Indian Wedding

Gaddi tribes normally live in the districts Mandi, Kangra and Bilaspur, though most of them are seen in the Kangra district in the Himachal Pradesh, a north-eastern state of India. Strictly speaking they are not nomadic tribes as they reside in villages although they move to the higher pastures during summer with their sheep.

Though in this present era the weddings among Indian tribes have attained a modern look the traditional customs continue to prevail in their wedding rituals. The tribal folks in the Kangra valley follow certain unique practices while conducting the weddings. They give so much importance to the weddings that if one does not get married, according to them, he or she will be destined to die a devil’s death.
For engagement, the boy’s parents or guardian send their ‘purohit’ or priest to negotiate for a girl about whom they got information and he comes back with her parents’ reply. In the case of a favorable reply the boy’s parents send two or more respectable men to the girl’s house to complete the mission. If it is clinched two from the boy’s side along with the priest go to perform the engagement ceremony. An auspicious wedding date, acceptable to both sides is fixed by the priest.

In the scenic luxuriant hills of the Kangra valley, for the tribal Gaddis the wedding ritual is a colorful, joyous affair. These rituals last for three days, but the real ceremony begins only on the second day, Rituals are performed by women on this day. It all starts with the groom asking his mother’s permission to lead his own life independently. This ritual has to be done with a pleading bowl- pleading her permission to go ahead with the wedding, The mother, with a pre-rehearsed dialogue, gives him the best food and sends him away, an indication of granting his wish.

On the first day of the wedding celebrations, the women belonging to the Gaddi community sing various conventional or traditional songs to invoke the gods and also the sun, moon and the earth. After the elaborate singing and festivities the wedding feast is served, the menu usually includes food items, such as ‘babroo’, ‘lahoda’(fried blood cutlets), fried mutton, vegetables and tea, ‘sur’ or alcohol to drink. As a custom, mutton is not cooked in the bride’s house. The breakfast should include a delicious sweetmeat like ‘halwa’.

A Gaddi wedding, with the fascinating rituals observed in the wedding between Lord Shiva and Goddess Parvathi, is a re-enactment of that Godly event. The ‘purohit’ or priest begins the wedding ceremony with ‘Samhut’, the worship of all Gods- Brahma, Vishnu, Navagraha (the nine planets), the ‘kuldevta’ (the family deity), ‘Kumbha’ (a pot) and ‘dia’ (a tiny lamp). The groom takes a ceremonial bath in the patio, after which he is asked to thrust an earthen plate containing burning charcoal and mustards to drive away all the evil eyes or spirits. The groom is asked to make certain false selections too. The priest wants to make a choice between a married or worldly life (‘jatera’) or an ascetic life, ‘matera’. He symbolically accepts the first choice by rejecting the robes of a ‘sanyasi’ (ascetic). Again he has a ceremonial bath at ‘Badrinatayan’, ‘Triloknath’ and ‘Manimahesh’ by taking water from a vessel placed at the doorway and washing his hands, feet and face. Then the priest and the ‘nai’ (barber) help him to wear the wedding dress that consists of a yellow dhoti and with ash smeared on his forehead and a set of bow and arrow in his hand he appears like Lord Shiva.
Traditionally a palki was arranged to take the groom to the wedding spot, a far cry from the modern cars. At an auspicious time he is led to the ‘toran’, a ceremonial gate, specially constructed for this occasion, where the priest and the bride’s parents give a warm welcome to the groom. But the actual wedding ceremony is held in a ‘bedi’-a mandap-like structure decorated with geometrical figures that are made out of rice flour, turmeric and vermilion. In this ‘bedi’ a series of rituals is performed at the end of which the couple becomes husband and wife.

For the tribes of the luxuriant hills of the Kangra valley, a wedding is a colorful affair, as colorful as the bridal attire. The bright-colored bridal costumes are in sharp contrast to the greenery of the surroundings. Traditional wear of a Gaddi bride includes splendid colorful dresses spun at home, a thick scarf over her head and a black slash on the black. The bride is seen adorned with heavy jewelry, such as big nose-rings, heavy ‘chanderhars’, ‘jo-malas’ and ‘kapir-ki-malas’- types of necklaces. She has her hair decorated with a central ‘chiri’ and one smaller piece of jewelry is worn behind each ear. She also wears a silver ‘chaunk’, an important headgear while both of her hands carry a large variety of bangles. Silver is used to make most of the jewelry whereas the use of gold is very less. The ornaments are studded with semi-precious stones and little mirrors make the necklaces more attractive. Gaddi women are fond of wearing colorful costumes and heavy jewelry and wedding is the ideal opportunity to showcase them.

These modern days witness changes in the types of weddings that take place in the Gaddi community. Dan-pun or ‘dharampun’ is the most authentic change in which the parents go for arranging the wedding of their children without any pre-condition. But the ritual largely followed by the tribes is ‘bata-sata’ or a marriage by exchange wherein a boy marries a girl in exchange for a girl married to his wife’s brother. Another form of wedding that is not practiced recent times is ‘Ghar jawaharti’ or ‘kamash’, an unusual practice, which has a poor boy serving his in-laws for a fixed period of time almost like an unpaid servant.

Gaddi weddings are filled with festivities and fanfare. There is an unusual practice in this hard working, sincere and bold community in the form of the groom’s grand father who comes to the gathering in an intoxicated state and participates in the wedding celebrations when the sacred fire or havan had died down.
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The most important factor in the weddings among the Vaishnava Brahmin community belonging to the Andhra Pradesh, a south Indian state, is the matching of horoscopes of the boy and the girl, although the family background and the tradition are also considered. For them it is essential that the ‘gothrams’ (ancestral lineage) of the two families are different. In their weddings it is important that the seven ‘rishis’ or sages too must have different names. These ‘rishis’ were the celestial beings from whom the human race is supposed to have originated.

