevated platform and the priest recites prayers and distributes a holy drink, “madyan” to all present followed by fixing the wedding date after consultation with the astrologer. The uncle and siblings have important roles on the boy’s side while the whole family, friends and the uncle join the occasion on the girl’s side. A suitable day for the girl’s departure from her parent’s house is also decided at this moment.

The Buddhist wedding ceremony is usually conducted in a temple or Buddhist shrine. The bride is seen in a costume called “Bhaku”that is made of brocade and almost similar to a sarong, but it has full length. She wears along with it a sleeved blouse, “Hanju”, made of Chinese silk material called “Khichen”. The other bridal accessories are a special coat and a scarf. The bride wears some strange pieces of jewelry termed as “Khan” made of large precious and semi-precious stones like turquoise, coral, pearl etc. Traditional family brides wear this jewelry around their neck and also on the forehead. Heavy gold bracelets adorn her arms. The jewelry is mostly of pure gold or gold plated. The groom’s attire also consists of a beautiful ‘Bhaku’ made of brocade, the length of which just reaches above the ankles. The “Bhaku” is worn with a waistcoat, “Lajha”. He wears a cap made of brocade and a sash around the waist.

The bride and groom begin the wedding ceremony by bowing in front of the Buddha image, followed by the couple reciting some prayers and chants, the “Tisarana”, “Pancasila” and the “Vandhana” in “Pali”, the Buddhist language. The bride and groom are then, asked to light incense sticks and candles and offer flowers to the image of the Buddha and around it. Now they are told to recite one after the other the vows that are prescribed for each separately in the “Sigilovdd Sutta” (Digha Nikilya). After this the parents or the assembly recite the “Mangala Sutta” and “Jayamangala Gadha”, their blessings for the newly weds.

The parents of the bride and groom connect them by placing a loop of strings on the couple’s heads. The newly weds offer flowers, food, sweets, medicines etc to the monks. Sometimes, as a token, certain amount of money is also given to the shrine. The priest keeps a thread on the heads of the monks and recites prayers in ‘Pali” to bless the newly wedded couple with an everlasting happy and healthy married life. The string is attached to a container that will be purified after the wedding. A red paste is also applied to the couple’s foreheads.

As for the bride’s departed ceremony it is often seen the couple opting to stay in the bride’s house or she can leave her parent’s house for her husband’s place any day within the ten days after the wedding or they could even stay separately away from their families.

Buddhist weddings are not very formal, but their form has undergone a lot of changes. Initially monks never used to attend the weddings, but in recent weddings the monks play a significant and profound role. All the wedding rituals will be over within half an hour. Even though the wedding process is simple and short the invitees have loads of enjoyment during the wedding ceremony. After the wedding ceremony the couple and the guests proceed to the reception.

Some unique customs mark the Buddhist weddings. When the boy’s people arrive at the girl’s house they are given a strange welcome. It is their custom that a pot of water, flowers, bamboo sticks are arranged in a typical manner and the entrance is decorated with leaves for good luck. The girl’s sisters give a prickly welcome to the boy and his friends by throwing nettle leaves, thorns etc on them. The groom denies entry into the hall till he gives them suitable presents or money.

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Parsi community migrated to India about 1000 years back and settled down in Mumbai, the commercial capital. Now they are facing the threat of extinction. Parsi “Lagan” or wedding is filled with certain vibrant and interesting rituals and customs that extend for a couple of days. One can enjoy the rich Parsi culture from the time of engagement till the elaborate post-wedding reception in the form of excellent music, drinks and dinner. In a Parsi wedding various colorful and fun-filled pre-wedding rituals could be seen.

In the ritual “Rupia Peravanu”, an informal engagement, both the families confirm the acceptance of the marriage alliance. Women from the groom’s side make a visit to the bride’s house with silver coins for the bride as gift. The groom’s people are welcomed by the bride’s mother at the doorstep and she conducts the “Achoo meecho” to ward off the evil eye. Another day the bride’s family make a return visit to the groom’s house with more coins and the same ritual takes place again.

Another interesting ceremony, “Madhavsaro” is conducted four days prior to the wedding when the two families each plant a small tree, usually a mango plant, supposed to be a symbol of fertility, in a pot with chanting of prayers by priests. These pots are kept at the entrance of their houses. The soil in the pots is mixed with three types of metal chips such as gold, silver etc, “paan’’/betel leaf, ‘supari’/betel nut, turmeric and dry dates. Every morning the plant is watered and on the eighth day after the wedding it is transplanted somewhere else.

