together before the breast in an attitude of prayer; the guest replies by a similar
action, and the ceremony is at an end.
The same operation is performed by from five to seven, or even nine, relations
(Orang Waris, lit. “Heirs,”) the last operator concluding with an Arabic prayer.
While this ceremony is proceeding inside, music strikes up and a special dance,
called the Henna Dance (mĕnari hinei),^82 is performed, a picturesque feature of
which is a small cake of henna, which is contained in a brazen cup (gompong
hinei) and surrounded by candles. This cup is carried by the dancer,^83 who has to
keep turning it over and over without letting the candles be extinguished by the
wind arising from the rapid motion.
The step, which is a special one, is called the “Henna-dance Step” (Langkah tar’
hinei, i.e. tari hinei), and the tune is called the “Henna-staining tune” (Lagu
bĕrhinei).
This ceremony over, the “henna-staining” rice (nasi bĕrhinei) is partaken of by
those present, the remainder being distributed to the guests engaged in “main
zikir.”
On the third night the same ceremonies are repeated without variation.
On the fourth morning, called the “Concluding Day” (Hari Langsong),
everybody puts on his finest apparel and jewellery.