Once the horoscopes of a boy and girl are compared and matched an auspicious date is fixed for the engagement ceremony that starts with a ‘Ganapathi Puja. In the presence of elders from both families the parents exchange ‘Thamboolams’/platters containing betel leaves, betel nuts, fruits, flowers, vermilion and ‘pasupu’(turmeric) along with the marriage document known as ‘lagna patrika’ which the ‘pujari’/priest reads aloud to the elders , the acceptance of the alliance between the two families. The time, date and venue for the wedding are also fixed at this time.

In the ritual ‘Kalyana rata’, the first pole, decorated with turmeric powder, mango leaves and ‘rangoli’ designs, of the wedding ‘pandal’/canopy erected for the wedding rites, is fixed firmly into the ground amidst the chanting of Vedic mantras by the priest.

‘Nalugu’, purely a ladies function held one or two days prior to the wedding has the bride and the groom in their respective houses anointed with oil by the elders and after an oil bath they wear silk outfits and a mark, ‘Kalyana thilakan’ is made on the forehead with vermilion. The bride and the groom remain in their homes till the completion of the wedding ceremonies. In the same evening the ‘sumangalis’(not widows) pound turmeric and the bride distributes ‘thamboolams’ containing bangles, vermilion, flowers and fruits to the ladies who, in turn, bless her for a long happy married life.
Now onwards a wind instrument, ’nadeswaram’, similar to the clarinet, but bigger, is played for all auspicious ceremonies accompanied by a ‘melam’ or drum.

Then a small ‘puja’/prayer is held with the bride in silk outfits. Nine types of grains, ‘Navadhanyams’, are sprinkled on nine white-painted, soil-filled earthen plates and kept for sixteen days to germinate. After the wedding, on the sixteenth day, the ‘mangalsuthrams’, 108 strands of sacred thread dipped in turmeric and twisted, are strung together. This ritual is followed by the immersion of the germinated grains in a flowing stream.

All wedding rituals start with ‘Snathakam’ in which the groom, after an oil bath, ‘mangala snanam’ conducts a ‘puja’/prayer before ‘agnihotram’, the sacred fire, dressed in a ‘pancha’/dhoti and an upper cloth called ‘angavastram’. Then he makes a mock pilgrimage known as ‘Kashi yatra’ renouncing all worldly pleasures. He is stopped by the bride’s brother who pleads with him to abandon his plan, instead lead a family life with his sister. After much cajoling the groom agrees to get married.

At this time the bride performs ‘Gowri puja for the blessings of Goddess Gowri Devi. The bride’s maternal uncles lift her and carry her to the ‘kalyana mandapam’ where she is seated opposite the groom and a screen is held between them to prevent to see each other till the auspicious time (‘shubhamuhurtham’) for the wedding ceremonies.

The bride is draped in an attractive costly silk sari, auspicious color being red, but other bright colors are also preferred and it is lavishly embellished with fine embroidery zari works. The upper part of the body is covered with a jacket known as blouse or choli that highlights the sari. Her hair is adorned with a special type of flowers. The gold bridal jewelry is decorated with unique Hyderabadi pearls. She wears dazzling earrings, necklaces and a lot of bangles, anklets and toe-rings. The groom is seen in a dhoti worn in the traditional style.

In the ritual ‘kanyadanam, the couple performs a ‘Ganapathi puja’ and the bride’s mother pours water for the father to wash the groom’s feet. The bride takes a coconut in her palms and her father takes her hands and places them in the groom’s hands while water is poured over them. The officiating priest asks the couple to tie a ‘kankanam’, the sacred thread on each other’s right wrist.

The bride’s parents give the ‘madhuparkams’ to the bride and groom to wear. These white handloom clothes with red or green border are soaked in turmeric water to give them a yellow color. They are given a pair of camphor garlands to wear along with the ‘madhuparkams’ and they walk towards the wedding hall.

At an auspicious time, the groom places the ‘jeera karra+bellam’, a mixture of cumin seeds and jaggery crushed together and kept on a betel leaf’, on the bride’s head and then places it on his head.

Before the ‘mangalyadharanam’, tying of the sacred yellow thread, elderly women remove the screen between the couple and instead hold a yoke through which the ‘mangalsutras’ are passed. The bride is asked to sit on the groom’s left side and the priest ties the sacred yellow thread around their necks. A few drops of milk are sprinkled on the ‘mangalsutras’ to purify them. The groom ties the ‘mangalyam’ or the ‘mangalsutra around the bride’s neck with two knots while the groom’s sister ties the third one. Again the groom ties a ‘dharba’ girdle, a sacred thread made of dry grass and blessed by the priest, around the bride’s waist; so that the bride will not become a widow. The main wedding ceremony comes to an end by the groom’s sister performing an ‘aarthi’.

‘Thalambralu’ is a beautiful and interesting ceremony in the Andhra weddings. The couple pours rice, the staple food, in abundance over each other’s head in a joyous manner, indicating prosperity and abundance.

The bride’s sari ‘pallu’ and the groom’s upper cloth are tied together, followed by a small homam or prayer performed by the newly weds. The groom repeats the mantras chanted by the priest while he leads the bride to take seven steps, Saptapathy.
The traditional wedding feast is served on a banana leaf along with a large variety of delicacies to the enjoyment of the guests.
In the ritual ‘laja Homam’, the bride’s brother places puffed rice or ‘laja’ in her palms and she offers it to the sacred fire. Three different mantras are chanted while the offerings are made three times, The couple is then shown the celestial star, Arundhati to encourage the bride to lead a virtuous life like the Goddess ‘Arundhati’, a name for chastity.
To mark the fulfillment of all wedding rituals, the ‘dharba girdle is removed from the couple.
‘Nagavalli’ consists of the ceremonies dealing with the induction of the bride into her household duties and the display of the gifts given to her. The groom ties a string of black beads, specially threaded by unmarried girls, around his wife’s neck. Then holding her right foot and chanting a mantra, the groom keeps it on a granite grinding stone, ‘sannu kallu’. He slips silver toe rings/’matti’ on to each of the bride’s second toe. In the midst of this ceremony, the groom’s people give her presents like jewelry, saris and sweets and these are viewed by all assembled there.
In the emotional and tearful bridal send off, ‘appagintalu/vadigantu biyyam’ to the groom’s house, her mother places some rice, a tiny sandalwood doll, a small silver bowl, the root of yam and ‘chalmidi’, a sweetmeat, in the upper cloth of the ‘madhuparkam’ that is tied around
When the couple arrives at the groom’s house his mother receives them by giving milk and fruit. The bride is asked to light the ‘Venkateswara deepam’, a lamp of rice and jaggery and filled with ghee, in the prayer room and also to boil milk on the stove. The couple has to observe ‘Satyanarayana Vritham’, a fasting in front of Lord Satyanarayana till the end of the ‘puja’/prayer.