Another ritual known as “Adarni” is held on the third day before the wedding. In this ritual the groom’s people come to the bride’s house with gifts like clothes and jewelry for her. This custom is repeated in the groom’s house as well.

“Supra nu Murat”, a ritual almost similar to the Hindu Haldi ceremony and performed a day prior to the wedding, has four married women each given a ‘supra’ containing auspicious things like betel leaf, betel nut, turmeric, dates and a piece of coconut. Traditional songs are sung and the women exchange the ‘supras’ seven times cross-wise, length-wise and breadth-wise with a fifth lady sitting in the centre carrying “Khalbatto” and dry turmeric. When the passing of the ‘supras’ is over all the five jointly beat the turmeric in the pestle adding some milk. Then the women apply this paste to the bride and groom and shower blessing on them.

Before the wedding ceremony, “nahan” ritual is done for purifying the body and soul of the bride and groom. By giving a symbolic bath the family “dastur” purifies the couple. Tradition insists that the bride and groom, after the ‘nahan’ ritual, are not allowed to touch any one outside the family or caste. The bride puts on her wedding costume “Madhavate”, a costly, embellished white sari and a white tight-fitting blouse given by her parents. Her wrists carry glass, gold or jeweled bangles, especially red glass ones. She wears only very few ornaments like gold necklace, hanging earrings etc. The groom’s costume consists of the traditional Parsi “dagli’ and “feta”, a white garment similar to a ‘kurta’, a black cap and holds a shawl in his hand.

Parsi weddings are usually held at a “baug”/park or at an “Agiary”/The Fire Temple, the auspicious time usually being at 6.40pm. Every staircase and doorway is decorated with chalk or ‘rangoli’ patterns and very large colorful designs are seen even at the entrance of the wedding avenue or ‘baug’/park.

A ritual called “Achu meechu’ is performed before the couple steps on the wedding altar. The bride’s mother begins the ritual with her future son-in-law. She carries a tray containing a raw egg, betel nut, rice, coconut, dates and water. She makes seven circles with the coconut around the groom’s head and breaks it on the floor at his right side. She repeats it with the raw egg and sprinkles water on both sides. Next the groom’s mother conducts the same ritual for her future daughter-in-law.

During the ceremony “Ara Antar” the couple is seated on chairs facing each other, with a cloth held between them; so that they cannot see each other. The senior priest places the bride’s right hand into the groom’s right hand and passes a piece of cloth that encloses the couple’s chairs in a circle. He then ties the ends of the cloth with a knot, known as the ‘wedding knot’ The priest, then, fastens the couple’s right hands with a ‘raw twist’ that he passes around the hands seven times after which he passes the same raw twist around the bride and groom seven times and finally circles around the wedding knot of the cloth seven times. When this ritual ends the servant carrying the fire-vase puts the frankincense on the fire and immediately the cloth held between the couple is dropped down and the couple throws grains of rice kept in their left hands on each other. They believe that the one, who throws first, will be the foremost in loving and respecting the other.

For another ceremony, “Chero Bandhvanu”, the couple sits side by side with the seven strands of thread still circling them and the invitees too sit near to them. “Diyas”/lighted lamps are kept on tables on both sides. The two officiating priests give an hour-long admonitions, benedictions and prayers. The admonitions are followed by benedictions that invoke the “Yazatas”/angels for favors. The prayers are made to invoke the departed souls to bless the couple with some of the great qualities the dead had possessed. Another set of benedictions, “Tandarusti”, is meant to invoke the blessings of God to grant the newly weds good health, strength and a healthy progeny.

Various fun-filled ceremonies follow on completion of the wedding. The sister of the bride extracts money from the groom by playing some tricks on him. In the end the couple goes to the Fire Temple for blessings.

Parsi weddings are famous for their post-wedding receptions in which food, drinks and music flow lavishly throughout the night. The traditional dinner is an elaborate four-course meal comprising delicious food items. All the wedding ceremonies come to an end when the newly weds are escorted home by the bride’s family and ritual ‘achu meechu’ is repeated by the groom’s mother for the couple in togetherness.

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For Assamese, the people of Assam a North Eastern State in India, wedding is a social occasion and do not try to consider it as a grand gala event. Simplicity and clinging to the age old practices are the essential features of an Assam wedding. Assamese strictly follow the traditions maintained by their ancestors in their weddings and see that all the rituals are fulfilled properly.

The simplicity and elegance of the Assamese weddings make them much more attractive. As in any other Indian Hindu wedding Assam wedding is also classified into three sections, pre, post and wedding ceremonies. The Assamese have elaborate pre-wedding traditions. When a suitable alliance is found the horoscopes of the girl and the boy are exchanged between the two families. They, with the help of the astrologers, fix an auspicious date for the wedding.

In the pre-wedding ritual, “Juran”, as a mark of engagement a new ring is put on the bride’s finger. Assamese custom insists that the bride and the groom should take “Nowani”, ceremonial baths till the wedding day. During the ritual “Pani Tola” women draw water from the river or tank and while they walk in a procession they sing traditional wedding songs.

Assamese wedding ceremony is very simple, but is chic in a way. Assamese hold their wedding reception party before the wedding ceremony. Fish and meat are the prominent delicacies served in the feast. On the wedding day morning both the bride’s and the groom’s mothers go to a nearby river and collect holy water which is used afterwards for the ceremonial baths of the bride and groom in their respective houses.

When the groom’s wedding procession arrives, it is denied entry into the bride’s house until a large sum of money is handed over to the bride’s party. Then the bride’s mother gives a warm welcome to her future son-in-law and the bride’s younger sister washes his feet. The bride’s brother lifts and carries the groom to the wedding altar. The bridegroom is dressed up in the traditional ‘dhoti’ and ‘kurta’ with silk shawl draped across his shoulder.

Meanwhile the bride is given a mixture of curd, ghee, sugar, raw milk and honey known as “Panch-Amrit” to eat. She makes her entry into the altar on the shoulders of her maternal uncles. The bridal costume of an Assamese bride is either the traditional “Mekhla-Chadar or an expensive beautiful sari. ‘Mekhla’ is a lower flowing skirt and ‘chadar’ is the upper wrap. She also wears an upper blouse-like wrap called “Riha” that clings to the body making her more enchanting. The material used for the bridal outfits is “Muga silk” that has a natural golden color and becomes brighter after each wash. Bridal wears ate adorned with gold and silver threads to give her a marvelous getup on this special occasion. The golden jewelry that adorns an Assamese bride has some distinct features. The earrings, ‘Khopo Phod” looks like an orchid, yet another popular one “Lokaporo” has two gold or ruby bird figures joined together back to back. “Jethi poti” is a fabulous necklace having a wide band of cloth, bestowed with a row of small medallions and a beautiful locket at the centre. The large-sized silver bangle/bracelet coated with gold is known as “Gaam Kharu”.

All the wedding rituals are performed in front of the sacred fire. In the midst of chanting of Vedic mantras the bride and groom exchange their flower garlands and take certain vows. People blow conch shells to mark the occasion. The groom decorates his wife’s forehead with “Kumkum”/vermilion. Then one by one the friends and relatives bless the newly weds.

In the post wedding ceremony the couple leaves for the groom’s house where they are extended a warm reception and the groom’s mother performs the traditional “Aarti” to drive away the evil spirits.

Assamese tradition follows a custom in which the people offer prayers to two imaginary demons named “Khoba and “Khubuni” to bless the couple with a peaceful long lasting married life.

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The Indo-Aryan language speaking Sindhis are a socio-ethnic group of people originated in Sindh of Pakistan. When British India was divided in 1947 many Sindhi Hindus immigrated to India. Sindhi festivals are many, they celebrate them in the most spectacular manner and their weddings are full of interesting and enjoyable events since they have various colorful rituals and customs. These weddings are based on purely Vedic rites and are conducted on an auspicious day as the “Satyanarayan Chandsi’ or the New moon day. On mutual agreement between the two families, an auspicious date is fixed for the wedding after verifying the horoscopes of the girl and boy. In case they fail to get a suitable date they opt for a “Gudhuro” wedding that is conducted any time after the sunset.

Pre-wedding ritual, “Kachchi Misri”/”Kachcha Shagun” has the bride’s family sending five kilograms of “mithai”/sweets, a basketful of fruits, five coconuts and “Kada Prasad” made from wheat along with some cash to the groom’s house.