According to the custom, the couple spends three nights in the brides house after which the bride is escorted to the groom’s house with a bridal trousseau containing a lot of gifts including clothes, sweets, savories, turmeric powder and ‘kumkum’/vermilion.

Tamilnadu, a south Indian state in India, consists of several communities of which Mudaliar is an advanced, educated and socially well-aware community. Even then their weddings are conducted in traditional and religious manner with a priest officiating the wedding rituals.

In the Tamil Mudaliar community, the alliance is confirmed through a memorandum wherein the fathers of the boy and the girl sign the contract. In this engagement ceremony the groom’s family give gifts such as a sari, some jewelry and 21 platters of fruits and dried fruits and the date of the wedding is also fixed.

All the wedding rituals begin with a ‘Ganesha puja. ‘Pandakal’ is a ceremony in which nine ‘sumangalis’, married women smear an odd number of eyes with ‘haldi’/turmeric’ and ‘kumkum/vermilion on a bamboo pillar that is erected for a four-legged ‘pandal’/shed.

In the beautification of the bride ceremony, known as ‘Nalangu’, the bride sits on a wooden plank on the dais. Under this plank a banana leaf is placed with a handful of uncooked rice spread on it. Three stools, one with ‘kumkum’/vermilion, sandalwood paste and rose water, the second one with betel leaves, betel nuts and flowers and the third with a plate containing ‘aarthi’(a red water due to the presence of lime and turmeric) are placed in front of the bride.

Sumangalis(married women, not widows), one by one, apply sandalwood paste on the bride’s hands, put vermilion on her forehead and sprinkle rose water on her. The beautification ceremony is completed with performing an ‘aarti’.

The bride’s brother or uncle goes to the groom’s house with gifts for him and invites him to marry the bride. After performing ‘Nalangu’ for the groom, he is taken to the wedding venue in a beautifully decorated car. The ladies from the bride’s family receive him by performing an ‘aarti’ on him. The bride is also brought to the venue and a ‘Nalangu’ is performed for her too.

On the wedding morning, the ‘pandal’/shed is erected with the help of the four legs or pillars and decorated with banana tree stalks on the four corners, tender coconuts, mango leaves and flowers.

‘Arsan Kal’ is a ritual in which a bamboo stick is erected in front of the wedding altar. ‘Arsan’ in Tamil language means ruler or king and ‘Kal’ means standard. Years back the king was invited to the wedding that set a high standard for such ceremonies. This custom is represented by five ‘sumangalis’, married women, erecting another bamboo stick and conducting the honors such as bathing the bamboo stick with milk, sandalwood paste and vermilion and also tying a silk scarf on it and lastly performing an ‘aarti’ for it.

The groom washes his parents’ feet known as ‘padapuja’ and they bless him after which a ‘Ganesha puja’ is held and in the ‘upanayanam’ a sacred white thread is put around the groom’s chest. When the groom makes a mock attempt to leave on a pilgrimage to become an ascetic, the bride’s brother stops him by washing his feet and requesting to accept his sister in marriage.

Now, it is the turn of the bride to offer a ‘puja’/prayer to Mahalaxmi, the Goddess of wealth and then she performs ‘Padapuja’ /washing of feet for her parents to bless her. The groom’s people appear with wedding dresses for the bride and groom and also the garlands and wearing these wedding clothes the bride and groom walk towards the ‘pandal’/shed.

The bride looks fascinating in a gorgeous Kanjeepuram silk sari, usually red in color, but all the bright colors are very popular. The sari has a thick ‘zari’ border and the body is embellished with beautiful golden embroidery work. She wears a matching tight-fitting blouse that makes her more attractive. A Mudaliar bride, like all other south Indian brides, is adorned with heavy gold jewelry, gifted by her and groom’s parents. She wears a piece of gold jewelry known as ‘Netti chutti’ along the parting of her hair and dazzling earrings. The long and short necklaces around her neck are beautifully inlaid with semi-precious stones or pearls. She wears numerous gold bangles on her both wrists and the anklets and toe rings are made of silver. The groom’s outfit consists of a white or off-white dhoti and a shirt.

‘Manai Pongal’ is a ritual in which the groom’s parents cook rice in a clay pot while the couple gets dressed. When they appear in their wedding costume the eldest ‘sumangali’, the married woman, welcomes them with garlands and offering prayers to all deities they enter the ‘pandal’. The officiating priest lights the sacred fire or ‘omam’ as the main witness to the marriage and ties a sacred yellow thread or ‘Kanganam’ around the wrists of the couple.

In the ritual ‘Kannikadanam’, the bride keeps a coconut in her palms and her parents, taking her hands, place them in the groom’s hands, symbolically handing over the responsibility to her husband.

The ‘Mangalyam’ or the ‘mangalasutra’ is a gold pendant in the shape of a tiger tooth. The belief is that, several years back, the groom, after killing a tiger, took a tooth out and tied it around his bride’s neck, thus showing his valor. This pendant is strung on strings of thread strung 108 times and dipped in ‘haldi’/turmeric paste. At the auspicious moment the groom ties the ‘mangalyam’ thread around the bride’s neck with three knots while the wind instrument ‘nadaswaram’ playing in the background. Haldi/turmeric paste is kept on the knot and the groom seals it by pressing his ring on it. The friends and relatives, assembled, bless the couple by showering ‘akshatha’ (rice dipped in turmeric) and flowers on them. Now the couple exchanges garlands three times.