The formal engagement “Pakki Mishri,” performed seven days before the wedding, involves the exchange of gold rings between the girl and boy. Bride’s parents send two baskets of fresh and dry fruits, one kilogram of “Mishri”/sugar candy, eleven coconuts, ten kilograms of sweets, ten kilograms of sugar and some cash to the groom’s family. The groom’s clothes and accessories are also sent along with those items. In the ritual “Dev Bithana”, celebrated a few days before the wedding in the houses of the bride and the groom separately, a priest installs a “Chakki” or grinding stone as a totemic deity.

Wedding arrangements begin in the groom’s house with the ritual “Lada”. Traditional wedding songs are sung with the beating of “dholaks”/small drums or plain “thali/plate”. Ten days before the wedding “Berana “ceremony a “Satsang” is performed.

“Tih is a ritual in which the bride’s priest carries a paper containing the “lagan”, auspicious time for the wedding along with a bagful of rice, spices like cardamom, cloves etc, “mishri”/sugar candy and green color silk yarn. “Saanth” ceremony, conducted separately in the houses of the bride and the groom, has married women applying oil on the heads of them. The beginning of a new life is indicated by throwing away the old clothes worn by the bride and groom into the river or the sea. Mehendy ceremony is performed the day prior to the wedding and the henna artist creates beautiful intricate designs on the palms and feet of the bride and the palms of the female relatives and friends by applying henna on them. Sangeet/music ceremony is a time to enjoy with women dancing to the popular hits. “Ghari Puja” is a ritual performed at the houses of the bride and groom for the blessings of their family deities.

The tradition “Saagri” takes place in the evening when the groom’s married sisters and cousins visit the bride’s house. The bride wears a silk sari with their help and they adorn her with jewelry made of mogra flowers. The bride is showered with flowers.

In the important ritual “Janya” the groom wears a yellow thread and the priest, known as “Mehraj” whispers mantras in his ears, a day or two prior to the wedding,

In the “Baraat”/wedding procession the groom, wearing a “Sehra”/turban sits on a decorated mare with the accompaniment of friends and relatives. A music band plays popular songs and people dance to the tunes all the way along the procession. At the entrance of the wedding venue the ‘baraat’ is given a warm welcome by the bride’s family with gifts and ‘sindoor’/vermilion. The groom is escorted to the wedding altar where he and the bride are seated opposite each other, a screen separating them. The groom’s feet are placed on a bronze plate and are washed with fresh milk. Then the priest measures the feet of the bride and groom using a thread hold by the bride. Now the screen is removed and the couple exchanges garlands.

The Sindhi bride looks radiant in her traditional costume, a sari or a lehenga. The red or any other dazzling color wedding costume is very expensive with heavy embroidery, zari works. A matching blouse clings to her body, making her more attractive. She wears matching jewelry that highlights her bridal outfit. A piece of jewelry, known as “mangaltika”, adorns her forehead at the hair parting. She wears gold necklaces/chokers and a lot of bangles, both studded with precious stones or gems. Her gold earrings are either “Jhumka” or any dangling variety, decorated with nine diamonds known as ‘Navaratan”.

The bridegroom’s costume consists of a full-sleeved “kurta”, preferably white or off-white, tight “churidar” and a turban, while in the “baraat”/wedding procession.

In an interesting ritual the right hand palms of both the bride and groom are tied with a thread and the bride’s sari and the groom’s scarf are also tied together. Now the bride and groom make four ‘pheras’/circles around the sacred fire after which the groom keeps the bride’s hand on his forehead. The heads of the couple are held together indicating that hereafter they are one in body, mind and spirit. In “Kanyadaan” the bride’s parents give away their dear daughter to the groom’s parents.

In the post wedding ritual, “Datar”, the bride leaves her parents and arrives at her new house. There she spills milk all around the house. She places some salt on her husband’s hands and he gives it back to her. This action is repeated three times, a reminder for the bride to be as blending and flexible as the salt to the new family members. The ritual “Chhanar” involves the removal of the ‘chakki’/grinding stone, installed as the totemic deity. All the wedding rituals come to an end with the revisit of the newly weds to the bride’s house, the ritual known as “Sataurah”.

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