Yet in another ritual the mothers, sisters or aunts tie a piece of gold on the groom’s forehead to demonstrate his authority and relationship. This ritual is repeated for the bride too.

The bride and groom pay homage to the sacred fire-‘Omam’- by circling it three times and the bride’s brother places puffed rice on their hands which they offer into the holy fire together. The officiating priest shows them the star ‘Arundhati’ in the sky and asks them to be as faithful to each other as the mythological goddess ‘Arundhati’, very famous for her chastity.

The ritual ‘sesha’ has a white bed sheet opened and spread in front of the couple in the ‘pandal’ and uncooked rice is kept on it while elderly family members bless them by taking handfuls of rice and dropping them in front of them.

To pay homage, the couple walks around the “Arasanikkal’ and the ‘pandal’ three times while unmarried girls from the bride’s family follow them. When they come back to the wedding ‘pandal’ the ‘kanganam’ tied around their wrists is removed. The bride and the groom then change into a white sari and white dhoti respectively and sprinkle ‘haldi’ water on each other, this primarily meant for ‘breaking the ice’.

Though the Saraswat Hindu Brahmin community is spread in several Indian states the one settled down in the coastal regions of the south Karnataka and north Kerala is small in number, well-educated and highly evolved. For an arranged wedding alliance, horoscopes play a prime role. Marriage between families of the same ‘gotra’/ancestral lineage is banned among them. Though they belong to a highly evolved community with a high level of social awareness, their wedding ceremonies are traditional, religious and somber.

‘Nandi’, though simple, but an important ceremony, performed ten days prior to the actual wedding, is a ,puja’ held separately in both houses, the purpose being to negate any ill-effects caused by any death in the family and for the smooth conduct of the wedding ceremonies. A ‘Kalesha’/silver pot with a coconut is kept on a small heap of rice and is placed in the ‘puja’ room before the deity till the end of all wedding rituals

The ‘Nischithambul’ or the engagement ceremony held on an auspicious date fixed by the Brahmin ‘pujari/priest is to announce the acceptance to the alliance by both the families. After a brief ‘puja’ the parents of the girl and boy exchange silver platters containing ‘Palathalambul’ such as coconuts, bananas, various other fruits and sweets. The groom’s parents gift the bride with a costly silk sari and gold jewelry and the bride’s parents, in turn, present the groom with gold chain or watch and clothes.

A traditional event, ‘Yedhur Kansani’, practiced by women from both families, is to get acquainted with each other. They carry, on silver platters, betel leaves folded in a specific manner, rice, coconuts, flowers, ‘sindoor’/vermilion, haldi/turmeric and rose water in a ‘gulab dani’, a long-necked silver jar, the most important item being a ‘kalesh kanadi’, a silver platter with a small heap of rice/ On this is placed a silver pot with a coconut decorated with mango leaves on top. A small mirror and a gold chain are also kept on top of it.

At the entrance of the wedding venue, the women from each family stand about 50ft apart facing each other. Amidst Vedic mantras the women from the bride’s side go to the groom’s relatives and welcome them with flowers, vermilion, turmeric and sprinkle rose water on them. Now the female members from the groom’s family honor the bride’s relatives by conducting the ritual in the same manner.

In the ritual, ‘thread ceremony’ the bride’s father extends a warm welcome to the groom at the entrance of the ‘pandol’/shed specially erected and her mother performs the traditional ‘aarti’ for him. The groom is then made to sit and the bride’s father washes his feet and ties the sacred thread known as ‘Jhanava’ on him
In the ritual ‘phool-mudi’, giving a warm reception to the bride, the groom’s mother decorates her hair with flowers and performing an ‘aarti for her she showers rice on her. Then she asks the ‘sumangalis’, married ladies present there, to bless her future daughter-in-law.

The traditional and religious ceremony ‘Urdha-moorthu’ is held in the houses of the bride and the groom separately. The bride sits next to a round grinding stone and with the help of her unmarried sisters and cousins she grinds two varieties of lentil, ‘urad dal’ and ‘moong dal’. The groom and his family attend this function. The groom also performs the same function attended by the bride and her family. After this ritual the family priest conducts the ‘Navagraha puja’, the prayer of the nine planets.
Now the groom, wearing a dhoti and slippers and holding an umbrella makes a mock pilgrimage attempt and the bride’s father prevents him by offering his daughter’s hand in marriage. At this the groom returns to get married.

‘Lagna’, the marriage ceremony consists of a lot of ‘pujas’/prayers and rituals conducted by two priests, representing each family. The bride’s brother leads the groom to the wedding venue in a decorated car. The bride makes her appearance in a nine-yard sari in the ‘Kasa’ style without a ‘pallu. She wears a matching blouse over which a white shawl either’ mulmul or georgette is draped in the ‘V’-shape to indicate her unmarried status.

When she enters the wedding ‘mantap’/platform with the help of the priest she performs a ‘puja’ or prayer known as ‘mantapratishta’ or ‘mantap puja’. Now her mother adorns her with a ‘kare-mani’ chain, a gold chain with a string of black beads strung on it and two ‘kare-mani’ bangles, gold bangles with black beads on it on her wrists.

The groom and a small male child are seated on a sofa outside the mantap and special prayer, known as the ‘shibika puja’ is held for him.
Then the bride’s father takes the groom to the wedding ‘mandap’.

Five ladies from the bride’s family bring gifts such as ‘lagna’ sari, ‘chautanam’ sari, two additional saris and the most important ‘mangalsutra’, a gold chain with red corals strung on it. The bride’s maternal uncle carries her to the wedding ‘mantap’ while the priests, holding a silk sheet between the bride and the groom chants Vedic mantras and announce the ‘gotras’/lineage and ‘pravaras’/pedigree of the two families to the invitees.

The marriage ceremony begins with the ‘kanyadaan’ in which the father lifting her, hands her over to the groom, entrusting her in the care of the groom. The ‘sutra-bandhan’ consists of encircling the couple with a nine-yard thread. In the ‘kangan-bandhan’ ceremony, the couple slips bangles on each other’s wrists to make sure that all the deities’ blessings will be showered on them all through the wedding ceremonies.

Next comes the most important part, the ‘mangalsutra’ wherein the groom ties the traditional necklace, the symbol of marital status, around her neck that she will wear all times. For the ‘vivah-havan’, the sacred fire is lighted by the ‘agni’/fire brought by the bride’s mother. In the ritual ‘laja-havan’, the bride’s brother or maternal uncle slips silver toe-rings on her toes and the couple walks around the fire with the end of her sari and his ‘shalu’/shawl tied in a sacred knot. Handfuls of ‘Laja’ or puffed rice is given to the bride and she offers it to the fire.

In the concluding ceremony, ‘havan-purnavati’ the couple is pronounced husband and wife.

Chautanan, a post wedding ritual, is a series of light hearted, fun-filled symbolic ceremonies. The bride makes the nuptial bed and keeps two new saris and two coconuts on it after which they feed each other a banana. In ‘Vore Ubarches’ the bride’s maternal uncle lifts the groom and his wife lifts the bride and they take a few steps carrying them.

In another fun-filled custom, a ring is dropped into a water-filled deep vessel and the bride and the groom search for it. The person who finds the ring first has to put it on the other one’s finger.

Then ‘tulsi puja’ and ‘puja’ for coconut palm are performed followed by a meal prepared by the bride served to all. The wedding ceremony comes to an end with the ‘mandal -viarjan’ in which the couple touches the elders’ feet for their blessings.

When the couple arrives at the groom’s house the groom’s sisters sit on the doorstep blocking the bride’s entry. Only when they are properly bribed the bride is allowed to enter. With her right foot she tips over a small cup of rice and her mother-in-law welcomes her with a brief ‘mangal aarti’ and she starts calling her new daughter-in- law by a new name.

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.

The Rajputs, a prominent martial community in India, are descendants of the ancient warrior dynasties (Kshatriyas) who ruled Rajputana, the present Rajasthan and also other greater parts of India. The Rajputs are spread in Uttar Pradesh, Rajasthan, Bihar, and Madhya Pradesh. Rajputs in Madhya Pradesh, the central state of India, follow mostly the traditional customs and rituals of their community in their weddings though they are influenced by the local customs to some extent.

“Tilak” ceremony is the first agreement between the two families in which the bride’s brother goes to the groom’s house with gifts and sweets for the groom and his family members and applies ‘tilak/bindi on the forehead of the groom, signifying that the boy and the girl will enter into holy matrimony.

“Pili-Chitthi” is a ritual in which the groom’s family sends a “patra” or letter having the symbol of Lord Ganesha and dabbed with turmeric and vermilion powder to the bride’s, to comfirm the acceptance of the alliance between the two families.

A week, prior to the wedding, “Mandap Aarohan” takes place wherein all the sons-in-law and brothers-in-law from the bride’s family help to erect the wedding “mandap”(canopy, where the actual wedding rites are performed) supported by wooden posts and lavishly decorated with flowers and silver or gold paper. The pillars have bands in alternate red and white paints.

About a week prior to the wedding “haldi /turmeric ceremony, to beautify the bride and to prepare her for the wedding, is conducted each day till the wedding day. In this ritual, married ladies from the bride’s side smear a paste of “haldi”/turmeric and oil on the bride’s arms, feet and face.

The joyous occasion, “mehendi” ceremony is held on the morning prior to the wedding day. Professional “mehendiwalli”, the henna artist applies a paste of henna and “alta” (a red liquid to highlight the auspicious occasion) on the palms and feet of the bride to create intricate beautiful traditional patterns. This occasion is marked by dancing and singing by ladies who also get mehendi patterns on their palms.

As in any other Indian wedding, the Madhya Pradesh Rajput bride’s maternal uncle plays a significant role in the ritual “maira”. He is very liberal in giving costly gifts to the bride and even hosts a sumptuous vegetarian lunch to honor the bride.

“Padla” is a ritual held in the wedding day afternoon, in which all the articles gifted by the bride’s family are exhibited in the bride’s house.

In “Baraat”, the ceremonial wedding procession, the groom leaves for the wedding venue mounted on a beautifully decorated mare, along with a male child. He is attired in a gold ‘achkan’, a long coat along with tight trousers known as ‘churidar’/’jodhpurs, an orange turban decorated with a ‘sirpech’ and ‘jootis’/shoes that are highlighted with a necklace and a cummerbund at the waist. He is accompanied only by the male members from the family and also a band playing popular hits. When the ‘baraat’ reaches the wedding venue the groom is given a traditional welcome by his future mother-in-law with the “aarti” and is escorted to the wedding altar.
The bride looks ravishing in a resplendent traditional ‘poshak’, comprising a long pleated skirt known as ‘ghagra’, a tight matching blouse and a dupatta, usually red in color; but deep colors like orange, bright yellow, gold or pink are also popular. She wears certain jewelry items that have their own significance, on this occasion. ‘Rakhri’ is a circular piece worn on the forehead at the parting of the hair. She also wears sparkling danglers on her ears, ‘timaniyaan’, a choker inlaid with uncut diamonds and a set of ivory and gold bangles known as ‘chudda’. Her other adornments include stone-studded gold armlets called ‘bajuband’, gold anklets and gold toe-rings called ‘bichiya’ and ‘nath’, a stone-studded nose ring.
A Brahmin “pujari” who officiates at the wedding ceremony lights the sacred fire and in the midst of Vedic chantings the groom’s shawl and the bride’s veil or “duppata” are tied together and the couple makes seven circles or “pheras” around the fire after which the groom slips green glass bangles on to the bride’s wrist.

On the morning after the wedding day, the groom, his parents and other members from his family arrive at the bride’s house to join an elaborate breakfast, consisting of various sweets and dry fruits, in addition to other delicacies. This ritual is termed as “Kunwar Kaleo”.

“Bidai” or Bridal send off is a tearful ritual as the bride bids farewell to her parents, brothers, sisters and other members of her family. The groom’s family blesses her with the showering of flowers and coins, an assurance to her family that even though “Laxmi”, the Goddess of wealth is leaving her parental house, prosperity will remain there. She along with husband arrives at her new house in a beautifully decorated car. She enters her new house with her right foot first.

“Mooh Dekai” literally means ‘show your face’, but this ritual is performed to introduce the new bride to her husband’s family members. She is seated alone and the members of the groom’s family come one after another to be introduced to the bride and they shower her with beautiful gifts.

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.

Bihar, an Eastern state, is one of the very backward regions in India. Though Biharis are generally quite liberal they stick to their traditions in every aspect. They are not inhibited by any artificial pomp and show and they are very proud of the rustic touch of their roots. A real traditional Bihari wedding usually lasts for a month, but these days Biharis have reduced it to a minimum of five days affair.

Any Hindu Bihari wedding commences with ‘Satyanarayan Katha’, a ‘puja’/prayer performed by the groom’s parents along with the groom, under the guidance of a “Punditji”/priest. All the attending family members should observe fast. The “havan”/sacred fire is given out on the last day when the wedding rituals are completed.

The ritual “Haldi Kutai”, involves groom’s mother and other “suhagins”(ladies not widowed) grinding whole turmeric to a paste that is sent to the bride for the ritual ‘ubtan’.

An auspicious day is fixed for “Cheka”, the engagement ceremony, wherein 5, 7, 9, or 11 members from the groom’s family along with the groom go to the bride’s house with gifts, known as “Chekas” and the bride and groom exchange rings. Another day the bride’s family repeats this ritual for the groom.

In the ritual “Shagun” the bride’s priest, accompanied by her brother, the ‘hajaam’/barber, and four other members takes auspicious gifts for the groom’s family. The bride’s brother applies ‘tilak’/’teeka’ on the groom’s forehead to signify the bride’s family accepting the wedding. The brother brings a lot of pleasantries for the entire groom’s family like vessels, clothes, jewelry etc. Haldi paste, specially made by the bride’s mother, is brought in a silver bowl to be applied on the groom. “Tilak” is the biggest ceremony held by the groom’s party, equivalent to a wedding reception.

“Madva Bandhana”, the making of the wedding “mandap” held separately at both houses must be performed on the same day as the ‘haldi ka din’.

“Lagan Mahurat” is the day selected by the priest to begin all the wedding rituals. This day the bride puts on an old sari and the married ladies of her family smear “uptan’ (a paste of mustard seeds, milk, saffron and turmeric) on her body and hands. After some time the ‘uptan’ is washed off and turmeric paste is applied on her body for a few hours. This ritual is done to the groom as well.

On the wedding morning once again the ‘haldi’/turmeric paste ceremony is performed for the bride and the groom to beautify and purify their bodies after which they are dressed up and decorated for the “Jaimala” ceremony.

“Dhritdhari” and “Matripoojan” are two rituals performed to seek the forgiveness and blessings of the dead ancestors and seek the same from the living elders respectively. The groom’s parents give “paun-pooji” in the form of clothes or cash to the elders for coming and blessing them.

“Silpoha” is a ladies’ ritual, held in the early morning of the wedding day wherein the groom’s mother in her “Chunri”/shawl”, along with her mother-in-law or her husband’s elder brother’s wife (not widows) grinds “akshat” or rice on a flat grinding stone. While grinding they ask the blessings of the Gods and the spirits of the ancestors. Yet another ritual “Imli-Ghutai”, performed by the groom’s maternal uncle and aunt just before the “paricchavan”, is to drive away evil omens and to caution the groom not to indulge in any form of vices. The uncle feeds a betel leaf to the groom, but the groom keeps it between his teeth while his mother takes it and eats it herself to signify that the mother will accept all the evil omens falling on him upon herself.

“Paricchavan” is done by the groom’s mother by showing an “Aarti’ to drive away all the bad omens falling on her son and she puts the ‘Tilak’ on his forehead and blesses him for an auspicious beginning.

Now the groom gets ready for the “Baraat Prasthan”/wedding procession in a decorated car, accompanied by ‘sahwala’/best friend, usually his younger brother. The groom’s car proceeds to the wedding venue followed by music and dancing by family members and friends. At the entrance of the venue the groom’s family members are garlanded by their counterparts from the bride’s side. The groom, seated in the car, is welcomed by the bride’s priest who applies a ‘Tilak’ on his forehead and helps him out of the car. The bride’s father escorts the groom to a decorated chair reserved for him.

The bride is now brought to the wedding altar where she performs an “Aarti” of the groom and the couple exchange garlands. Before the wedding rites the bride’s mother and the other married women hold the “Galsedi” ceremony. The mother carries a plate containing a small lighted lamp, betel leaves and small lumps of cow dung. One by one, all the women heat the betel leaves on the lamp and foments the groom’s face, forehead and eyes at least five times each, using their left hands only. The remaining women, together, throw the lumps of cow dung behind the groom.

The bride’s brother or brother-in-law escorts the groom to the ‘mandap’/altar for “Kangna Bandhana” ceremony for which the bride wears a yellow silk sari with zari/gold borders without any jewelry on her body. The ‘pujari/priest ties the bracelets made of mango leaves, raw cotton thread, colored rice, turmeric and money, on the couple’s right hands. The next four days they have to wear this symbolic bracelet. The barber, present in the ‘mandap’, now cuts the fingernails and toenails of the couple.

In the “kanyadaan” ceremony the bride’s father stretches out his right hand and the mother places her right hand on it. Then the groom keeps his right hand on the top of the mother’s and finally the bride, holding a conch, places her right hand on the groom’s. The priests chant the mantras all the while and this way the parents give away their beloved daughter to the groom securing an assurance that he will take the full responsibility of his wife. After this the groom retires to his room and the bride changes her dress for the”Kanya nirakshan” where she is introduced to the groom’s relatives.

The traditional outfits of a Bihari bride are an expensive fabulous sari and a chic blouse. The dominant colors in the bridal sari are red and yellow. The silk or chiffon sari has enchanting zari embroidery works. The tight-fitting matching blouse enhances the beauty of the sari. She covers her head with the “pallu” of the sari. The bridal jewelry includes “tikli”, a small gold ornament adorning her forehead at the hair parting. Bihari brides prefer jewelry with elaborate designs and gaudy looks. She wears such gold ornaments in every part of her body, such as necklaces around the neck, rings on fingers, ear and nose, lot of bangles on the hands and anklets around ankles. “Bichwa” or toe-ring is a must for Bihari bride.

When the bride, in the wedding sari sent by the groom’s parents, enters the altar the priest seats her beside the groom and chants mantras to purify the couple. The priest conducts all the important ‘pujas’-the “Kuldevta puja”, to invoke all the other Hindu deities and another special ‘puja’, known as the “damad/son-in-law ki ‘puja. The priest then wants the couple to take a series of vows and makes the sun, moon, stars, earth and sky as witnesses to this union of the couple.

The couple takes seven ‘pheras’/circles around the sacred fire, lighted outside the ‘mandap’. As they walk around the fire the bride gently throws into the fire “lave” (roasted husked rice) from a ‘soop’, a 3-sided conical cane basket, she holds while her brother refills the ’soop’ with fresh ‘lava’. After the ‘pheras’ the groom applies sindoor/vermilion powder on the bride’s forehead, starting from the topmost point of her nose to the parting of hair. The groom repeats this minimum five times while the bride’s eyes remain closed through out this act. To attain the marital status, she also wears “taagpaag”/”mangalsutra”-a sacred thread with gold and black beads- around her neck. Now that all the wedding rituals are over and the couple is truly married, the bride and the groom are escorted to the beautifully decorated bridal chamber.

On the fourth day of the wedding, amidst chanting of mantras, the priest removes the bracelets from the right hands of the couple (“Kangna Kholna” ceremony”). The groom takes his new wife to his house after two days or the “kangna kholna” ceremony. After a couple of days, the bride’s brother or brother-in- law invites her and the groom to her parents house to stay for a few days with gifts for the couple and the in-laws and they go back with him carrying return gifts for the bride’s family.

The North-Eastern Indian state, Manipur is blessed with a rich cultural heritage and verdant scenic beauty. The word ‘Manipur’ means the land of gems. This tribal state is famous for its colorful festivals and other traditions. Mostly this land is occupied by tribal folks and these folks spread in the neighboring states as well. Their weddings are as colorful and spectacular as their traditions. All the tribes follow almost similar rituals with slight variations in the customs and costumes. People of Manipur prefer weddings in their own community, but are not opposed to inter caste marriages outside Manipuri community too.

Among the tribes “Magh”, young men and women select their partners at the grand New Year Festival when they get an opportunity to know each other closely and inform their parents and seek their approval. Young girls from the tribes Garo, Tippra, Khasia and Magh often go to the market to buy and sell goods. The boys and girls use this opportunity to know each other closely, choose their partners and with the consent and blessings of the parents get married. Young men and women of the tribes “Santal”, “Garo” and “Manipuri”, while working in the fields together, come to know and understand each other well and are able to select their life partners.

Manipuri weddings are held according to the customs and traditions. In the starting approach, known as “Hinaba”, the boy’s parents visit the girl’s house and meet her parents. The horoscopes of the boy and the girl are matched. If both the parents agree the nest meeting, termed as “Yathang Thanaga”, is fixed. In this meeting the parents of the girl give their consent for the wedding. In the next ritual, “Waroipot puba”, the boy’s relatives bring food items and finally contract for the wedding is sealed. Then the engagement, known as “Heijapot” is announced among the friends and relatives. The groom’s friends and relatives bring fruits, food and gifts to the bride’s house. The relatives and friends are invited and the Brahmin priest finalizes the wedding date and rituals.

A “Manipuri” wedding party puts up a grand spectacular show, but very little is spent on feasts. Usually a wedding in a “Meitei “house in Imphal, the capital city of Manipur, is attended by not less than thirty cars. When a wedding is attended by a convoy of cars it is considered as a status symbol. The men come in dhoti and kurta and a shawl wrapped around while their women come in pink “fanek” and “chader”.

Manipuris erect beautiful and spacious wedding “Pandals”/sheds in which the bride and groom walk around to be greeted with paddy and “durva” grass. For the reception ceremony, at the entrance a “Meitei” woman offers a “thali” or plate with a banana leaf containing betel nut, betel leaves and “tamul”. Seats are provided around a “Tulsi” platform. In every platform a ‘tulsi’, a sacred plant, is grown over a raised platform around which all the auspicious ceremonies are performed.

The groom is given a warm welcome by lighting a “Pradip” and washing his feet by a young boy accompanied by the singing of “kirtan” and playing of traditional music. “Kirtans” and “shahnai” music are played while the couple completes the seven “pheras”/rounds, the bride taking the steps in a rhythmic style with the music.

One woman from each side releases a pair of “Taki” fish, representing the bride and groom, into the water. If the pair of fish swims side by side it is considered as an auspicious omen. Garos follow a similar ceremony in which a cock and hen with throats cut are left to the ground. If they come together to die it is taken as a good omen. Otherwise, to get rid of ill omen, remedy is done through payer and spell by a “khamal”, the mendicant.

Manipuries offer exceptionally special food to the Gods and other deities on this occasion. These people believe, by pleasing them, the Gods will bless the couple in abundance. On the fifth day after the wedding, the Manipuri bride comes to her parents’ house for the first time. All members of the clan are invited to this ritual and they all participate with gifts such as rice, meat, fowls, pigs, money or alcohol and a prolific feast is served to them.

The costume of a Manipuri bride is very unique; she wears the “Raslila” skirt on her wedding day. “Chakmas” brides wear red and black sarong called “Pindhan” along with a blouse called “silum”. “Magh” bride’s puts on a “thami”/sarong that covers the body from chest to knee over a full-sleeved jacket or choli.

Though a land or gold and gems, the “Maniprri” brides wear only a very limited variety of jewelry. In North Bengal the various tribal women wear almost similar ornaments. “Santal” and “Oraon” tribal women wear jewelry such as necklaces bangles, anklets, nose-rings and earrings. “Oraon” women put up their hair in a peak style and adorn their forehead with a jewelry called “tikli”. Brides of “Chakma” tribes wear necklaces, coin earrings, bangles and anklets. “Garo” brides do their hair style using a bun, adorned with flowers. “Magh” women brighten their faces with a kind of herbal powder or wood paste.

The bridegroom’s costme consists of a white dhoti, kurta and turban. Lower class “Garos”, even today, wear a small piece of cloth, just enough to conceal nudity. In the deep hilly forests the tribasl use leaves as their wedding dress. “Santal” groom’s outfits are called “Panchi”, “Panchatat” and “Matha”. The main wedding dress of the “Chakmas” is a “lungi” worn along with a shirt.

Maithil Brahmins belong to a region called Mithila lying between the lower regions of the Himalaya Mountains and the River Ganges in the North-Eastern India. These people are supposed to be the highest ranking caste and are politically very influential. They celebrate all the important Indian festivals with great enthusiasm and extravaganza. The same spirit and pomp are reflected in their weddings as well.

For a Maithil Brahmin, giving away a girl in marriage is like offering the gift to a God. The parents might love her dearly, but would not keep her in their house for a long time. When the daughter of a family attains the marriageable age her father starts looking for a suitable match for her. Maithil Brahmins take extra care in the process of match making. “Panjikars” or registrars would match the “panjis or horoscopes of the two families and ascertain there exists no blood match between the two families of the boy and girl down five or six generations to avoid any incest.

The Maithil Brahmin brides are dressed in dignified and fabulous traditional Indian saris. Mostly the saris are in red color, other glitzy colors are also in vogue. The bridal sari is either Banarasi silk or any other expensive quality decorated with rich zari works. She is adorned with all the traditional Indian jewelry studded with precious stones, like necklaces, bangles, earrings, nose-rings, toe-rings, rings, anklets etc.

The groom’s attire consists of cultural dhoti and kurta and a customary headgear known as the “pag” in red color. The men in “barati”/wedding procession wear yellow or white “pag”.

Rituals before wedding include “Siddhant” or the match-making wherein the astrologers of both families fix an auspicious date for the wedding after carefully consulting the Maithil “Panchang” or lunar calendar. The “Panjikar/astrologer makes a letter called “Patra” in which the wedding between the girl and the boy is confirmed.

On the wedding day the women of the bride’s house wait for the arrival of the groom at the courtyard. A small “Kalash” or pitcher decorated with “Amra pallav”/mango leaves and “kumkum”/vermilion powder etc and an ox yoke are placed in the center of the courtyard. Men and women, having different ritual responsibilities, wait separately for the groom’s arrival. The women of the bride’s family give a warm reception to the groom while the bride’s assistant, “Vidkari” welcomes the groom by applying sandal paste on his forehead. Then the groom, after bath, changes his “dhoti” and the “jenu”(sacred thread).

Maithil Brahmins follow a strange custom in which the bride seeks the blessings of the ‘dhobi’s or washerman’s wife who dies before her husband and always remains a “suhagin”, one who never becomes a widow. A little bit of yoghurt is touched to the hair of the washerman’s wife and the bride too is given a little yoghurt to eat.

Now, both the bride and groom visit the “Kuldevi” shrine, the lineage Goddess of her family. It is only this moment that the groom ever enters this shrine, In the “Gauri Puja” performed there the bride thanks Goddess Gauri for blessing her with a husband like Lord Shiva. The Goddess is symbolically represented by a betel nut kept on the head of a clay elephant.

“Otangar” is another important ritual in which eight Brahmins pound rice, an indication of the belief that marriage mixes and combines seed or bloodlines joining “patri”-lineages in innovative ways. The groom also participates in the ritual ‘Otangar’.

“Nana Yogin” or Grand mother Yogi is a very popular ritual wherein the women place flowers, betel leaves etc on a tray which is used to make “Aarti” of the groom.

In the actual wedding ceremony the bride and groom sit in front of the sacred flame made of sandalwood and ghee. A Brahmin “Pujari”/priest performs all the wedding rites. In “Kanyadaan” the bride’s father takes the groom’s hands and places his daughter’s hand in them followed by the “Saptapathi” rite wherein the couple makes seven circles around the sacred fire, the seven steps symbolizing the first seven steps of their wedding life.

After the wedding rites the groom applies ‘sindur’/vermilion powder at the parting of the bride’s hair. This ‘sindur’ will remain there as long as her husband lives. “Ghungat” is an interesting ritual in which the groom veils his wife’s head for the first time and her brother unveils her, This indicates the dual lives of a woman, one in her parent’s house and the other-veiled one-in her husband’s place.

In the ritual “Durbakschat”, held on the wedding day or the next day, Brahmin men toss husked rice at the couple wishing them wealth and prosperity. Women, in the ritual “Chumaon”, move a tray containing cultural things over the couple. Such multi-color wedding rites last for four days at the end of which the bride says farewell to her family and friends and leaves for her new house along with her husband.